«Pace o valva di evangelario»: storia di una riscoperta - Sandra Sicoli - Vita e Pensiero - Articolo Arte Lombarda Vita e Pensiero

«Pace o valva di evangelario»: storia di una riscoperta

digital «Pace o valva di evangelario»: storia di una riscoperta
fascicolo ARTE LOMBARDA - 2019 - 1
titolo «Pace o valva di evangelario»: storia di una riscoperta
The Pace di Chiavenna rediscovery
Editore Vita e Pensiero
formato Articolo | Pdf
online da 11-2019
doi 10.26350/666112_000027
issn 0004-3443 (stampa) | 2785-1117 (digitale)
€ 6,00

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The author retraces the conservative story of the Pace di Chiavenna in light of his critical fortune, identifying the moments and the protagonists – inserted in the context of their institutional profile – of the rediscovery of a work of extraordinary quality but for a long time hidden. The twentieth century emerges as an important period both for the history of protection and for the profile of scholars engaged in this work, such as Adolfo Venturi. It is only in 1899, in fact, that the Pace is known and appreciated, on the occasion of the Ancient Sacred Art exhibition in Como. It was Venturi, in the second volume of his monumental Storia dell’Arte Italiana (1902), who contextualized the object, sought out its analogies and relationships and investigated its quality and technique within a broader figurative analysis. Passed unharmed in the two world wars – carried and hidden in Castel Sant’Angelo in Rome during the First War, preserved and protected in the Valtellina in the Second – the Pace was requested on the occasion of some prestigious exhibitions: the 1936 Triennale dedicated to the Italian Jewelery, the in Zurich Kunstschatze der Lombardei exhibition of the winter of 1948-1949 and the Lombardy Treasures of Milan exhibition in 1952. This exhibitions therefore constituted the premise for that awareness and widespread knowledge of Pace, which will bring to the end of the twentieth century to the musealisation of the artefact at the Church of San Lorenzo in Chiavenna.