Il capitale culturale. Studies on the Value of Cultural Heritage. Supplementi n. 16, 2024 [Carlo Crivelli. Nuovi studi e interpretazioni], pp. 535-563, 2024
This contribution seeks to contextualize the choice for the support in Carlo Crivelli’s Madonna B... more This contribution seeks to contextualize the choice for the support in Carlo Crivelli’s Madonna Buonaccorsi (Macerata, Musei Civici di Palazzo Buonaccorsi): canvas, which is very rare in the oeuvre of Carlo as well as that of his brother Vittore
Quaderni di storia religiosa medievale, 27, no 1 , 2024
This contribution traces the rise of the small wooden crucifix as an object of personal devotion ... more This contribution traces the rise of the small wooden crucifix as an object of personal devotion in Italy during the late Middle Ages and the early Renaissance. First some large examples that were located in churches are considered, after which the iconographic evidence in assessed. The metal cross as a personal attribute of saints is generally replaced in the course of the 15th century by a wooden crucifix. This occurrence seems to have conformed to a historical reality, although only four crucifixes that can be associated with historical individuals have survived
Brief discussion of a motif in Crucifixion images in Tre-Quattrocento painting: the serpent menac... more Brief discussion of a motif in Crucifixion images in Tre-Quattrocento painting: the serpent menacing the pelican's nest.
The first part of this paper is an iconographic analysis of the central panel of the triptych by ... more The first part of this paper is an iconographic analysis of the central panel of the triptych by Fra Angelico in Palazzo Corsini, Rome. It represents the Last Judgement and is a somewhat reduced version of a composition first seen in the panel from the monastic church of Santa Maria degli Angeli in Florence. The saints represented to the left of Christ are Peter and his brother Andrew, and those to the right Paul and John the Evangelist. Behind the latter are represented Sts. Benedict and Francis, and a holy pope, often identified as Sixtus on the basis of a similar pope represented on the wing of a triptych painted by Fra Angelico for the Dominican cardinal Juan de Torquemada. The pope in the Corsini Triptych does not carry an attribute, and may also represent another saintly pope such as Gregory the Great. The saints in the second and third rows to the left of Christ are Stephen, Dominic, and a mitred monk identified in a previous contribution to this journal as Basil the Great. The presence of the latter among the heavenly host has an interesting parallel in a passage in the Chronicon of St Antoninus, in which he explains that the founders of the religious orders such as Basil, Augustine, Benedict, Dominic, and Francis (all of whom, with the exception of Augustine, are depicted in the panel) are surely present in the seraphic order of the heavens. There is some technical and documentary evidence to suggest that the three panels of the Corsini Triptych did belong together originally. However, the two wings, representing the Ascension and the Descent of the Holy Spirit, present some slight anomalies: the number of apostles is reduced, and the figural types of Sts. Peter, Andrew, and John do not correspond to those in the central panel. Although these inconsistencies remain difficult to explain, they do not constitute decisive arguments for the hypothesis that the triptych in its current form is an assemblage of two different works. The combination of the three subjects is unique for a triptych, but not anomalous: the Ascension and the subsequent Descent of the Holy Spirit signal the beginning of the Church, the Last Judgement its fulfilment. In the final part the issue of cryptoportraits is addressed. It has been proposed that St Sixtus and the similar pope in the Corsini Triptych are in fact portraits of Eugene IV, the pope who had created Torquemada cardinal-priest of San Sisto, the implication being that the cardinal also ordered the Corsini Triptych from Fra Angelico. The similarities with the documented portraits of the pope are minimal, however. It is still quite possible that the cardinal commissioned the triptych, but this cannot be demonstrated on the basis of iconography.
Editoriale
Gerardo de Simone, Emanuele Pellegrini
Provaci ancora Museum!
MONOGRAFIA – Nuovi stu... more Editoriale Gerardo de Simone, Emanuele Pellegrini Provaci ancora Museum!
MONOGRAFIA – Nuovi studi sul disegno ottocentesco
Valentina Frascarolo Sul disegno ottocentesco. Una introduzione
Egle Radogna L’espressione grafica in Luigi Ademollo. Idee e progetti su carta per la committenza toscana
Valentina Frascarolo Giuseppe Bezzuoli disegnatore: pensieri, studi e modelli
Raquel Gallego García Los dibujos de vistas romanas de Valentin Carderera (1822-1831): el álbum D-6412 del Museo Nacional del Prado
Sara Rulli L’architettura genovese nei disegni degli architetti tedeschi del XIX secolo
Fausto Minervini Un focus sulla circolazione di documentazione archeologica pompeiana nel secondo Ottocento: il caso Gigante – Pagliano, tra disegno e fotografia
Andrea Leonardi «Studiosi», «dotti», «amatori» e «financo curiosi» (G. Jatta, 1869). Il disegno nella Puglia storica dell’Ottocento tra «oggetti e monumenti storici o di arte»
Margherita Priarone Tullio Salvatore Quinzio (1858-1918): disegni per la grande decorazione a Genova tra tradizione e rinnovamento
MISCELLANEA
FIGURE Victor M. Schmidt L’affresco di Fra Angelico nella sala capitolare del convento di San Marco a Firenze: alcune precisazioni iconografiche
Roberta Delmoro Un Bergognone dimenticato. Gli affreschi dal coro delle monache del monastero di Sant’Erasmo di Milano
Roberto Contini Gentileschi patrigno e figliastra
CORNICE Chiara Savettieri Dezailler d’Argenville et les sources italiennes de l’Abrégé de la vie des plus fameux peintres
CUSPIDE Elisa Bassetto L’idea di libertà tra idealismo e liberalismo. Il carteggio Antoni-Ragghianti (1942-1959)
IN LIBRERIA Francesca Baldassari Per i cassoni rinascimentali veronesi
Laura Bartoni I Ruspoli a Roma tra Barocco e Neoclassico
Emanuele Pellegrini I “luigicrespi”: handle with care!
This contribution concerns the identification of three figures in Fra Angelico’s fresco of the Cr... more This contribution concerns the identification of three figures in Fra Angelico’s fresco of the Crucifixion in the chapter room of the convent of San Marco in Florence. The identification of the figure to the far left in the band surrounding the Crucifixion as St Dionysius is confirmed by the text on his scroll, “Deus nature patitur”: the source is a lectio for the feast of St Dionysius and his companions Rusticus and Eleutherius (9 October) in the Roman Breviary. Next it is argued that the secular bishop to the right of St Dominic in the main fresco is St Augustine. The mitred monk next to him has a brown habit with a dark cowl, which has recently been identified as an article of clothing worn by high-ranking orthodox ecclesiastics. In fact, the figure of St John Chrysostom depicted by Fra Angelico in the Cappella Nicolina in the Vatican, wears a similar cowl. However, in the context of monastic saints in the convent of San Marco, the mitred monk must be another orthodox ecclesiastic, i.e., St Basil the Great. As is borne out by, among other things, a similar programme in the church of San Francesco in Pisa and the Chronicon of St Antoninus, the two saints, together with St Benedict (represented to the mitred monk’s right), were considered key figures in the development of monasticism: all three were authors of monastic rules. That is the reason why Fra Angelico gave them such a prominent place among the other representatives of monasticism to the right of the Crucifixion.
The representation of miracles of Jesus, the Virgin, and the saints in Western art from the Middl... more The representation of miracles of Jesus, the Virgin, and the saints in Western art from the Middle Ages and the early modern period.
Attributes a small panel of Crucifixion in 's-Heerenberg, Huis Bergh, Van Heek collection, to Bar... more Attributes a small panel of Crucifixion in 's-Heerenberg, Huis Bergh, Van Heek collection, to Bartolomeo Bulgarini on the basis of style and the punch marks.
A drawing on parchment showing the Death of the Virgin (Washington, National Gallery of Art, Rose... more A drawing on parchment showing the Death of the Virgin (Washington, National Gallery of Art, Rosenwald Collection) is related to the Crucifxion of the Wasservass family, once in St. Kolumba in Cologne and now in the Wallraf-Richartz-Museum. Both drawing and painting can be dated to the 1420s. The anonymous artist probably came to Cologne from elsewhere, possibly the Low Countries.
Notes on 'recycled art': late medieval and Renaissance books of hours and altarpieces that change... more Notes on 'recycled art': late medieval and Renaissance books of hours and altarpieces that changed hands and were therefor adapted.
Review article of: Zuleika Murat, Guariento. Pittore di corte, maestro del naturale, con una pres... more Review article of: Zuleika Murat, Guariento. Pittore di corte, maestro del naturale, con una presentazione di Cristina Guarnieri, Cinisello Balsamo: Silvana Editoriale, 2016. A critical summary of the chapters and the catalogue raisonné is followed by general considerations of the book’s subtitle (‘court painter, master of the natural’). It is doubtful whether Guariento truly was a court artist: according to the documents he was never called ‘familiaris’ of the Paduan court of the Da Carrara, and he never received a regular stipend. It can also be questioned whether ‘naturalism’ is the main characteristic of the painter’s work. Guariento is rather the representative of an exuberant high Gothic style.
A note on the meaning of the phrase 'cose non vedute chacciandosi sotto ombra di naturali' in the... more A note on the meaning of the phrase 'cose non vedute chacciandosi sotto ombra di naturali' in the first chapter of Cennini's Libro dell'arte.
Il capitale culturale. Studies on the Value of Cultural Heritage. Supplementi n. 16, 2024 [Carlo Crivelli. Nuovi studi e interpretazioni], pp. 535-563, 2024
This contribution seeks to contextualize the choice for the support in Carlo Crivelli’s Madonna B... more This contribution seeks to contextualize the choice for the support in Carlo Crivelli’s Madonna Buonaccorsi (Macerata, Musei Civici di Palazzo Buonaccorsi): canvas, which is very rare in the oeuvre of Carlo as well as that of his brother Vittore
Quaderni di storia religiosa medievale, 27, no 1 , 2024
This contribution traces the rise of the small wooden crucifix as an object of personal devotion ... more This contribution traces the rise of the small wooden crucifix as an object of personal devotion in Italy during the late Middle Ages and the early Renaissance. First some large examples that were located in churches are considered, after which the iconographic evidence in assessed. The metal cross as a personal attribute of saints is generally replaced in the course of the 15th century by a wooden crucifix. This occurrence seems to have conformed to a historical reality, although only four crucifixes that can be associated with historical individuals have survived
Brief discussion of a motif in Crucifixion images in Tre-Quattrocento painting: the serpent menac... more Brief discussion of a motif in Crucifixion images in Tre-Quattrocento painting: the serpent menacing the pelican's nest.
The first part of this paper is an iconographic analysis of the central panel of the triptych by ... more The first part of this paper is an iconographic analysis of the central panel of the triptych by Fra Angelico in Palazzo Corsini, Rome. It represents the Last Judgement and is a somewhat reduced version of a composition first seen in the panel from the monastic church of Santa Maria degli Angeli in Florence. The saints represented to the left of Christ are Peter and his brother Andrew, and those to the right Paul and John the Evangelist. Behind the latter are represented Sts. Benedict and Francis, and a holy pope, often identified as Sixtus on the basis of a similar pope represented on the wing of a triptych painted by Fra Angelico for the Dominican cardinal Juan de Torquemada. The pope in the Corsini Triptych does not carry an attribute, and may also represent another saintly pope such as Gregory the Great. The saints in the second and third rows to the left of Christ are Stephen, Dominic, and a mitred monk identified in a previous contribution to this journal as Basil the Great. The presence of the latter among the heavenly host has an interesting parallel in a passage in the Chronicon of St Antoninus, in which he explains that the founders of the religious orders such as Basil, Augustine, Benedict, Dominic, and Francis (all of whom, with the exception of Augustine, are depicted in the panel) are surely present in the seraphic order of the heavens. There is some technical and documentary evidence to suggest that the three panels of the Corsini Triptych did belong together originally. However, the two wings, representing the Ascension and the Descent of the Holy Spirit, present some slight anomalies: the number of apostles is reduced, and the figural types of Sts. Peter, Andrew, and John do not correspond to those in the central panel. Although these inconsistencies remain difficult to explain, they do not constitute decisive arguments for the hypothesis that the triptych in its current form is an assemblage of two different works. The combination of the three subjects is unique for a triptych, but not anomalous: the Ascension and the subsequent Descent of the Holy Spirit signal the beginning of the Church, the Last Judgement its fulfilment. In the final part the issue of cryptoportraits is addressed. It has been proposed that St Sixtus and the similar pope in the Corsini Triptych are in fact portraits of Eugene IV, the pope who had created Torquemada cardinal-priest of San Sisto, the implication being that the cardinal also ordered the Corsini Triptych from Fra Angelico. The similarities with the documented portraits of the pope are minimal, however. It is still quite possible that the cardinal commissioned the triptych, but this cannot be demonstrated on the basis of iconography.
Editoriale
Gerardo de Simone, Emanuele Pellegrini
Provaci ancora Museum!
MONOGRAFIA – Nuovi stu... more Editoriale Gerardo de Simone, Emanuele Pellegrini Provaci ancora Museum!
MONOGRAFIA – Nuovi studi sul disegno ottocentesco
Valentina Frascarolo Sul disegno ottocentesco. Una introduzione
Egle Radogna L’espressione grafica in Luigi Ademollo. Idee e progetti su carta per la committenza toscana
Valentina Frascarolo Giuseppe Bezzuoli disegnatore: pensieri, studi e modelli
Raquel Gallego García Los dibujos de vistas romanas de Valentin Carderera (1822-1831): el álbum D-6412 del Museo Nacional del Prado
Sara Rulli L’architettura genovese nei disegni degli architetti tedeschi del XIX secolo
Fausto Minervini Un focus sulla circolazione di documentazione archeologica pompeiana nel secondo Ottocento: il caso Gigante – Pagliano, tra disegno e fotografia
Andrea Leonardi «Studiosi», «dotti», «amatori» e «financo curiosi» (G. Jatta, 1869). Il disegno nella Puglia storica dell’Ottocento tra «oggetti e monumenti storici o di arte»
Margherita Priarone Tullio Salvatore Quinzio (1858-1918): disegni per la grande decorazione a Genova tra tradizione e rinnovamento
MISCELLANEA
FIGURE Victor M. Schmidt L’affresco di Fra Angelico nella sala capitolare del convento di San Marco a Firenze: alcune precisazioni iconografiche
Roberta Delmoro Un Bergognone dimenticato. Gli affreschi dal coro delle monache del monastero di Sant’Erasmo di Milano
Roberto Contini Gentileschi patrigno e figliastra
CORNICE Chiara Savettieri Dezailler d’Argenville et les sources italiennes de l’Abrégé de la vie des plus fameux peintres
CUSPIDE Elisa Bassetto L’idea di libertà tra idealismo e liberalismo. Il carteggio Antoni-Ragghianti (1942-1959)
IN LIBRERIA Francesca Baldassari Per i cassoni rinascimentali veronesi
Laura Bartoni I Ruspoli a Roma tra Barocco e Neoclassico
Emanuele Pellegrini I “luigicrespi”: handle with care!
This contribution concerns the identification of three figures in Fra Angelico’s fresco of the Cr... more This contribution concerns the identification of three figures in Fra Angelico’s fresco of the Crucifixion in the chapter room of the convent of San Marco in Florence. The identification of the figure to the far left in the band surrounding the Crucifixion as St Dionysius is confirmed by the text on his scroll, “Deus nature patitur”: the source is a lectio for the feast of St Dionysius and his companions Rusticus and Eleutherius (9 October) in the Roman Breviary. Next it is argued that the secular bishop to the right of St Dominic in the main fresco is St Augustine. The mitred monk next to him has a brown habit with a dark cowl, which has recently been identified as an article of clothing worn by high-ranking orthodox ecclesiastics. In fact, the figure of St John Chrysostom depicted by Fra Angelico in the Cappella Nicolina in the Vatican, wears a similar cowl. However, in the context of monastic saints in the convent of San Marco, the mitred monk must be another orthodox ecclesiastic, i.e., St Basil the Great. As is borne out by, among other things, a similar programme in the church of San Francesco in Pisa and the Chronicon of St Antoninus, the two saints, together with St Benedict (represented to the mitred monk’s right), were considered key figures in the development of monasticism: all three were authors of monastic rules. That is the reason why Fra Angelico gave them such a prominent place among the other representatives of monasticism to the right of the Crucifixion.
The representation of miracles of Jesus, the Virgin, and the saints in Western art from the Middl... more The representation of miracles of Jesus, the Virgin, and the saints in Western art from the Middle Ages and the early modern period.
Attributes a small panel of Crucifixion in 's-Heerenberg, Huis Bergh, Van Heek collection, to Bar... more Attributes a small panel of Crucifixion in 's-Heerenberg, Huis Bergh, Van Heek collection, to Bartolomeo Bulgarini on the basis of style and the punch marks.
A drawing on parchment showing the Death of the Virgin (Washington, National Gallery of Art, Rose... more A drawing on parchment showing the Death of the Virgin (Washington, National Gallery of Art, Rosenwald Collection) is related to the Crucifxion of the Wasservass family, once in St. Kolumba in Cologne and now in the Wallraf-Richartz-Museum. Both drawing and painting can be dated to the 1420s. The anonymous artist probably came to Cologne from elsewhere, possibly the Low Countries.
Notes on 'recycled art': late medieval and Renaissance books of hours and altarpieces that change... more Notes on 'recycled art': late medieval and Renaissance books of hours and altarpieces that changed hands and were therefor adapted.
Review article of: Zuleika Murat, Guariento. Pittore di corte, maestro del naturale, con una pres... more Review article of: Zuleika Murat, Guariento. Pittore di corte, maestro del naturale, con una presentazione di Cristina Guarnieri, Cinisello Balsamo: Silvana Editoriale, 2016. A critical summary of the chapters and the catalogue raisonné is followed by general considerations of the book’s subtitle (‘court painter, master of the natural’). It is doubtful whether Guariento truly was a court artist: according to the documents he was never called ‘familiaris’ of the Paduan court of the Da Carrara, and he never received a regular stipend. It can also be questioned whether ‘naturalism’ is the main characteristic of the painter’s work. Guariento is rather the representative of an exuberant high Gothic style.
A note on the meaning of the phrase 'cose non vedute chacciandosi sotto ombra di naturali' in the... more A note on the meaning of the phrase 'cose non vedute chacciandosi sotto ombra di naturali' in the first chapter of Cennini's Libro dell'arte.
9h15: Prof. Victor Schmidt (Université d’Utrecht )
Devotions and crosses: some explorations
10 ... more 9h15: Prof. Victor Schmidt (Université d’Utrecht ) Devotions and crosses: some explorations
10 : 30 Dr Ingrid Falque (Université de Louvain) Portraits dévotionnels, littérature spirituelle et dévotion personnelle dans la peinture des anciens Pays-Bas au XVe siècle
11 : 30 Dr. Laura Albiero (IRHT) La liturgie dans les livres d'heures
14 : 00 Leatitia Sauthier (Université de Fribourg) Les pratiques dévotionnelles privées à l’hôpital Notre-Dame de Fribourg au travers de chartes et de sources comptables.
Nathalie Roman (Université de Lausanne) Comment interpréter la création d’un cycle iconographique développé des Heures du Saint-Esprit dans les livres d’heures?
Melissa Nieto (Université de Lausanne) Lire, prier, visualiser: La prière au Christ crucifié d’un psautier du XIIIe siècle dans le Haut-Rhin
This wide-ranging book brings together a rich array of current approaches to panel painting of th... more This wide-ranging book brings together a rich array of current approaches to panel painting of the thirteenth and fourteenth centuries, a period that has received far less attention than the Renaissance. From the middle of the thirteenth century onward, Italy witnessed a boom in panel painting. This brought about the transformation of existing object types, including painted crosses, altar frontals, and monumental panels of the Virgin and Child. It also fueled the development of new types of panel painting, particularly various forms of altarpieces, lunette-shaped panels for architectural settings, small-scale panels for personal devotion, and painted chests for private homes. The international gathering of curators, art historians, and conservators who contribute to this volume discuss specific types of panel paintings, and they also examine local traditions, individual artistic solutions, patronage, production, use, iconography, and the relationship of panel painting to other art forms. Among the broader issues they address are liturgy, aesthetics, the perception and function of religious imagery, and style.
The articles collected in this volume discuss the rise and spread of the altarpiece, or retable, ... more The articles collected in this volume discuss the rise and spread of the altarpiece, or retable, as the standard altar decoration across Europe during the thirteenth and fourteenth centuries. Historians of art and liturgy have addressed such issues as the relations with other types of altar furnishings, regional variants, and their architectural, liturgical and socio-political context. The papers grew out of a symposium held at the University of Groningen (The Netherlands) in June, 2006, in which fourteen scholars from eight different countries participated. The period under scrutiny, c. 1150-c. 1400, has hitherto received only limited scholarly attention. It starts when the altarpiece was well established and ends with the great regional diversification of object types (such as the polyptych in Italy and the winged altarpiece in northern and central Europe). In turn, the altar decorations studied here are characterized by a relative uniformity stretching across media and regions, which enables comparisons to be made. The objects studied can be found in such diverse locations as Iceland, Sweden, Denmark, Germany, England, the Low Countries, central France, Catalonia, Mallorca, northern and central Italy, and Cyprus. This pan-European scope reveals connections that for many have always gone unnoticed, and contributes to a new perspective on European art that transcends modern national boundaries. The volume is illustrated with a wealth of plates and figures.
(with V.M. Schmidt, as ed.) The Altar and its Environment, 1150-1400, Turnhout: Brepols, 314 pp., 2009
The articles collected in this volume discuss the rise and spread of the altarpiece, or retable, ... more The articles collected in this volume discuss the rise and spread of the altarpiece, or retable, as the standard altar decoration across Europe during the thirteenth and fourteenth centuries. Historians of art and liturgy have addressed such issues as the relations with other types of altar furnishings, regional variants, and their architectural, liturgical and socio-political context. The papers grew out of a symposium held at the University of Groningen (The Netherlands) in June, 2006, in which fourteen scholars from eight different countries participated. The period under scrutiny, c. 1150-c. 1400, has hitherto received only limited scholarly attention. It starts when the altarpiece was well established and ends with the great regional diversification of object types (such as the polyptych in Italy and the winged altarpiece in northern and central Europe). In turn, the altar decorations studied here are characterized by a relative uniformity stretching across media and regions, which enables comparisons to be made. The objects studied can be found in such diverse locations as Iceland, Sweden, Denmark, Germany, England, the Low Countries, central France, Catalonia, Mallorca, northern and central Italy, and Cyprus. This pan-European scope reveals connections that for many have always gone unnoticed, and contributes to a new perspective on European art that transcends modern national boundaries. The volume is illustrated with a wealth of plates and figures.
Review of:
Daantje Meuwissen, Jacob Cornelisz van Oostsanen (ca. 1457-1533). De Renaissance in Am... more Review of: Daantje Meuwissen, Jacob Cornelisz van Oostsanen (ca. 1457-1533). De Renaissance in Amsterdam en Alkmaar (Zwolle: Waanders, 2014) and: Het vroegste Amsterdamse schetsboek: een zestiende-eeuws zakboekje uit het atelier van Jacob Cornelisz van Oostsanen (Berlijn, Kupferstichkabinett, 79 C 2a) (Oostzaan: Stichting Jacob Cornelisz. van Oostsanen, 2014)
Review of: Matteo da Gualdo. Rinascimento eccentrico tra Umbria e Marche. Edited by Eleonora Bair... more Review of: Matteo da Gualdo. Rinascimento eccentrico tra Umbria e Marche. Edited by Eleonora Bairati and Patrizia Dragoni. (Exh. cat. Gualdo Tadino, Museo Civico Rocca Flea, 2004), Perugia: Electa Editori Umbri Associati, 2004
Portraits of monk and tea-seller Baisaō (1675–1763) by Itō Jakuchū, Ike no Taiga, and Sakaki Hyak... more Portraits of monk and tea-seller Baisaō (1675–1763) by Itō Jakuchū, Ike no Taiga, and Sakaki Hyakusen.
Discusses the sources of three woodblock prints by, or attributed to, Utagawa Toyoharu (1735-1814... more Discusses the sources of three woodblock prints by, or attributed to, Utagawa Toyoharu (1735-1814), representing 'pseudo-Dutch' views.
An occasional piece ('zuihitsu') prompted by the exhibition Capolavori della scultura buddhista g... more An occasional piece ('zuihitsu') prompted by the exhibition Capolavori della scultura buddhista giapponese, Scuderie del Quirinale, Rome, 2016.
Two Neapolitan panel paintings from c. 1340 in the Staatsgalerie of Stuttgart give a very full ac... more Two Neapolitan panel paintings from c. 1340 in the Staatsgalerie of Stuttgart give a very full account of the Apocalypse. The two paintings, of high quality, raise a number of issues, some of which will be discussed in this paper: their attribution, their iconography and its relation to contemporary Neapolitan Apocalypse cycles in manuscript illumination and mural painting, and, finally, their function.
Uploads
as well as that of his brother Vittore
an attribute, and may also represent another saintly pope such as Gregory the Great. The saints in the second and third rows to the left of Christ are Stephen, Dominic, and a mitred monk identified in a previous contribution to this journal as Basil the Great. The presence of the latter among the heavenly host has an interesting parallel in a passage in the Chronicon of St Antoninus, in which he explains that the founders of the religious orders such as Basil, Augustine, Benedict, Dominic, and Francis (all of whom, with the exception of Augustine, are depicted in the panel) are surely present in the seraphic order of the heavens.
There is some technical and documentary evidence to suggest that the three panels of the Corsini Triptych did belong together originally. However, the two wings, representing the Ascension and the Descent of the Holy Spirit, present some slight anomalies: the number of apostles is reduced, and the figural types of Sts. Peter, Andrew, and John do not correspond to those in the central panel. Although these inconsistencies remain difficult to explain, they do not constitute decisive arguments for the hypothesis that the triptych in its current form is an assemblage of two different works. The combination
of the three subjects is unique for a triptych, but not anomalous: the Ascension and the subsequent Descent of the Holy Spirit signal the beginning of the Church, the Last Judgement its fulfilment.
In the final part the issue of cryptoportraits is addressed. It has been proposed that St Sixtus and the similar pope in the Corsini Triptych are in fact portraits of Eugene IV, the pope who had created Torquemada cardinal-priest of San Sisto, the implication being that the cardinal also ordered the Corsini Triptych from Fra Angelico. The similarities with the documented portraits of the pope are minimal, however. It is still quite possible that the cardinal commissioned the triptych, but this cannot be demonstrated on the basis of iconography.
Gerardo de Simone, Emanuele Pellegrini
Provaci ancora Museum!
MONOGRAFIA – Nuovi studi sul disegno ottocentesco
Valentina Frascarolo
Sul disegno ottocentesco. Una introduzione
Egle Radogna
L’espressione grafica in Luigi Ademollo. Idee e progetti su carta per la committenza toscana
Valentina Frascarolo
Giuseppe Bezzuoli disegnatore: pensieri, studi e modelli
Raquel Gallego García
Los dibujos de vistas romanas de Valentin Carderera (1822-1831): el álbum D-6412 del Museo Nacional del Prado
Sara Rulli
L’architettura genovese nei disegni degli architetti tedeschi del XIX secolo
Fausto Minervini
Un focus sulla circolazione di documentazione archeologica pompeiana nel secondo Ottocento: il caso Gigante – Pagliano, tra disegno e fotografia
Andrea Leonardi
«Studiosi», «dotti», «amatori» e «financo curiosi» (G. Jatta, 1869). Il disegno nella Puglia storica dell’Ottocento tra «oggetti e monumenti storici o di arte»
Margherita Priarone
Tullio Salvatore Quinzio (1858-1918): disegni per la grande decorazione a Genova tra tradizione e rinnovamento
MISCELLANEA
FIGURE
Victor M. Schmidt
L’affresco di Fra Angelico nella sala capitolare del convento di San Marco a Firenze: alcune precisazioni iconografiche
Roberta Delmoro
Un Bergognone dimenticato. Gli affreschi dal coro delle monache del monastero di Sant’Erasmo di Milano
Roberto Contini
Gentileschi patrigno e figliastra
CORNICE
Chiara Savettieri
Dezailler d’Argenville et les sources italiennes de l’Abrégé de la vie des plus fameux peintres
CUSPIDE
Elisa Bassetto
L’idea di libertà tra idealismo e liberalismo. Il carteggio Antoni-Ragghianti (1942-1959)
IN LIBRERIA
Francesca Baldassari
Per i cassoni rinascimentali veronesi
Laura Bartoni
I Ruspoli a Roma tra Barocco e Neoclassico
Emanuele Pellegrini
I “luigicrespi”: handle with care!
The identification of the figure to the far left in the band surrounding the Crucifixion as St Dionysius is confirmed by the text on his scroll, “Deus nature patitur”: the source is a lectio for the feast of St Dionysius and his companions Rusticus and Eleutherius (9 October) in the Roman Breviary.
Next it is argued that the secular bishop to the right of St Dominic in the main fresco is St Augustine. The mitred monk next to him has a brown habit with a dark cowl, which has recently been identified as an article of clothing worn by high-ranking orthodox ecclesiastics. In fact, the figure of St John Chrysostom depicted by Fra Angelico in the Cappella Nicolina in the Vatican, wears a similar cowl. However, in the context of monastic saints in the convent of San Marco, the mitred monk must be another orthodox ecclesiastic, i.e., St Basil the Great. As is borne out by, among other things, a similar programme in the church of San Francesco in Pisa and the Chronicon of St Antoninus, the two saints, together with St Benedict (represented to the mitred monk’s right), were considered key figures in the development of monasticism: all three were authors of monastic rules. That is the reason why Fra Angelico gave them such a prominent place among the other representatives of monasticism to the right of the Crucifixion.
A critical summary of the chapters and the catalogue raisonné is followed by general considerations of the book’s subtitle (‘court painter, master of the natural’). It is doubtful whether Guariento truly was a court artist: according to the documents he was never called ‘familiaris’ of the Paduan court of the Da Carrara, and he never received a regular stipend. It can also be questioned whether ‘naturalism’ is the main characteristic of the painter’s work. Guariento is rather the representative of an exuberant high Gothic style.
as well as that of his brother Vittore
an attribute, and may also represent another saintly pope such as Gregory the Great. The saints in the second and third rows to the left of Christ are Stephen, Dominic, and a mitred monk identified in a previous contribution to this journal as Basil the Great. The presence of the latter among the heavenly host has an interesting parallel in a passage in the Chronicon of St Antoninus, in which he explains that the founders of the religious orders such as Basil, Augustine, Benedict, Dominic, and Francis (all of whom, with the exception of Augustine, are depicted in the panel) are surely present in the seraphic order of the heavens.
There is some technical and documentary evidence to suggest that the three panels of the Corsini Triptych did belong together originally. However, the two wings, representing the Ascension and the Descent of the Holy Spirit, present some slight anomalies: the number of apostles is reduced, and the figural types of Sts. Peter, Andrew, and John do not correspond to those in the central panel. Although these inconsistencies remain difficult to explain, they do not constitute decisive arguments for the hypothesis that the triptych in its current form is an assemblage of two different works. The combination
of the three subjects is unique for a triptych, but not anomalous: the Ascension and the subsequent Descent of the Holy Spirit signal the beginning of the Church, the Last Judgement its fulfilment.
In the final part the issue of cryptoportraits is addressed. It has been proposed that St Sixtus and the similar pope in the Corsini Triptych are in fact portraits of Eugene IV, the pope who had created Torquemada cardinal-priest of San Sisto, the implication being that the cardinal also ordered the Corsini Triptych from Fra Angelico. The similarities with the documented portraits of the pope are minimal, however. It is still quite possible that the cardinal commissioned the triptych, but this cannot be demonstrated on the basis of iconography.
Gerardo de Simone, Emanuele Pellegrini
Provaci ancora Museum!
MONOGRAFIA – Nuovi studi sul disegno ottocentesco
Valentina Frascarolo
Sul disegno ottocentesco. Una introduzione
Egle Radogna
L’espressione grafica in Luigi Ademollo. Idee e progetti su carta per la committenza toscana
Valentina Frascarolo
Giuseppe Bezzuoli disegnatore: pensieri, studi e modelli
Raquel Gallego García
Los dibujos de vistas romanas de Valentin Carderera (1822-1831): el álbum D-6412 del Museo Nacional del Prado
Sara Rulli
L’architettura genovese nei disegni degli architetti tedeschi del XIX secolo
Fausto Minervini
Un focus sulla circolazione di documentazione archeologica pompeiana nel secondo Ottocento: il caso Gigante – Pagliano, tra disegno e fotografia
Andrea Leonardi
«Studiosi», «dotti», «amatori» e «financo curiosi» (G. Jatta, 1869). Il disegno nella Puglia storica dell’Ottocento tra «oggetti e monumenti storici o di arte»
Margherita Priarone
Tullio Salvatore Quinzio (1858-1918): disegni per la grande decorazione a Genova tra tradizione e rinnovamento
MISCELLANEA
FIGURE
Victor M. Schmidt
L’affresco di Fra Angelico nella sala capitolare del convento di San Marco a Firenze: alcune precisazioni iconografiche
Roberta Delmoro
Un Bergognone dimenticato. Gli affreschi dal coro delle monache del monastero di Sant’Erasmo di Milano
Roberto Contini
Gentileschi patrigno e figliastra
CORNICE
Chiara Savettieri
Dezailler d’Argenville et les sources italiennes de l’Abrégé de la vie des plus fameux peintres
CUSPIDE
Elisa Bassetto
L’idea di libertà tra idealismo e liberalismo. Il carteggio Antoni-Ragghianti (1942-1959)
IN LIBRERIA
Francesca Baldassari
Per i cassoni rinascimentali veronesi
Laura Bartoni
I Ruspoli a Roma tra Barocco e Neoclassico
Emanuele Pellegrini
I “luigicrespi”: handle with care!
The identification of the figure to the far left in the band surrounding the Crucifixion as St Dionysius is confirmed by the text on his scroll, “Deus nature patitur”: the source is a lectio for the feast of St Dionysius and his companions Rusticus and Eleutherius (9 October) in the Roman Breviary.
Next it is argued that the secular bishop to the right of St Dominic in the main fresco is St Augustine. The mitred monk next to him has a brown habit with a dark cowl, which has recently been identified as an article of clothing worn by high-ranking orthodox ecclesiastics. In fact, the figure of St John Chrysostom depicted by Fra Angelico in the Cappella Nicolina in the Vatican, wears a similar cowl. However, in the context of monastic saints in the convent of San Marco, the mitred monk must be another orthodox ecclesiastic, i.e., St Basil the Great. As is borne out by, among other things, a similar programme in the church of San Francesco in Pisa and the Chronicon of St Antoninus, the two saints, together with St Benedict (represented to the mitred monk’s right), were considered key figures in the development of monasticism: all three were authors of monastic rules. That is the reason why Fra Angelico gave them such a prominent place among the other representatives of monasticism to the right of the Crucifixion.
A critical summary of the chapters and the catalogue raisonné is followed by general considerations of the book’s subtitle (‘court painter, master of the natural’). It is doubtful whether Guariento truly was a court artist: according to the documents he was never called ‘familiaris’ of the Paduan court of the Da Carrara, and he never received a regular stipend. It can also be questioned whether ‘naturalism’ is the main characteristic of the painter’s work. Guariento is rather the representative of an exuberant high Gothic style.
Devotions and crosses: some explorations
10 : 30 Dr Ingrid Falque (Université de Louvain)
Portraits dévotionnels, littérature spirituelle et dévotion personnelle dans la peinture des anciens Pays-Bas au XVe siècle
11 : 30 Dr. Laura Albiero (IRHT)
La liturgie dans les livres d'heures
14 : 00 Leatitia Sauthier (Université de Fribourg)
Les pratiques dévotionnelles privées à l’hôpital Notre-Dame de Fribourg au
travers de chartes et de sources comptables.
Nathalie Roman (Université de Lausanne)
Comment interpréter la création d’un cycle iconographique développé des Heures du Saint-Esprit dans les livres d’heures?
Melissa Nieto (Université de Lausanne)
Lire, prier, visualiser: La prière au Christ crucifié d’un psautier du XIIIe siècle dans le Haut-Rhin
Daantje Meuwissen, Jacob Cornelisz van Oostsanen (ca. 1457-1533). De Renaissance in Amsterdam en Alkmaar (Zwolle: Waanders, 2014) and: Het vroegste Amsterdamse schetsboek: een zestiende-eeuws zakboekje uit het atelier van Jacob Cornelisz van Oostsanen (Berlijn, Kupferstichkabinett, 79 C 2a) (Oostzaan: Stichting Jacob Cornelisz. van Oostsanen, 2014)