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2000, Festschrift für Konrad Oberhuber
The Mattei family chapel in the church of the Aracoeli in Rome was commissioned by Alessandro Mattei in 1564. Its pictorial decoration, painted by Girolamo Muziano in the 1580s at the behest of Ciriaco Mattei, is considered a source of inspiration for Caravaggio. The article assesses the chapel's early history in light of unpublished drawings and new documentary evidence, postulating the involvement of Cesare Nebbia.
With this special issue we begin publication of the writings that Prof. Sergio Rossi (formerly of La Sapienza University of Rome) has dedicated to of issues and assessment relating to the figure and work of Caravaggio. These are not the impromptu judgments that too many pseudo experts-invariably amateurs-feel qualified to give, taking advantage of the great following of the Lombard genius. Instead, our study is based on the reflections of a well-known scholar, former university assistant of Giulio Carlo Argan and later lecturer and collaborator at the Faculty of Letters of Maurizio Calvesi, elaborated in the light of his studies and research. His findings today lead us to reconsider-as readers can verify-numerous opinions on Merisi and overturn many clichés often taken as authentic. We have divided the first of these works into two very substantial parts, today publishing the text related to the Mattei commissions, publishing exclusively the reflectography analysis on the Taking of Christ and on St. Francis in Prayer, known as ex Cecconi. The article will continue in next Sunday's issue. Other very important news will follow. * NB. The images relating to the Presa di Cristo ex Sannini (now coll. Mario Bigetti) are those of the cleaning phase, and do not therefore sufficiently reflect their real state. Again on Caravaggio and the Mattei: addenda, checks and conformity. Caravaggio's relationship with the Mattei family can be considered one of the most significant ties of all early seventeenth century Roman patronage. The book by Francesca Cappelletti and Laura Testa, Il Trattenimento dei virtuosi (The Detention of the Virtuous), [1] made a very important contribution to our understanding of this topic. But now, twenty-seven years after its release, there is need of some revision of the volume, presented as follows in the "Introduction" by Maurizio Calvesi:
MITTEILUNGEN DES KUNSTHISTORISCHEN INSTITUTES IN FLORENZ, LXI. 2
A New Cycle by Giotto for the Scrovegni: The Chapel of Saint Catherine in the Basilica of Sant'Antonio in Padua2019 •
This contribution investigates the fresco decoration carried out by Giotto in the chapel of Saint Catherine in the basilica of Sant’Antonio in Padua, today almost entirely lost as a result of the restoration of the chapel in the 1920s and its redecoration by Pietro Annigoni in the 1980s. Through the analysis of archival photographs and of the present-day mural surfaces, the author has been able to identify numerous surviving original areas that have hitherto been overlooked. As the result of this investigation, the article proposes a graphic reconstruction of the original, mostly aniconic decoration. Its most striking feature is the complex illusionistic architecture painted on the side walls. Lastly, thanks to the discovery of a coat of arms on the entrance arch to the chapel, it is possible to securely relate this cycle to the patronage of the famous Scrovegni family, almost certainly of Enrico himself at a time immediately prior to the Arena cycle.
Proceedings of the First International Congress on Construction History Madrid 20th 24th January 2003 Vol 2 2003 Isbn 84 9728 072 5 Pags 1215 1223
The plans and the work-site of Sant'Antonino's chapel in St. Mark's in Florence: the work of Giambologna in a manuscript in the Salviati archives2003 •
Mitteilungen des Kunsthistorischen Institutes in Florenz, 25, 3 (1981), pp. 355-372
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Revivals, Survivals, Rinascenze. Studi di amici, allievi, colleghi in onore di Serena Romano
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Please note that this is a proof edition of the chapter, with temporary page numbering.
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