1,721,074 research outputs found
Una lauda dipinta : gli affreschi di Buffalmacco nel Camposanto di Pisa e la devozione dei disciplinati
No full textThis contribution offers a new hypothesis for the genesis and function of Buon-
amico Buffalmacco’s famous fresco cycle in the southern gallery of the Campo-
santo di Pisa. It begins by reconsidering the commission of the sepulchral monu-
ment to hermit and frater penitentie Giovanni Cini (1270 –1335), which can be
attributed ab initio to a flagellant confraternity. It then argues that Buffalmacco’s
frescoes – which are spatially and semantically close to Cini’s tomb – should be
read in correspondence with the devotional practices and funerary paraliturgy of
the Pisan Companies of the Disciplined, who frequented the monumental ceme-
tery from as early as 1343. It seems likely that the cycle would have served as an
iconographic reference for the texts that were performed in the ceremonial con-
text of a burial: the so-called laudes pro defunctis. The central themes in these
texts – the destructive and equalizing power of death, the threat of eternal con-
demnation for sinners and the consequent call to penance – overlap significantly
with the key subjects dealt with in the first two panels of Buffalmacco’s ‘triptych’
mural. Even the Thebaid can likewise be inserted coherently into a devotional
path of a disciplinati sort: spurred on by the pastoral work of the mendicant or-
ders, the lay brothers held the desert fathers as exemplars, and gave them and
their experiences of corporal mortification and escape from worldly life cultic
centrality
Santa Cristina ritrovata : Considerazioni preliminari sull’antica cappella del cimitero dell’Ospedale senese di Santa Maria della Scala
Full text linkAttraverso una disamina delle fonti documentarie e delle evidenze architettoniche, questo studio si propone di identificare l’ubicazione dell’antica cappella del cimitero di Santa Maria della Scala a Siena, decorata nel 1341 da Ambrogio Lorenzetti e associata al culto della martire Cristina a seguito della donazione all’Ospedale delle reliquie di Costantinopoli nel 1359. In particolare, si ipotizza che il sacello coincida in parte con un ambiente integrato nella sede della compagnia di Santa Caterina della Notte, in corrispondenza della zona dell’Ospedale che va sotto la denominazione di “magazzini della corticella”, visibile oggi in un allestimento tardo-ottocentesco
Lippo Vanni à Avignon
No full textStarting from the reconsideration of the attribution of a Crucifixion in the Museo Amedeo Lia in La Spezia, here referred to Lippo Vanni, this article proposes that the painter may have resided in Avignon during the last years of the pontificate of, Clement VI. The artists presence in the papal city around the year 1350 would justify his closeness to the entourage of the late Simone Martini, that is clearly reflected in the panel in La Spezia and in all the works from the artist's late period. Thus, it is possible to place in the context of Avignon the origin of a work with a complex iconography, the Saint Peter as Pope in the Courtauld Gallery in London, that is probably the result of a pontifical commission. Also, a little-known miniature from the Liber Sextos - originally from Toulouse and now in the Musée Episcopal in Vic - seems to irrefutably prove that Vanni was in the southern France at the time of his stylistic metamorphosis
Il Vecchietta, Francesco di Giorgio, Benvenuto di Giovanni e la pala dell'oratorio "di sopra" della confraternita di Santa Maria degli Angeli e San Francesco a Siena
No full textThe present article proposes a new theory regarding the provenance of the dismembered altarpiece comprising the 'Franciscan' predella painted around 1460-1461 by Vecchietta, Francesco di Giorgio and Benvenuto di Giovanni. In particular, it is suggested that the altarpiece was originally intended to decorate the altar of the 'upper' oratory of the confraternity of Santa Maria degli Angeli e San Francesco in Siena, later dedicated to Saint Bernardino. The creation of the predella can be dated to a crucial time in the history of the confraternity, during which – thanks to the intervention of illustrious members of the Piccolomini family and the stimulus provided by the presence of Pope Pius II in Siena – the building of the confraternity's hospital and, above all, the raising of its chapel (which took on the two-storey structure characterizing it to this day) were finally completed. These developments formed the backdrop for the gradual consolidation of the cult of Saint Bernardino within the brotherhood: this new devotion, in fact, might explain why the members felt the need to order a new altarpiece bearing a representation of the observant friar
Stefano di Giovanni detto il Sassetta, Crocifissione (pagina miniata nel Messale romano)
No full textSano di Pietro, Assunzione della Vergine con San Tommaso che raccoglie la cintola e i Santi Giovanni Battista, Bartolomeo, Nicola, Pietro, Luca e Girolamo
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