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La fiamma è spenta o è accesa? Simboli "inquietanti" nella cappella Ferrari in Santa Maria in Aquiro a Roma dipinta da Carlo Saraceni
No full textThe author discusses the iconography of
the funerary chapel of Orazio Ferrari in the
church of Santa Maria in Aquiro in Rome,
dedicated to the Virgin Annunciate and
decorated by the painter Carlo Saraceni and
other artists and craftsmen between 1613
and 1617. A native of Tortona in Lombardy
(now Piedmont), Ferrari (1548-1639) was a
lawyer active in the circle of the Barberini
family throughout his life. In the light of his
devotions and spiritual and literary interests,
including emblems and devices, as they can
be ascertained from his will and inventory of
books and paintings as well as the inscriptions
present in the chapel, an iconological
interpretation is then proposed of some
details in the two main sidewall stories,
representing the Presentation of Mary in the
Temple and Her Birth respectively; namely,
the hut behind St Anne in the former and the
couple of objects laid on the chair in the right
foreground in the latter. These objects – that
is, a candle and a mirror – are analysed as
a three-level combined symbol of the Immaculate
Conception, of Vanity in general
and of a personal, eschatological projection
of the patron himself, to be intended as a
reminder of the future life promised to the
faithful
La perdida ‘Fábula de Baco’ de José de Ribera para Felipe IV: observaciones sobre su iconografía, los fragmentos y la versión Laserna
No full textIn this article, the author summarises the history of the Fable of Bacchus which Jusepe de Ribera painted in Naples around 1635, under commission of the Count of Monterrey, for the court of Philip IV. After the destruction of the canvas in the fire of the Alcázar of Madrid in 1734, four and then three fragments remained, the history of which is also traced up to the present day. Their comparison and the examination of a version of the painting, now in the Laserna Jaramillo collection, offers an opportunity to discuss the iconographic interpretations that the work has received over the centuries, particularly in relation to a well-known Hellenistic relief depicting a Theoxenia of Dionysus that served as a model for Ribera. It can be concluded that the artist used it in a completely autonomous manner with respect to its authentic and for him incomprehensible meaning, introducing a veiled admonition about the uncertainty of political fortune to the Count of Monterrey, whose portrait is recognisable as one of the severed heads in the foreground. Finally, a direct observation of the Laserna version, the only one that has come down to us of the original composition, allows us to reconsider the possibility that we are looking not at a copy made in Spain, but at a replica made in Naples in the artist's own workshop
Giulio Romano, Giovan Francesco Penni e la cappella di santa Maria Maddalena nella SS. Trinità dei Monti: nuove osservazioni sulla decorazione e la sua committente
No full textIn this article three drawings are discussed in connexion with the lost decoration of the vault and lunettes of the chapel of St Mary Magdalene in the church of the SS. Trinità dei Monti in Rome. The decoration was carried out by Giulio Romano and Giovan Francesco Penni around 1520-1522 for a courtesan, possibly a Lucrezia Scanatoria mentioned in two archival sources, and is presently known only through the descriptions in Vasari’s Lives and Mariette’s later manuscript notes. With the help of these drawings, the author intends to reconstruct more precisely the original aspect of the vault, as well as to demonstrate that the surviving fresco representing Mary Magdalene borne by Angels, now in the National Gallery in London, was not part of the vault but decorated the lunette to the right, and that the Evangelists painted on the vault did not correspond to Agostino Veneziano’s engravings of 1518. Furthermore, the two Angels holding torches formerly in the lunette above the altar, which were detached with other surviving frescoes in 1810 and entered the collection of Luciano Bonaparte, can be traced up to 1897, when they disappeared after an auction sale in Paris. Hopefully, an etching of 1812 might help to find them. Finally, a promising investigation regarding the actual identity of the patron had to be postponed to 2021, due to the closure of the Archivio di Stato of Rome
Giovan Battista Fidanza: Andrea Sacchi and Cardinal Del Monte: The Rediscovered Frescoes in the Palazzo di Ripetta in Rome, Londres, Ad Ilissvm, 2022, xii + 132 pp.
No full textUn "Baco y Ariadna" de Michele Desubleo en Barcelona
No full textThe author presents a Bacchus and Ariadne by the Flemish Michele Desubleo (1602-1676), in a private collection in Barcelona, his first and, at present, only known work in Spain. The painting, datable to c. 1670 during the artist’s last phase of activity in Parma for its subdued palette and hardened draperies, is a perfect example of his expressive world, characterised by a theatrical and operatic dramatism, in connexion with the strong interest for this musical form in the court of duke Ranuccio II Farnese. We do not know if the painter ever had the opportunity of assisting to a representation of Monteverdi’s Arianna; anyhow, the moment represented in the painting finds an exact correspondence in the verses of Ottavio Rinuccini’s libretto for that opera.
Keywords: Bacchus and Ariadne; Desubleo; Reni; Lanfranco; Monteverdi; Sala i Ardiz
Doni dall'Italia per il segretario Mateo Vázquez de Leca: Marcantonio Colonna e Ferdinando de' Medici fanno a gara
No full textArte contemporanea e già perduta. Il murale di Stefano Di Stasio nel Teatro Trianon di Roma
No full textGiulio Romano, Giovan Francesco Penni e la cappella di Santa Maria Maddalena nella SS. Trinità dei Monti: nuove osservazioni sulla decorazione e la sua committente. Epilogo
No full textOver sixty years ago, Pio Pecchiai suggested that the patron of the chapel
of Saint Mary Magdalene in the SS. Trinità dei Monti in Rome might be the courtesan
Lucrezia Scanatoria, who had died shortly before 14 February 1522 when a house was purchased
with a sum of money she had bequeathed to the friars of the SS. Trinità. After identifying
Giovanni Giacomo Bucca as the notary who signed the act, the author carried out
a short search for the original document in the State Archives of Rome in the hope of finding
more information on the courtesan. Unfortunately, no paper regarding Lucrezia and
her bequest was found in Bucca’s volume of notarial acts for the year 1522, which includes
only a series of hardly readable drafts collected in chronological order
L’iconografia del cardinale Marco Sittico Altemps. Da ignoto lombardo a Cati, da De Magistris a Leoni, da Pulzone a Bays. Con l’inventario Altemps del 1618-19
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