Andrea Dari - Academia.edu (original) (raw)
Papers by Andrea Dari
B O L L E T T I N O D’A RT E, 2022
The Church and Convent of Sant’Andrea in Vineis in Faenza: Two previously unpublished 18th–Centur... more The Church and Convent of Sant’Andrea in Vineis in Faenza:
Two previously unpublished 18th–Century plans and reflections on the Work of Domenico Paganelli
The recent discovery of two 18th–century plans associated with the Sant’Andrea in Vineis complex in Faenza, known today as San Domenico, served as a catalyst for exploring the remarkable life of Father Domenico
Paganelli (1545–1624). Paganelli was an architect, scientist, and scholar, working actively in Rome and the Pontifical legations, particularly during the pontificates of Clement VIII and Leo XII. This paper delves into
Paganelli’s contributions to the Faenza convent, including the cloister of the dead, the dormitory, and the apothecary. His architectural work on the church is also examined, such as the choir, the portico attached to
the façade, the presbytery, the high altar, and noteworthy chapels like the opulent one dedicated to Our Lady of the Rosary, regrettably lost. Looking into unpublished sources, the study sheds new light on Paganelli’s
multifaceted character, examining inventories that describe his living quarters, his collections of rare objects, and his library. The research also reveals the names of a group of artists associated with Paganelli’s circle,
active in Faenza during the early 17th century. The investigation also includes the Church of Sant’Andrea. Detailed descriptions of its decorative elements, documented in archival records, have come to light. Unfortunately, these ornamentations were lost during Francesco Tadolini of Bologna’s extensive transformations in the latter half of the 18th century
italianoIl ritrovamento del contratto di appalto, con cui il cardinale Carlo Rossetti (Ferrara 16... more italianoIl ritrovamento del contratto di appalto, con cui il cardinale Carlo Rossetti (Ferrara 1614 – Faenza 1681) affida allo scalpellino Giovanni Battista Cavalieri l’erezione del nuovo altare maggiore della Cattedrale di Faenza (1681), offre la possibilita di analizzare, a partire da fonti archivistiche, un’opera dimenticata, progettata da Carlo Fontana per le legazioni romagnole. Si tratta di un’opera da secoli fortemente alterata dopo il ricollocamento nel braccio sinistro del transetto della stessa chiesa (1699) e le successive modifiche causate dalle integrazioni occorse in seguito alla sua fusione con l’altare della Madonna delle Grazie proveniente dalla chiesa faentina di San Domenico (1763). Anche attraverso un puntuale confronto con opere e disegni di Fontana, si e formulata un’ipotesi di ricomposizione dell’altare, affrontando il tema sul piano stilistico, semantico e grafico, e ripercorrendo le fasi costruttive e le intricate vicende successive, fino agli ultimi interve...
From Giovanni Battista Torri to Pietro Tomba: the «noble design» of Palazzo Mazzolani in Faenza ... more From Giovanni Battista Torri to Pietro Tomba:
the «noble design» of Palazzo Mazzolani in Faenza
The Faentine palace of the Mazzolani counts, an old Romagnol family resident in Faenza since the sixteenth century, is an extraordinary instance of building construction in the late seventeenth–century Romagna region. The discovery of numerous related documents in the Archivio di Stato di Ravenna has enabled the reconstruction of its architectural history as well as our gaining awareness, through the numerous unpublished project drawings (ground plans and preparatory studies of the architectural, painted and sculpted decoration) of the cultural value of this exemplar of provincial “Roman” architecture. It has thus been possible to assign the building design to the Bolognese architect Giovanni Battista Torri (1637–1706) and his studio (Carlo Perti), and its execution to a Ticino workforce (Morelli, Trifogli and others). An interpretation of the derivation of the design from models (palaces) in the capital is proposed not only with style comparisons — especially though not exclusively the classicizing works of Orazio Torriani and Domenico Paganelli — but also though the Mazzolani’s familial relations with important clans present in Rome (Spada and Ginnasi). Outstanding among the decorative works in the palace are those of the Bolognese stuccoers Giuseppe Maria Tinti and Antonio Martinetti from the Ticino, the Friuli stonemason Girolamo Bertos and the many painters, including Ercole Gaetano Bertuzzi. Briefly treated is the Mazzolani’s rich collection of works of art (now dispersed), while documentation is also presented both for the neoclassical–style decoration executed according to Pietro Tomba’s designs and for paintings by Tommaso Minardi.
2015 104 rivista quadrimestrale di cultura maggio-agosto 2015 Romagna arte e storia / Rivista qua... more 2015 104 rivista quadrimestrale di cultura maggio-agosto 2015 Romagna arte e storia / Rivista quadrimestrale di cultura Anno XXXV / numero 104 / maggio-agosto 2015
B O L L E T T I N O D’A RT E, 2022
The Church and Convent of Sant’Andrea in Vineis in Faenza: Two previously unpublished 18th–Centur... more The Church and Convent of Sant’Andrea in Vineis in Faenza:
Two previously unpublished 18th–Century plans and reflections on the Work of Domenico Paganelli
The recent discovery of two 18th–century plans associated with the Sant’Andrea in Vineis complex in Faenza, known today as San Domenico, served as a catalyst for exploring the remarkable life of Father Domenico
Paganelli (1545–1624). Paganelli was an architect, scientist, and scholar, working actively in Rome and the Pontifical legations, particularly during the pontificates of Clement VIII and Leo XII. This paper delves into
Paganelli’s contributions to the Faenza convent, including the cloister of the dead, the dormitory, and the apothecary. His architectural work on the church is also examined, such as the choir, the portico attached to
the façade, the presbytery, the high altar, and noteworthy chapels like the opulent one dedicated to Our Lady of the Rosary, regrettably lost. Looking into unpublished sources, the study sheds new light on Paganelli’s
multifaceted character, examining inventories that describe his living quarters, his collections of rare objects, and his library. The research also reveals the names of a group of artists associated with Paganelli’s circle,
active in Faenza during the early 17th century. The investigation also includes the Church of Sant’Andrea. Detailed descriptions of its decorative elements, documented in archival records, have come to light. Unfortunately, these ornamentations were lost during Francesco Tadolini of Bologna’s extensive transformations in the latter half of the 18th century
italianoIl ritrovamento del contratto di appalto, con cui il cardinale Carlo Rossetti (Ferrara 16... more italianoIl ritrovamento del contratto di appalto, con cui il cardinale Carlo Rossetti (Ferrara 1614 – Faenza 1681) affida allo scalpellino Giovanni Battista Cavalieri l’erezione del nuovo altare maggiore della Cattedrale di Faenza (1681), offre la possibilita di analizzare, a partire da fonti archivistiche, un’opera dimenticata, progettata da Carlo Fontana per le legazioni romagnole. Si tratta di un’opera da secoli fortemente alterata dopo il ricollocamento nel braccio sinistro del transetto della stessa chiesa (1699) e le successive modifiche causate dalle integrazioni occorse in seguito alla sua fusione con l’altare della Madonna delle Grazie proveniente dalla chiesa faentina di San Domenico (1763). Anche attraverso un puntuale confronto con opere e disegni di Fontana, si e formulata un’ipotesi di ricomposizione dell’altare, affrontando il tema sul piano stilistico, semantico e grafico, e ripercorrendo le fasi costruttive e le intricate vicende successive, fino agli ultimi interve...
From Giovanni Battista Torri to Pietro Tomba: the «noble design» of Palazzo Mazzolani in Faenza ... more From Giovanni Battista Torri to Pietro Tomba:
the «noble design» of Palazzo Mazzolani in Faenza
The Faentine palace of the Mazzolani counts, an old Romagnol family resident in Faenza since the sixteenth century, is an extraordinary instance of building construction in the late seventeenth–century Romagna region. The discovery of numerous related documents in the Archivio di Stato di Ravenna has enabled the reconstruction of its architectural history as well as our gaining awareness, through the numerous unpublished project drawings (ground plans and preparatory studies of the architectural, painted and sculpted decoration) of the cultural value of this exemplar of provincial “Roman” architecture. It has thus been possible to assign the building design to the Bolognese architect Giovanni Battista Torri (1637–1706) and his studio (Carlo Perti), and its execution to a Ticino workforce (Morelli, Trifogli and others). An interpretation of the derivation of the design from models (palaces) in the capital is proposed not only with style comparisons — especially though not exclusively the classicizing works of Orazio Torriani and Domenico Paganelli — but also though the Mazzolani’s familial relations with important clans present in Rome (Spada and Ginnasi). Outstanding among the decorative works in the palace are those of the Bolognese stuccoers Giuseppe Maria Tinti and Antonio Martinetti from the Ticino, the Friuli stonemason Girolamo Bertos and the many painters, including Ercole Gaetano Bertuzzi. Briefly treated is the Mazzolani’s rich collection of works of art (now dispersed), while documentation is also presented both for the neoclassical–style decoration executed according to Pietro Tomba’s designs and for paintings by Tommaso Minardi.
2015 104 rivista quadrimestrale di cultura maggio-agosto 2015 Romagna arte e storia / Rivista qua... more 2015 104 rivista quadrimestrale di cultura maggio-agosto 2015 Romagna arte e storia / Rivista quadrimestrale di cultura Anno XXXV / numero 104 / maggio-agosto 2015