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Papers by Maria Falcone
Prospettiva-rivista Di Storia Dell Arte Antica E Moderna, 2010
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of modern criticism that has made his own, to identify the artistic personality of the ‘Master of the Observance’, created by Alberto Graziani in 1948 as a result of an intuition of Roberto Longhi (1940), in the prolific and long-lived Sienese painter Sano di Pietro, ending the debate started about sixty years ago. The paper archive is linked to the recent reconstruction of the commission of the major and emblematic work which by all, without exception, is recognized to the ‘Master of the Observance’: the ‘Nativity of the Virgin’ kept at Palazzo Corboli but intended to the parish Church of St. Agatha of Asciano. From a legal case that began October 18, 1439, we know that the priest Matteo di Giovanni had built there, about two years before, a chapel a pastoral visit in 1468 allows us to identify with one dedicated to the Nativity of the Virgin, at that time not yet equipped, as it should have ...
Prospettiva Rivista Di Storia Dell Arte Antica E Moderna, 2010
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of modern criticism that has made his own, to identify the artistic personality of the ‘Master of the Observance’, created by Alberto Graziani in 1948 as a result of an intuition of Roberto Longhi (1940), in the prolific and long-lived Sienese painter Sano di Pietro, ending the debate started about sixty years ago. The paper archive is linked to the recent reconstruction of the commission of the major and emblematic work which by all, without exception, is recognized to the ‘Master of the Observance’: the ‘Nativity of the Virgin’ kept at Palazzo Corboli but intended to the parish Church of St. Agatha of Asciano. From a legal case that began October 18, 1439, we know that the priest Matteo di Giovanni had built there, about two years before, a chapel a pastoral visit in 1468 allows us to identify with one dedicated to the Nativity of the Virgin, at that time not yet equipped, as it should have been, based on the commitment made by the same priest. The chronological gap of 1437-1439, in which the execution of the painting would fall, may be further restricted for a year, only from March 20, 1438, Matteo di Giovanni makes his official entrance as a parish priest (SSA, Consistory 1650, c. 30v, the date March 20, 1438). The new documentary evidence – a letter from the Consistory of Siena, whose content is summarized in the register of letter-books in the second half of 1439 on 26 December (ASS, Consistory 1653, the date December 26, 1439) –adds the missing piece to the story. The letter requires that the Bishop of Arezzo, in whose diocese was part of Asciano, orders Matteo di Giovanni to pay the painter Sano di Pietro the remainder of the payment due for the board that he painted for the chapel built by the parish priest in the Asciano church.
SANTO VARNI: CONOSCITORE, ERUDITO E ARTISTA TRA GENOVA E L’EUROPA a cura di Laura Damiani Cabrini Grégoire Extermann Raffaella Fontanarossa, 2018
Quando venni gentilmente invitato a presiedere una delle sessioni del convegno su Santo Varni a C... more Quando venni gentilmente invitato a presiedere una delle sessioni del convegno su Santo Varni a Chiavari, mi posi subito il problema di non presentarmi a mani vuote, ma di portare con me qualcosa che potesse esprimere la mia riconoscenza per la graditissima manifestazione di stima. Riandai così alle mie ormai lontane vacanze estive in Liguria e mi sovvenni di un intrigante incontro che ebbi nell'agosto del 1992 nel chiostro della chiesa di San Giorgio a Moneglia. Si tratta di un singolare rilievo in marmo, da me presentato nel corso del successivo anno accademico a un seminario presso la Scuola Normale Superiore di Pisa ma mai reso noto, per quel che ne so, come pure merita. Recuperate le immagini apprestate per quel seminario, le misi in ordine e le presentai brevemente in capo al mio intervento quale presidente di sessione. Assisteva alla presentazione la dottoressa Maria Falcone del Museo Nazionale di San Matteo, esperta di scultura ligure, che mi comunicò il suo interesse per il pezzo da me portato a conoscenza. Decidemmo allora di scrivere per il volume scaturito da quel convegno un contributo a quattro mani che, grazie alla disponibilità degli organizzatori, si pubblica appunto in questa sede.
Predella journal of visual arts, n°37, 2015 - Miscellanea / Miscellany
Predella pubblica ogni anno due numeri online e due numeri monogra ci a stampa / Predella publish... more Predella pubblica ogni anno due numeri online e due numeri monogra ci a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review
Da Giotto a Gentile. Pittura e scultura a Fabriano fra Due e Trecento Comune di Fabriano Enti promotori Sponsor tecnici Fabriano, 26 luglio-30 settembre 2014 Sede espositiva Fabriano, Pinacoteca Civica “Bruno Molajoli” nello Spedale di Santa Maria del Buon Gesù, 2014
Genova, porta del mondo. La città medievale e i suoi habitatores, a cura di Giustina Olgiati, mostra documentaria di Genova, complesso monumentale di Sant’Ignazio, 16 giugno-15 settembre 2011, Genova 2011, pp. 60-61, 2011
L’arca delle ceneri del Battista La lettera ai coloni di Chio chiarisce finalmente la ... more L’arca delle ceneri del Battista
La lettera ai coloni di Chio chiarisce finalmente la genesi del reliquiario d’argento dorato per le ceneri di San Giovanni Battista ed i tempi d’esecuzione della preziosa arca, che sappiamo quasi conclusa poco meno di due anni dopo l’evento miracoloso; riabilita infine pienamente Teramo Danieli da Porto Maurizio, l’unico orafo che appone sull’opera il proprio nome con la data 28 maggio 1438, definito nella missiva “dottissimo artefice”; il suo ruolo è stato seriamente revocato in dubbio sulla scorta della supplica che il fabbro Simone Caldera di Andora rivolge al Doge ed al Consiglio degli Anziani il 24 marzo 1441, per ottenere la riduzione dell’avaria, vantando tra le sue referenze la chiamata a Genova per presiedere la fabrica dell’arca. Tale carta aveva indotto a pensare che ci fosse stata da subito un’interruzione del cantiere dovuta all’imperizia di Teramo Danieli o addirittura alla sua morte; la lettera inviata a Chio chiarisce definitivamente come la sospensione dei lavori si verificò per una ben più prosaica mancanza di fondi, sanata la quale si dichiara il fermo proposito di prodigarsi in ulteriori opere pie ad onore e gloria del santo, fra le quali non è difficile indovinare l’imminente costruzione della nuova cappella del santo Precursore, commissionata a Domenico Gagini il 4 maggio 1448 dai priori della confraternita Baldassarre Vivaldi e Gaspare Cattaneo.
Il giorno 28 maggio 1438 riportato nell’epigrafe incisa sull’arca, non sarà, come a lungo ritenuto, la data di commissione del prezioso reliquiario ma, assai più credibilmente, il giorno in cui si compì il miracolo della tempesta placata. Sembra confermarlo la deliberazione del Doge e del Consiglio degli Anziani, di due giorni successiva, per stanziare il denaro necessario all’intrapresa: nella formula finale del documento, ove si è vista una richiesta di intercessione al santo Precursore per procacciare alla città di Genova - costantemente turbata da una situazione politica instabile - una pace duratura, si dovrà riconoscere piuttosto la dedicazione votiva.
Prospettiva nn.169-171
On the Tomb monument of Margaret of Brabant, the Tomb of Doge Tommaso Campofregoso and other L... more On the Tomb monument of Margaret
of Brabant, the Tomb of Doge
Tommaso Campofregoso and other
Ligurian works of the Quattrocento
Maria Falcone
In 1999 Clario Di Fabio proposed a reconstruction of the Tomb monument of Queen
Margaret of Brabant – built by Giovanni Pisano for the church of San Francesco di Castelletto in Genoa and surviving today in a
highly fragmentary state. It was undoubtedly
an innovative suggestion when compared to
what Max Seidel had hypothesised at the time
of the exhibition on the sculptor in Genoa in
1987. On the basis of a perhaps too trusting
interpretation of a drawing from the early
years of the Seicento attributed to the sculptor and architect Taddeo Carlone – a project
for the chapel of San Francesco of Giovanni Andrea I Doria in the destroyed Minorite
church – he postulated the existence of a lost
series of ‘Cardinal Virtues’, sculpted in relief on the front of the sarcophagus of the deceased, and of a group sculpture representing
the moment of Margaret’s passing away. Di
Fabio also identified some of the surviving
elements of the tomb monument in a ruined
arch and some architectural fragments in the
park of Villa Duchessa di Galliera at Voltri
near Genoa. The aim of the present essay is
to reject the hypothesis of a double series of
Cardinal Virtrues in the same tomb and to
propose a different interpretation of these
vestiges and the few legible figures in the
drawing to reconfirm Seidel’s still valid reconstruction and hypothesise the reuse in the
chapel of San Francesco, in addition to the
already known surviving elements of Margaret’s tomb, of two niches and four sculptures
of the Quattrocento. Life-sized representations of ‘Prudence’, ‘Temperance’, ‘Justice’
(Genoa, Museo di Sant’Agostino) and the
probable ‘Doge Tommaso Campofregoso’
(Florence, Museo Nazionale del Bargello),
the statues are to be associated with particular circumstances in which the Florentine
sculptor Andrea di Francesco Guardi must
have collaborated with the Pietrasanta sculptor Leonardo Riccomanni and his nephew
Francesco di Cristoforo to build the lost tomb
of the doge intended for the Genoese church of Castelletto. A new document allows us
to establish that following a long period of
gestation from 1437 to 1460, on 28 March
1481 the work had been partially executed
though not yet finished. The task of its completion would fall to Riccomanni’s nephew
and heir Francesco di Cristoforo, who, in his
name and that of his brothers, would pledge to finish it within a year starting from the
month of May. The paper also suggests that
other sculptural works at Ellera (Albisola,
Savona), Genoa, Lucca, Naples and Porto
Maurizio (Imperia) can be ascribed in part
to Andrea Guardi and in part to Leonardo
Riccomanni, the latter having worked on his
own or with the assistance of his nephew.
Giovanni di Andrea da Bissone, one of the
major exponents of Genoese sculpture in the
15th century, is also suggested here as the author of a cospicous number of works now at
Barrettali and Bonifacio (Corsica), Finalborgo (Savona), Genoa and Milan.
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that
part of modern criticism that has made his
own, to identify the artistic personality of the
‘Master of the Observance’, created byAlbertoGraziani in 1948 as a result of an intuition
of Roberto Longhi (1940), in the prolificand
long-lived Sienese painter Sano d iPietro, ending the debate started about sixty years ago.
The paper archive is linked to the recent reconstruction of the commission of the major
and emblematic work which by all, without
exception, is recognized to the ‘Master of the
Observance’: the ‘Nativity of the Virgin’ kept
at Palazzo Corboli but intended to the parish
Church of St.Agatha of Asciano.
From a legal case that began October 18,
1439, we know that the priest Matteo di Giovanni had built there, about two years before,
a chapel a pastoral visit in 1468 allows us to
identify with one dedicated to the Nativity of
the Virgin, at that time not yet equipped, asit
should have been, based on the commitment
made by the same priest. The chronological
gap of 1437-1439, in which the execution of
the painting would fall, maybe further restricted forayear, only from March20, 1438,
Matteo di Giovanni makes his official entrance as a parish priest (SSA, Consistory
1650, c. 30v, the date March20, 1438). The
new documentary evidence–a letter from the
Consistory of Siena,whose content is summarized in the register of letter-books in the second half of 1439 on 26 December(ASS, Consistory 1653, the date December 26, 1439) –
adds the missing piece to the story.
The letterre quires that the Bishop of Arezzo,
in whose diocese was part of Asciano, orders
Matteo di Giovanni to pay the painter Sano di
Pietro the remainder of the payment due for
the board that he painted for the chapel built
by the parish priest in the Asciano church.
Conference Presentations by Maria Falcone
monumento Brenzoni, Jean Prindall e le influenze francesi nella scultura funeraria tardogotica de... more monumento Brenzoni, Jean Prindall e le influenze francesi nella scultura funeraria tardogotica della Valle del Po ALDO GALLI (Università di Trento), Terracotta in chiesa. Il ruolo di Michele da Firenze alla luce di vent'anni di studi
Prospettiva-rivista Di Storia Dell Arte Antica E Moderna, 2010
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of modern criticism that has made his own, to identify the artistic personality of the ‘Master of the Observance’, created by Alberto Graziani in 1948 as a result of an intuition of Roberto Longhi (1940), in the prolific and long-lived Sienese painter Sano di Pietro, ending the debate started about sixty years ago. The paper archive is linked to the recent reconstruction of the commission of the major and emblematic work which by all, without exception, is recognized to the ‘Master of the Observance’: the ‘Nativity of the Virgin’ kept at Palazzo Corboli but intended to the parish Church of St. Agatha of Asciano. From a legal case that began October 18, 1439, we know that the priest Matteo di Giovanni had built there, about two years before, a chapel a pastoral visit in 1468 allows us to identify with one dedicated to the Nativity of the Virgin, at that time not yet equipped, as it should have ...
Prospettiva Rivista Di Storia Dell Arte Antica E Moderna, 2010
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of modern criticism that has made his own, to identify the artistic personality of the ‘Master of the Observance’, created by Alberto Graziani in 1948 as a result of an intuition of Roberto Longhi (1940), in the prolific and long-lived Sienese painter Sano di Pietro, ending the debate started about sixty years ago. The paper archive is linked to the recent reconstruction of the commission of the major and emblematic work which by all, without exception, is recognized to the ‘Master of the Observance’: the ‘Nativity of the Virgin’ kept at Palazzo Corboli but intended to the parish Church of St. Agatha of Asciano. From a legal case that began October 18, 1439, we know that the priest Matteo di Giovanni had built there, about two years before, a chapel a pastoral visit in 1468 allows us to identify with one dedicated to the Nativity of the Virgin, at that time not yet equipped, as it should have been, based on the commitment made by the same priest. The chronological gap of 1437-1439, in which the execution of the painting would fall, may be further restricted for a year, only from March 20, 1438, Matteo di Giovanni makes his official entrance as a parish priest (SSA, Consistory 1650, c. 30v, the date March 20, 1438). The new documentary evidence – a letter from the Consistory of Siena, whose content is summarized in the register of letter-books in the second half of 1439 on 26 December (ASS, Consistory 1653, the date December 26, 1439) –adds the missing piece to the story. The letter requires that the Bishop of Arezzo, in whose diocese was part of Asciano, orders Matteo di Giovanni to pay the painter Sano di Pietro the remainder of the payment due for the board that he painted for the chapel built by the parish priest in the Asciano church.
SANTO VARNI: CONOSCITORE, ERUDITO E ARTISTA TRA GENOVA E L’EUROPA a cura di Laura Damiani Cabrini Grégoire Extermann Raffaella Fontanarossa, 2018
Quando venni gentilmente invitato a presiedere una delle sessioni del convegno su Santo Varni a C... more Quando venni gentilmente invitato a presiedere una delle sessioni del convegno su Santo Varni a Chiavari, mi posi subito il problema di non presentarmi a mani vuote, ma di portare con me qualcosa che potesse esprimere la mia riconoscenza per la graditissima manifestazione di stima. Riandai così alle mie ormai lontane vacanze estive in Liguria e mi sovvenni di un intrigante incontro che ebbi nell'agosto del 1992 nel chiostro della chiesa di San Giorgio a Moneglia. Si tratta di un singolare rilievo in marmo, da me presentato nel corso del successivo anno accademico a un seminario presso la Scuola Normale Superiore di Pisa ma mai reso noto, per quel che ne so, come pure merita. Recuperate le immagini apprestate per quel seminario, le misi in ordine e le presentai brevemente in capo al mio intervento quale presidente di sessione. Assisteva alla presentazione la dottoressa Maria Falcone del Museo Nazionale di San Matteo, esperta di scultura ligure, che mi comunicò il suo interesse per il pezzo da me portato a conoscenza. Decidemmo allora di scrivere per il volume scaturito da quel convegno un contributo a quattro mani che, grazie alla disponibilità degli organizzatori, si pubblica appunto in questa sede.
Predella journal of visual arts, n°37, 2015 - Miscellanea / Miscellany
Predella pubblica ogni anno due numeri online e due numeri monogra ci a stampa / Predella publish... more Predella pubblica ogni anno due numeri online e due numeri monogra ci a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review
Da Giotto a Gentile. Pittura e scultura a Fabriano fra Due e Trecento Comune di Fabriano Enti promotori Sponsor tecnici Fabriano, 26 luglio-30 settembre 2014 Sede espositiva Fabriano, Pinacoteca Civica “Bruno Molajoli” nello Spedale di Santa Maria del Buon Gesù, 2014
Genova, porta del mondo. La città medievale e i suoi habitatores, a cura di Giustina Olgiati, mostra documentaria di Genova, complesso monumentale di Sant’Ignazio, 16 giugno-15 settembre 2011, Genova 2011, pp. 60-61, 2011
L’arca delle ceneri del Battista La lettera ai coloni di Chio chiarisce finalmente la ... more L’arca delle ceneri del Battista
La lettera ai coloni di Chio chiarisce finalmente la genesi del reliquiario d’argento dorato per le ceneri di San Giovanni Battista ed i tempi d’esecuzione della preziosa arca, che sappiamo quasi conclusa poco meno di due anni dopo l’evento miracoloso; riabilita infine pienamente Teramo Danieli da Porto Maurizio, l’unico orafo che appone sull’opera il proprio nome con la data 28 maggio 1438, definito nella missiva “dottissimo artefice”; il suo ruolo è stato seriamente revocato in dubbio sulla scorta della supplica che il fabbro Simone Caldera di Andora rivolge al Doge ed al Consiglio degli Anziani il 24 marzo 1441, per ottenere la riduzione dell’avaria, vantando tra le sue referenze la chiamata a Genova per presiedere la fabrica dell’arca. Tale carta aveva indotto a pensare che ci fosse stata da subito un’interruzione del cantiere dovuta all’imperizia di Teramo Danieli o addirittura alla sua morte; la lettera inviata a Chio chiarisce definitivamente come la sospensione dei lavori si verificò per una ben più prosaica mancanza di fondi, sanata la quale si dichiara il fermo proposito di prodigarsi in ulteriori opere pie ad onore e gloria del santo, fra le quali non è difficile indovinare l’imminente costruzione della nuova cappella del santo Precursore, commissionata a Domenico Gagini il 4 maggio 1448 dai priori della confraternita Baldassarre Vivaldi e Gaspare Cattaneo.
Il giorno 28 maggio 1438 riportato nell’epigrafe incisa sull’arca, non sarà, come a lungo ritenuto, la data di commissione del prezioso reliquiario ma, assai più credibilmente, il giorno in cui si compì il miracolo della tempesta placata. Sembra confermarlo la deliberazione del Doge e del Consiglio degli Anziani, di due giorni successiva, per stanziare il denaro necessario all’intrapresa: nella formula finale del documento, ove si è vista una richiesta di intercessione al santo Precursore per procacciare alla città di Genova - costantemente turbata da una situazione politica instabile - una pace duratura, si dovrà riconoscere piuttosto la dedicazione votiva.
Prospettiva nn.169-171
On the Tomb monument of Margaret of Brabant, the Tomb of Doge Tommaso Campofregoso and other L... more On the Tomb monument of Margaret
of Brabant, the Tomb of Doge
Tommaso Campofregoso and other
Ligurian works of the Quattrocento
Maria Falcone
In 1999 Clario Di Fabio proposed a reconstruction of the Tomb monument of Queen
Margaret of Brabant – built by Giovanni Pisano for the church of San Francesco di Castelletto in Genoa and surviving today in a
highly fragmentary state. It was undoubtedly
an innovative suggestion when compared to
what Max Seidel had hypothesised at the time
of the exhibition on the sculptor in Genoa in
1987. On the basis of a perhaps too trusting
interpretation of a drawing from the early
years of the Seicento attributed to the sculptor and architect Taddeo Carlone – a project
for the chapel of San Francesco of Giovanni Andrea I Doria in the destroyed Minorite
church – he postulated the existence of a lost
series of ‘Cardinal Virtues’, sculpted in relief on the front of the sarcophagus of the deceased, and of a group sculpture representing
the moment of Margaret’s passing away. Di
Fabio also identified some of the surviving
elements of the tomb monument in a ruined
arch and some architectural fragments in the
park of Villa Duchessa di Galliera at Voltri
near Genoa. The aim of the present essay is
to reject the hypothesis of a double series of
Cardinal Virtrues in the same tomb and to
propose a different interpretation of these
vestiges and the few legible figures in the
drawing to reconfirm Seidel’s still valid reconstruction and hypothesise the reuse in the
chapel of San Francesco, in addition to the
already known surviving elements of Margaret’s tomb, of two niches and four sculptures
of the Quattrocento. Life-sized representations of ‘Prudence’, ‘Temperance’, ‘Justice’
(Genoa, Museo di Sant’Agostino) and the
probable ‘Doge Tommaso Campofregoso’
(Florence, Museo Nazionale del Bargello),
the statues are to be associated with particular circumstances in which the Florentine
sculptor Andrea di Francesco Guardi must
have collaborated with the Pietrasanta sculptor Leonardo Riccomanni and his nephew
Francesco di Cristoforo to build the lost tomb
of the doge intended for the Genoese church of Castelletto. A new document allows us
to establish that following a long period of
gestation from 1437 to 1460, on 28 March
1481 the work had been partially executed
though not yet finished. The task of its completion would fall to Riccomanni’s nephew
and heir Francesco di Cristoforo, who, in his
name and that of his brothers, would pledge to finish it within a year starting from the
month of May. The paper also suggests that
other sculptural works at Ellera (Albisola,
Savona), Genoa, Lucca, Naples and Porto
Maurizio (Imperia) can be ascribed in part
to Andrea Guardi and in part to Leonardo
Riccomanni, the latter having worked on his
own or with the assistance of his nephew.
Giovanni di Andrea da Bissone, one of the
major exponents of Genoese sculpture in the
15th century, is also suggested here as the author of a cospicous number of works now at
Barrettali and Bonifacio (Corsica), Finalborgo (Savona), Genoa and Milan.
An unpublished, new document seems to confirm the proposal by Brandi (1949), and that part of mod... more An unpublished, new document seems to confirm the proposal by Brandi (1949), and that
part of modern criticism that has made his
own, to identify the artistic personality of the
‘Master of the Observance’, created byAlbertoGraziani in 1948 as a result of an intuition
of Roberto Longhi (1940), in the prolificand
long-lived Sienese painter Sano d iPietro, ending the debate started about sixty years ago.
The paper archive is linked to the recent reconstruction of the commission of the major
and emblematic work which by all, without
exception, is recognized to the ‘Master of the
Observance’: the ‘Nativity of the Virgin’ kept
at Palazzo Corboli but intended to the parish
Church of St.Agatha of Asciano.
From a legal case that began October 18,
1439, we know that the priest Matteo di Giovanni had built there, about two years before,
a chapel a pastoral visit in 1468 allows us to
identify with one dedicated to the Nativity of
the Virgin, at that time not yet equipped, asit
should have been, based on the commitment
made by the same priest. The chronological
gap of 1437-1439, in which the execution of
the painting would fall, maybe further restricted forayear, only from March20, 1438,
Matteo di Giovanni makes his official entrance as a parish priest (SSA, Consistory
1650, c. 30v, the date March20, 1438). The
new documentary evidence–a letter from the
Consistory of Siena,whose content is summarized in the register of letter-books in the second half of 1439 on 26 December(ASS, Consistory 1653, the date December 26, 1439) –
adds the missing piece to the story.
The letterre quires that the Bishop of Arezzo,
in whose diocese was part of Asciano, orders
Matteo di Giovanni to pay the painter Sano di
Pietro the remainder of the payment due for
the board that he painted for the chapel built
by the parish priest in the Asciano church.
monumento Brenzoni, Jean Prindall e le influenze francesi nella scultura funeraria tardogotica de... more monumento Brenzoni, Jean Prindall e le influenze francesi nella scultura funeraria tardogotica della Valle del Po ALDO GALLI (Università di Trento), Terracotta in chiesa. Il ruolo di Michele da Firenze alla luce di vent'anni di studi