Guendalina Serafinelli | Università degli studi di Roma Tor Vergata (original) (raw)
Papers by Guendalina Serafinelli
Following his resignation as preacher to the Jews, the former Rabbi and “new Christian” Andrea de... more Following his resignation as preacher to the Jews, the former Rabbi and “new Christian” Andrea de Monte commissioned in 1584 the decoration of the Annunciation Chapel in the Roman church of the Madonna ai Monti, the new seat of the Confraternity of St. Joseph of the Catechumens and Neophytes. The chapel is replete with Hebrew and Latin inscriptions as well as with thus far neglected anti-Judaic stereotypes and liturgical elements borrowed from the traditions of the Synagogue. Using an interdisciplinary approach, this study proposes that the Annunciation Chapel can be understood as a place for fashioning de Monte’s identity, vindicating his silenced voice, and perpetuating his memory as preacher to the Jews. An analysis of the unique combination of Hebrew and Latin inscriptions in the chapel and the meaning of these texts reveals that the privileged audience to which the chapel’s visual and verbal message was speci!cally addressed was Christian, though not necessarily converts, and notably those Christians who were the most enthusiastic spectators of the forced sermons to the Jews and the most avid readers of conversionary treatises. With its rhetorical e"- cacy, the Annunciation Chapel provides a powerful propagandistic manifesto of the “successful” papal conversionary policy.
Römisches Jahrbuch der Bibliotheca Hertziana" 46 (2023): 147-83.
Patronage and devotion : a focus on six Roman Baroque paintings / Giovan Battista Fidanza, Guendalina Serafinelli. - London : Paul Holberton Publishing, 2022, pp. 17-71.
Journal of the History of Collections, 2021
This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence ... more This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence of his inventory drawn up in 1730. Housed in his Roman palace facing Piazza Borghese, Fabio’s collection consisted of more than 400 paintings, including works by notable artists. Prominent among them were two unusually monumental cycles by Benedetto Luti and Luigi Garzi, which now can be reconstructed and partly identified with paintings in public and private collections. In Fani’s palace there was also a cabinet of curiosities featuring naturalia, artificialia and objects from distant lands, as well as two rooms in which books on a variety of subjects were kept. A study of the display of art in Fabio’s residence and its dialogue with the space of the palace, the objects in the cabinet and the books furthers our understanding of collecting and display in early modern Rome.
L’autrice attribuisce a Giovanni Baglione (1566 ca. – 1643) un inedito dipinto raffigurante l’Amo... more L’autrice attribuisce a Giovanni Baglione (1566 ca. – 1643) un inedito dipinto raffigurante l’Amor dormiente rintracciato in collezione privata. Ad un’accurata analisi stilistica si aggiunge il confronto con un disegno appartenuto a Sir Joshua Reynolds e recentemente passato in asta da Christie’s (2007) con attribuzione allo stesso pittore, nonche ad altre opere di soggetto erotico databili al 1625 circa. La raffigurazione di Eros adolescente rimanda, secondo l’autrice, alle suggestioni connesse all’opera di Apuleio l’Asino d’oro, da cui, a partire dall’esempio di Raffaello a Villa Chigi, trassero ispirazione molti artisti per le loro composizioni di soggetto erotico.
Object of this essay is the Double Banner by Guido Reni representing "S. Francis receiving t... more Object of this essay is the Double Banner by Guido Reni representing "S. Francis receiving the stigmata" and "S. Francis preaching among four members of the Arcionfraternita delle Stimmate". It is a work published in 1960 by Incisa della Rocchetta, when it was donated by the Countess Nasalli Rocca di Corneliano to the Museum of Rome. Beside the document published by Golzio, which attested that the Banner was sold by the memebers of the Arciconfraternita to Cardinal Flavio Chigi in 1661, nothing more was known about its provenance and its origin. New documents published by the author focuses now on the history of the Banner which was in possess of the almost forgotten Clemente Boncompagni Corcos; he was a converted Jew, who, as a member of the "Arciconfraternita delle Stimmate", donated Reni's Banner to the pious association. By the publishing Clemente Boncompagni Corcos' Inventory and the one of his heir Filippo, the author reveals a rich collec...
The author attributes to the Sienese painter Francesco Rustici, called il Rustichino, an unpublis... more The author attributes to the Sienese painter Francesco Rustici, called il Rustichino, an unpublished canvas with a 'Saint Agnes', identifying its provenance from the collection of Girolamo Tantucci, Bishop of Grosseto. The circumstances of the work's execution are linked with Rustici's last Roman sojourn, when he was residing with his fellow citizen of Siena Orazio Brunetti in the house of Bishop Tantucci (1625). The study is built around two important pieces of evidence: the print made by Brunetti and bearing a dedication to Caterina Riccardi Niccolini -the wife of the Tuscan ambassador to Rome- and the record of a 'Saint Agnes' by Rustici in the 1638 posthumous inventory of the Tantucci household. The slender oeuvre of the Sienese artist, who died prematurely at the age of thirty-four, is thus enriched.
This essay focuses on the history of the decoration of the Collegiata church of Santa Maria Assun... more This essay focuses on the history of the decoration of the Collegiata church of Santa Maria Assunta of Valmontone, which belonged to the Paamphilj family and was erected, under the project of Matthia de Rossi, by the order of Prince Giovanni Battista Pamphilj Aldobrandini between 1683 and 1690. By publishing new documents found in the Roman Doria Pamphilj Archive, the author was able to discover, in the Collegiata, the artistic presence of Andrea Pozzo and Giovanni Andrea Carlone, and to provide a new chronology for the six altarpiece painted by Pozzo and his workshop, Ferri, Lucatelli, Brandi, Scilla and Carlone.
Rivista D Arte Periodico Internazionale Di Storia Dell Arte Medievale E Moderna, 2011
Rivista D Arte Periodico Internazionale Di Storia Dell Arte Medievale E Moderna, 2012
Journal of the History of Collections, 2021
This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence ... more This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence of his inventory drawn up in 1730. Housed in his Roman palace facing Piazza Borghese, Fabio’s collection consisted of more than 400 paintings, including works by notable artists. Prominent among them were two unusually monumental cycles by Benedetto Luti and Luigi Garzi, which now can be reconstructed and partly identified with paintings in public and private collections. In Fani’s palace there was also a cabinet of curiosities featuring naturalia, artificialia and objects from distant lands, as well as two rooms in which books on a variety of subjects were kept. A study of the display of art in Fabio’s residence and its dialogue with the space of the palace, the objects in the cabinet and the books furthers our understanding of collecting and display in early modern Rome.
Römisches Jahrbuch der Bibliotheca Hertziana , 2020
in "Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning", eds. Chiara Franceschini, Steven F. Ostrow e Patrizia Tosini, pp. 146-165, 2020
Following his resignation as preacher to the Jews, the former Rabbi and “new Christian” Andrea de... more Following his resignation as preacher to the Jews, the former Rabbi and “new Christian” Andrea de Monte commissioned in 1584 the decoration of the Annunciation Chapel in the Roman church of the Madonna ai Monti, the new seat of the Confraternity of St. Joseph of the Catechumens and Neophytes. The chapel is replete with Hebrew and Latin inscriptions as well as with thus far neglected anti-Judaic stereotypes and liturgical elements borrowed from the traditions of the Synagogue. Using an interdisciplinary approach, this study proposes that the Annunciation Chapel can be understood as a place for fashioning de Monte’s identity, vindicating his silenced voice, and perpetuating his memory as preacher to the Jews. An analysis of the unique combination of Hebrew and Latin inscriptions in the chapel and the meaning of these texts reveals that the privileged audience to which the chapel’s visual and verbal message was speci!cally addressed was Christian, though not necessarily converts, and notably those Christians who were the most enthusiastic spectators of the forced sermons to the Jews and the most avid readers of conversionary treatises. With its rhetorical e"- cacy, the Annunciation Chapel provides a powerful propagandistic manifesto of the “successful” papal conversionary policy.
Römisches Jahrbuch der Bibliotheca Hertziana" 46 (2023): 147-83.
Patronage and devotion : a focus on six Roman Baroque paintings / Giovan Battista Fidanza, Guendalina Serafinelli. - London : Paul Holberton Publishing, 2022, pp. 17-71.
Journal of the History of Collections, 2021
This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence ... more This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence of his inventory drawn up in 1730. Housed in his Roman palace facing Piazza Borghese, Fabio’s collection consisted of more than 400 paintings, including works by notable artists. Prominent among them were two unusually monumental cycles by Benedetto Luti and Luigi Garzi, which now can be reconstructed and partly identified with paintings in public and private collections. In Fani’s palace there was also a cabinet of curiosities featuring naturalia, artificialia and objects from distant lands, as well as two rooms in which books on a variety of subjects were kept. A study of the display of art in Fabio’s residence and its dialogue with the space of the palace, the objects in the cabinet and the books furthers our understanding of collecting and display in early modern Rome.
L’autrice attribuisce a Giovanni Baglione (1566 ca. – 1643) un inedito dipinto raffigurante l’Amo... more L’autrice attribuisce a Giovanni Baglione (1566 ca. – 1643) un inedito dipinto raffigurante l’Amor dormiente rintracciato in collezione privata. Ad un’accurata analisi stilistica si aggiunge il confronto con un disegno appartenuto a Sir Joshua Reynolds e recentemente passato in asta da Christie’s (2007) con attribuzione allo stesso pittore, nonche ad altre opere di soggetto erotico databili al 1625 circa. La raffigurazione di Eros adolescente rimanda, secondo l’autrice, alle suggestioni connesse all’opera di Apuleio l’Asino d’oro, da cui, a partire dall’esempio di Raffaello a Villa Chigi, trassero ispirazione molti artisti per le loro composizioni di soggetto erotico.
Object of this essay is the Double Banner by Guido Reni representing "S. Francis receiving t... more Object of this essay is the Double Banner by Guido Reni representing "S. Francis receiving the stigmata" and "S. Francis preaching among four members of the Arcionfraternita delle Stimmate". It is a work published in 1960 by Incisa della Rocchetta, when it was donated by the Countess Nasalli Rocca di Corneliano to the Museum of Rome. Beside the document published by Golzio, which attested that the Banner was sold by the memebers of the Arciconfraternita to Cardinal Flavio Chigi in 1661, nothing more was known about its provenance and its origin. New documents published by the author focuses now on the history of the Banner which was in possess of the almost forgotten Clemente Boncompagni Corcos; he was a converted Jew, who, as a member of the "Arciconfraternita delle Stimmate", donated Reni's Banner to the pious association. By the publishing Clemente Boncompagni Corcos' Inventory and the one of his heir Filippo, the author reveals a rich collec...
The author attributes to the Sienese painter Francesco Rustici, called il Rustichino, an unpublis... more The author attributes to the Sienese painter Francesco Rustici, called il Rustichino, an unpublished canvas with a 'Saint Agnes', identifying its provenance from the collection of Girolamo Tantucci, Bishop of Grosseto. The circumstances of the work's execution are linked with Rustici's last Roman sojourn, when he was residing with his fellow citizen of Siena Orazio Brunetti in the house of Bishop Tantucci (1625). The study is built around two important pieces of evidence: the print made by Brunetti and bearing a dedication to Caterina Riccardi Niccolini -the wife of the Tuscan ambassador to Rome- and the record of a 'Saint Agnes' by Rustici in the 1638 posthumous inventory of the Tantucci household. The slender oeuvre of the Sienese artist, who died prematurely at the age of thirty-four, is thus enriched.
This essay focuses on the history of the decoration of the Collegiata church of Santa Maria Assun... more This essay focuses on the history of the decoration of the Collegiata church of Santa Maria Assunta of Valmontone, which belonged to the Paamphilj family and was erected, under the project of Matthia de Rossi, by the order of Prince Giovanni Battista Pamphilj Aldobrandini between 1683 and 1690. By publishing new documents found in the Roman Doria Pamphilj Archive, the author was able to discover, in the Collegiata, the artistic presence of Andrea Pozzo and Giovanni Andrea Carlone, and to provide a new chronology for the six altarpiece painted by Pozzo and his workshop, Ferri, Lucatelli, Brandi, Scilla and Carlone.
Rivista D Arte Periodico Internazionale Di Storia Dell Arte Medievale E Moderna, 2011
Rivista D Arte Periodico Internazionale Di Storia Dell Arte Medievale E Moderna, 2012
Journal of the History of Collections, 2021
This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence ... more This article examines the collection of the neglected nobleman Fabio Fani, based on the evidence of his inventory drawn up in 1730. Housed in his Roman palace facing Piazza Borghese, Fabio’s collection consisted of more than 400 paintings, including works by notable artists. Prominent among them were two unusually monumental cycles by Benedetto Luti and Luigi Garzi, which now can be reconstructed and partly identified with paintings in public and private collections. In Fani’s palace there was also a cabinet of curiosities featuring naturalia, artificialia and objects from distant lands, as well as two rooms in which books on a variety of subjects were kept. A study of the display of art in Fabio’s residence and its dialogue with the space of the palace, the objects in the cabinet and the books furthers our understanding of collecting and display in early modern Rome.
Römisches Jahrbuch der Bibliotheca Hertziana , 2020
in "Chapels of the Cinquecento and Seicento in the Churches of Rome. Form, Function, Meaning", eds. Chiara Franceschini, Steven F. Ostrow e Patrizia Tosini, pp. 146-165, 2020
"In 1592 the four Jewish Corcos brothers, Ippolito, Alessandro, Agostino and Clemente, members of... more "In 1592 the four Jewish Corcos brothers, Ippolito, Alessandro, Agostino and Clemente, members of one of the richest families of bankers and rabbis in Rome, converted to Catholicism under the auspices of the Oratorian Filippo Neri. Like their previously converted relatives, they obtained remarkable concessions, and the privilege of taking the family name of the Bolognese Pope Gregorio XIII Boncompagni.
In changing their faith and family name they indicate a desire for change in status and cultural identity. To this purpose they set an extraordinary new trend in patronage practice and art collection which focused on works by Bolognese painters.
My paper will examine the collection of one of the preeminent, but almost forgotten members of the family, Clemente Boncompagni Corcos, who possessed, according to the seventeenth-century inventories, a collection of remarkable interest, comprising of thirteenth paintings by Guido Reni, works by Guercino, Domenichino, Lanfranco, and copies from the Carracci.
"
by Stefano Colonna, Rossana Castrovinci, Yuri Primarosa, Guendalina Serafinelli, Laura Auciello, Laura Bartoni, Michele Brescia, Anna Cavallaro, Carolina Ciociola, Maria Celeste Cola, Mariateresa Di Dedda, Camilla Fiore, Riccardo Gandolfi, Claudia Governa, Elena Onori, Francesca Parrilla, Ilaria Pascale, Matteo Piccioni, Eugenia Querci, MICHELA SANTORO, Alessandro Spila, Lucia Signore, Maria Stella Bottai, Francesco Spina, DAMIANA Enea, Cristina Mochi, Loredana Finicelli, Loredana Angiolino, Matteo Borchia, Michele Nicolaci, and Massimo Moretti
La Collezione d'Arte della Fondazione Roma Dipinti, sculture e grafica dal XV al XXI secolo a cu... more La Collezione d'Arte della Fondazione Roma Dipinti, sculture e grafica dal XV al XXI secolo
a cura di Maria Celeste Cola e Stefano Colonna
Dipartimento di Storia dell'Arte e Spettacolo
Facoltà di Lettere e Filosofia - Sapienza Università di Roma
anno accademico 2012 / 2013
Gangemi Editore, 2 volumi, in corso di pubblicazione
(aggiornamento del 12 Dicembre 2017 con i nomi dei prefatori e degli schedatori in formato PDF
Amica Veritas. Studi di Storia dell'arte in onore di Claudio Strinati, 2020
![Research paper thumbnail of [2020] Chapels of the Cinquecento and Seicento in the Churches of Rome, edited by Chiara Franceschini, Steven F. Ostrow, and Patrizia Tosini, Milano: Officina Libraria, 2020](https://attachments.academia-assets.com/62334925/thumbnails/1.jpg)
](Chapels of the Cinquecento and Seicento in the Churches of Rome, 2020
Just out with Officina Libraria! Chapels of the Cinquecento and Seicento in the Churches of Rome... more Just out with Officina Libraria!
Chapels of the Cinquecento and Seicento in the Churches of Rome, edited by Chiara Franceschini, Steven F. Ostrow, and Patrizia Tosini, Milano: Officina Libraria, 2020
Nine studies of early modern private chapels as multimedia “laboratories” for social and devotional display and for artistic invention and innovation in 16th- and 17th-century Rome.
Roman church interiors throughout the Early Modern age were endowed with rich historical and visual significance. During the sixteenth and seventeenth centuries, in anticipation of and following the Council of Trent, and in response to the expansion of the Roman Curia, the chapel became a singular arena in which wealthy and powerful Roman families, as well as middle-class citizens, had the opportunity to demonstrate their status and role in Roman society. In most cases the chapels were conceived not as isolated spaces, but as part of a more complex system, which involved the nave and the other chapels within the church, in a dialogue among the arts and the patrons of those other spaces. This volume explores this historical and artistic phenomenon through nine examples involving the patronage of prominent Roman families such as the Frangipane, Spadas, Caetanis, Cybos and important artists and architects such as Federico Zuccari, Annibale Carracci, Giacomo della Porta, Francesco da Volterra, Carlo Maderno, Alessandro Algardi, Carlo Maratta.
Table of Contents:
Chapels: An Introduction
Chiara Franceschini, Steven F. Ostrow, and Patrizia Tosini
Map of the Churches
The Frangipani Chapel in San Marcello: Farnesian Devotion, Antiquarian Taste, and Municipal Pride
Patrizia Tosini
Between all’Antica and Acheiropoieton: The Cappella Gregoriana in the Ekphrases
of Lorenzo Frizolio (1582) and Ascanio Valentino (1583)
Fabio Barry
Caetani’s Blood: Magnificence, Lineage, and Martyrdom in the Family Chapel of Santa Pudenziana
Enrico Parlato
“A Gem Set in Most Resplendent Gold”: Girolamo Rusticucci’s Confessio Chapel in Santa Susanna
Steven F. Ostrow
A Splendid Shrine for an Ugly Image: Visual Interactions in the Salviati Chapel at San Gregorio al Celio
Chiara Franceschini
Carving Out Identity: The Boncompagni Family, Alessandro Algardi, and the Chapel in the Sacristy of Santa Maria in Vallicella
Guendalina Serafinelli
The Angelic Balustrade of the Spada Chapel in San Girolamo della Carità
Louise Rice
The Arm Relic as Index of the Body: The Chapel of Francis Xavier in the Gesù
Alison C. Fleming and Stephanie C. Leone
A Chapel in Dialogue: The Cybo Chapel in Santa Maria del Popolo
Fabrizio Federici
List of abbreviations
Bibliography
Contributors
Index of Names
Index of Places
Photo Credits
PHP, London, 2022
This fascinating book provides a fresh perspective on the understanding of sacred imagery and its... more This fascinating book provides a fresh perspective on the understanding of sacred imagery and its use through selected studies related to seventeenth-century Roman visual culture. Patronage and Devotion: A Focus on Six Roman Baroque Paintings will accompany an exhibition of works by prominent Baroque artists, at the Villa Mondragone, a Renaissance Papal Villa in the countryside of Rome.
The highlight of catalogue and exhibition is a group of masterpieces by seven prominent artists of the seventeenth century: five altarpieces by Carlo Saraceni, Valentin de Boulogne, Andrea Sacchi, Andrea Camassei and Carlo Maratti, and one easel painting by Guido Reni commissioned for private devotion. Most of the paintings will be on public view for the first time.
The publication offers new approaches to the study of the complex processes involved in the making of a work of art. By reconstructing the religious and social dynamics of artistic patronage and the context of worship and devotion in which these paintings – fully documented by primary sources – were executed, the volume explores the visual impact of these works on the viewers.
This beautifully illustrated book will feature new research, remarkable photographs and details of diagnostic analyses of the altarpieces.
Chapels of the Cinquecento and Seicento in the Churches of Rome, ed. by C. Franceschini, S. Ostrow, P. Tosini, 2020
Printing Galli Thierry stampa, Milano All rights reserved. This book may not be reproduced, in wh... more Printing Galli Thierry stampa, Milano All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form without written permission from the publisher.
Patronage and devotion : a focus on six Roman Baroque paintings, edited by Giovan Battista Fidanza, Guendalina Serafinelli, London 2022, pp. 17-71 , 2022
PHP, London, 2022
This fascinating book provides a fresh perspective on the understanding of sacred imagery and its... more This fascinating book provides a fresh perspective on the understanding of sacred imagery and its use through selected studies related to seventeenth-century Roman visual culture. Patronage and Devotion: A Focus on Six Roman Baroque Paintings will accompany an exhibition of works by prominent Baroque artists, at the Villa Mondragone, a Renaissance Papal Villa in the countryside of Rome.
The highlight of catalogue and exhibition is a group of masterpieces by seven prominent artists of the seventeenth century: five altarpieces by Carlo Saraceni, Valentin de Boulogne, Andrea Sacchi, Andrea Camassei and Carlo Maratti, and one easel painting by Guido Reni commissioned for private devotion. Most of the paintings will be on public view for the first time.
The publication offers new approaches to the study of the complex processes involved in the making of a work of art. By reconstructing the religious and social dynamics of artistic patronage and the context of worship and devotion in which these paintings – fully documented by primary sources – were executed, the volume explores the visual impact of these works on the viewers.
This beautifully illustrated book will feature new research, remarkable photographs and details of diagnostic analyses of the altarpieces.