Stefano Della Torre, RV Schofield, Pellegrino Tibaldi architetto e il San Fedele di Milano. Invenzione e costruzione di una chiesa esemplare, Como 1994 (original) (raw)

This copy is provisional, awaiting a machine-readable version. The authors discuss every aspect of the first great Gesuit church built in Italy. On the basis of the exhaustive notarial documentation assembled here, the history of the contruction, its form and symbolism, the structure, the original octagonal plan devised by Tibaldi then replaced by the present rectangular plan, the numerous drawings, the confessionals, paintings and the high altar are all examined. Pellegrino's architectural style in all it forms is set against the history of the use of the orders in the Cinquecento and the style of the church is itself discussed in detail. In the Appendix of Documents all the notarial material is presented.

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I progetti “architettonici” per la chiesa di Sant’Ignazio di Andrea Pozzo

2019

Andrea Pozzo –a painter, scenographer, and master of perspective– should always be fully recognized as an architect in the cultural panorama of the baroque period. This artist from Trento created his works in the church of St. Ignatius in Rome between 1685 and 1694, where he depicted St. Ignatius protector of afflicted people in the apse semi-dome (1685–1688), the Glory of St. Ignatius on the vault of the central nave (1687–1693), and the false dome (1685) to replace the one that had been designed but never built. For the works mentioned, Pozzo aimed to ‘construct’ a building that, while being illusory, did not exist in reality, lives amid the space of the physical architecture of the church. The documentation, which evidences the various sequential phases of creation, was studied to recompose the design path he followed [Salviucci Insolera 2015]. The goal of this paper is therefore to define and verify the design process that Pozzo used to create these works. From the committee’s r...

Chapels of the Cinquecento and Seicento in the Churches of Rome: Form, Function, Meaning. Chiara Franceschini, Steven F. Ostrow, and Patrizia Tosini, eds. Milan: Officina Libraria, 2020. 272 pp. €40

Renaissance Quarterly, 2022

drawings. The rise of the family to a solid middle-class status and Giulio Cesare's marriage to a noblewoman is given relatively little weight in this career change, while the Procaccini emphasis on Correggio and Parmigianino as models and their incorporation of stylistic elements from Flemish masters are seen as business strategies on a par with the Carracci synthesis extolled by Agucchi and Bellori. Despite a few minor omissions (Greco Grasilli, 2010, on commissioning Garbieri), the author has both brought together much-published information and discovered exciting new information about the overlooked contribution of Carlo Antonio, who developed a unique market in Lombardy for garland paintings and landscapes. Yet the last three chapters, which survey the paintings each Procaccini brother produced for public and private patrons, have so much information packed into dense paragraphs that readers unfamiliar with their immense output are left longing for a more leisurely pace and for richer interpretive explanations to shape the mass of detail. The absence of professional editing is noticeable in missing words, extra prepositions, errors of punctuation, mistyped dates, and excessive repetitions that obscure the gems of Lo Conte's valuable approach, leaving the reader wishing this book were as lucid and as focused as his recent journal articles on Carlo Antonio in Italian Studies (2016) and Zeitschrift für Kunstgeschichte (2020).

"Fiorenza figlia di Roma": New Light on the Baptistery of San Giovanni and the Chronology of Florentine Romanesque Architecture

Mitteilungen des Kunsthistorischen Institutes in Florenz, 2024

Since the late eighteenth century, studies of the baptistery of San Giovanni in Florence have built their chronologies around one or both of two well-known reference points: a consecration by Pope Nicholas II in 1059 and the transfer of the baptismal font from Santa Reparata to San Giovanni in 1128. Both originate in a 1684 history of Florence by Ferdinando Leopoldo Del Migliore. A close examination of manuscript sources reveals both to be spurious. Freed of these constraints, we find multiple lines of evidence to support dating the origin of the project to the 1070s and the completion of its most important elements by the 1090s. Consequently, it is possible to propose a new perspective on the development of early Romanesque architecture in Florence. Santi Apostoli, San Giovanni, and San Miniato, likely all works of the same architect, seem to represent not an organic development but an extrinsic current introduced into a visual culture for which the antique had been only one of many formal sources. The similarity in plan between San Miniato and the Roman church of Santa Maria in Portico consecrated by Pope Gregory VII and the extraordinary reference San Giovanni makes to the Pantheon, then reserved for papal masses, are among the pieces of evidence adduced for the involvement of Roman church reformers in Florentine architecture. The article furthermore explores the support of the Tuscan margravine and the role of Bishop Ranieri in the conception and realization of the baptistery.

First Principles: Gabriele Stornaloco and Milan Cathedral

"Architectural History", 2016

The construction from 1386 of Milan Cathedral, the largest Gothic church ever constructed in Italy, was one of the most important episodes in the history of Italian and European architecture. The documentation of the late Trecento and early Quattrocento discussions over how to build the Cathedral is extraordinarily rich and extensive, and permits a consideration of the project from many points of view including the relationship between medieval architectural theory and an actual project. At the same time, any enquiry has to contend with the copious modern literature and the conclusions that have been reached hitherto – often erroneously in our view – about many of the most salient points. We thus re-examine published and unpublished documentation and the existing literature, analysing especially the format of the building's elevation, the proposals by Gabriele Stornaloco and Jean Mignot, and the drawings attributed to Antonio di Vincenzo. We also reconsider the notions of ars and scientia which have previously been misinterpreted in discussions of the cathedral documentation.

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[2020] “A Splendid Shrine for an Ugly Image: The Chapel of Cardinal Salviati at Sant’Andrea e Gregorio al Celio”. In: Chapels in Roman Churches of the Cinquecento and the Seicento. Form, Function, Meaning, ed. by C. Franceschini, P. Tosini, S. F. Ostrow, Milano, Officina Libraria, pp. 112-145.

Chapels in Roman Churches of the Cinquecento and the Seicento. Form, Function, Meaning, ed. by C. Franceschini, P. Tosini, S. F. Ostrow, Milano, Officina Libraria, 2020, 2020

Sergio Bettini, "Palazzo Magnani: Domenico Tibaldi's architectural testament" (translation by Sylvia Adrian Notini) [2009]

«Palazzo Magnani in Bologna», edited by Sergio Bettini, foreword by Andrea Emiliani, texts by Sergio Bettini, Richard J. Tuttle, Samuel Vitali, Grazia Lucisano (documents) Milano, Motta, 2009, pp. 33-89, 2009