Papers by Roberto Bartalini
L'articolo prende in considerazione due attestazioni documentarie relative a Giovanni Pisano. La ... more L'articolo prende in considerazione due attestazioni documentarie relative a Giovanni Pisano. La prima è solo presunta: consiste nella proposta, venuta nel 1994 da Andrew Ladis, di riconoscere il grande scultore tra gli affiliati alla Compagnia dei Raccomandati al Crocifisso, una confraternita di 'disciplinati' che rappresentò la più importante realtà del laicato devoto a Siena in età tardomedivale. Si è creduto di poter identificare Giovanni Pisano nel confratello "Giovanni dell'Uopara", ma in realtà quest'ultimo corrisponde più precisamente a un magister lapidum attestato nel cantiere del duomo di Siena e morto prima del 1318, Giovanni/Vanni di Palmiero, detto appunto "Giovanni dell'Opera". L'altro documento, qui messo in valore per la prima volta, rappresenta l'ultima attestazione in vita di Giovanni Pisano: in qualità di cittadino senese, negli ultimi mesi del 1318 fu valutato l'edificio di sua proprietà in prossimità della cattedrale. È un'attestazione che permette di gettare nuova luce sugli ultimi anni di vita del grande artista, che dovettero avere Siena come scenario, e di ripensare la destinazione di un'opera come la Madonna col Bambino oggi nei Musei Statali di Berlino.
The publication of a new canvas by Sodoma depicting ‘The rape of Europa’, from a ceiling of Palaz... more The publication of a new canvas by Sodoma depicting ‘The rape of Europa’, from a ceiling of Palazzo Chigi al Casato in Siena that included a series of paintings with mythological subjects, prompts a reconsideration of that group of works, their textual source and the decoration “all’antica” of the palace commissioned by Sigismondo Chigi (1479-1526).
The ‘Allegory of Redemption’ (Pinacoteca Nazionale, Siena) is one of the most enigmatic of Ambrog... more The ‘Allegory of Redemption’ (Pinacoteca Nazionale, Siena) is one of the most enigmatic of Ambrogio Lorenzetti’s works. While standing out for its extraordinary figurative originality, in parallel with the results of the famous cycle of the Sala dei Nove (1338), the panel presents a highly articulated iconographic programme, somewhat difficult to decipher, and unconventional typological characteristics. These peculiarities have so far hindered a full understanding of the painting’s function, as well as the identification of its patrons and original destination. The paper attempts to clarify these doubts, starting with a comprehensive re-reading of its iconography – in a less doctrinally involved way. The new interpretation of the meaning of the work, together with some internal clues – such as the peculiar representation of the Last Judgement –, could indicate that the panel had been commissioned by the most important lay confraternity of late medieval Siena, namely the “compagnia dei Disciplinati sotto le volte dell’Ospedale” of Santa Maria della Scala. This hypothesis seems to be corroborated not only by associations linking the work to the cultural horizon of the devout laity, but also by the close concordances that relate the painting to a particular genre of vulgar laudes, the laudes pro defunctis or de memoria mortis. Comparisons with such texts, sung in the course of funeral celebrations, suggest that the panel – here renamed ‘Allegory of Death and Salvation’ – might constitute the visual reference for the song, with the specific purpose of amplifying the admonitory and edifying immediacy of the laude.
One of Simone Martini’s once famous works has long since disappeared. It was a publicly visible f... more One of Simone Martini’s once famous works has long since disappeared. It was a publicly visible fresco in the area of Siena Cathedral. Described in many literary sources, we now also know a visual record of it, a drawing made in the second half of the 18th century. The work depicted the Madonna and Child surrounded by the city’s patron saints, placed above an exceptional view of Siena. In the frame and inside the painting were scattered the various emblems of the city’s identity and the sovereignty of the Comune. It is possible to identify the building on which Simone Martini was commissioned to paint the fresco: it was the headquarters of the Opera del Duomo di Siena (the Domus Operis), seat of the governing bodies of the cathedral site, and the place of work of the stone masters employed on cathedral building site (the «taglia»). The painting’s strong political value thus emerges at a very particular moment in the history of Siena and its cathedral, also aimed at celebrating the civic value of the work of the stone masters engaged in the construction of the maior ecclesia civitatis.
Active in 1359-1360 on the marble pulpit for the ostension of the Holy Belt in the pieve of Prato... more Active in 1359-1360 on the marble pulpit for the ostension of the Holy Belt in the pieve of Prato, the Sienese stone carver Niccolò di Cecco del Mercia is, even today, a blurry figure, best known for his prolonged involvement in the construction of Siena cathedral. It is now possible to piece together his career in a more comprehensive way and identify some of the sculptures that were made in Siena cathedral in 1356. These are the starting points for identifying other stone carvings of his and attempting to better define his profile as a sculptor.
A series of converging data (emerging from an analysis of documentary sources and a physical exam... more A series of converging data (emerging from an analysis of documentary sources and a physical examination of the painted surfaces made possible by the most recent restoration) shows that Vasari’s emblematic reconstruction of the succession of works in the Stanza della Segnatura in the Vatican is devoid of any foundation. Raphael and Sodoma worked side by side on the execution of the paintings during the initial long phase of work. The stages of this crucial moment of the papal patronage and the establishment in Rome of the “maniera moderna”, therefore, must be reconstructed differently to how it has been done until now.
The vicissitudes of the Siena cathedral building site and two particular commissions in the summe... more The vicissitudes of the Siena cathedral building site and two particular commissions in the summer and autumn of 1356 make it possible to take steps towards the identification of the sculptural corpus of Michele di Nello, a "master of stone" hitherto unknown but who, thanks to the documentation of the time, can be identified as an important figure on the Sienese artistic scene in the aftermath of the Black Death of 1348. Starting from the sculptures of the cathedral building, it is possible to identify his activity in the field of wood-carving, thus sketching in a more articulate way the story of this new actor on the stage of 14th-century sculpture in Siena.
New light on Francesco Salviati's frescoes in the chapel of the Margrave of Brandenburg in Santa ... more New light on Francesco Salviati's frescoes in the chapel of the Margrave of Brandenburg in Santa Maria dell'Anima in Rome.
About Tino di Camaino at the Angevin court and the creation of a new typology of luxury objects.
A new work of Ambrogio Lorenzetti's maturity.
Ricostruzione degli anni romani di Girolamo Genga, delle commissioni da parte della famiglia Chig... more Ricostruzione degli anni romani di Girolamo Genga, delle commissioni da parte della famiglia Chigi e del rapporto con l'ultimo Raffaello e coi suoi 'giovani'.
Considerazioni sulla preistoria duccesca di Simone Martini e accrescimento del corpus mediante l'... more Considerazioni sulla preistoria duccesca di Simone Martini e accrescimento del corpus mediante l'attribuzione dello straordinario trittico 35 della Pinacoteca Nazionale di Siena, di cui si studia funzione, committenza e possibile destinazione.
Nel 1356 fu realizzato un ampio ciclo di sculture per la parte alta della facciata del battistero... more Nel 1356 fu realizzato un ampio ciclo di sculture per la parte alta della facciata del battistero di Siena, poi rimasta incompiuta. Era una serie di “teste grandi”, ci dicono i documenti. Se ne sono conservate soltanto otto: delle fascinose teste maschili e femminili, burbere ed espressionistiche alcune, dolci, sottili, delicate le altre. Le eseguirono cinque diversi scultori, sotto la direzione di Domenico d’Agostino, il capomaestro del momento nel cantiere del duomo. Si chiamavano Niccolò di Cecco del Mercia, Giovannino di Cecco, Paolo di Matteo, Michele di Nello e Domenico di Vanni: maestri che, almeno alcuni, tornano ora ad avere un’identità come scultori. Il volumetto accompagna l'esposizione al pubblico delle sculture negli ambienti sottostanti il duomo di Siena.
L’arretramento cronologico del ciclo di dipinti murali nella cappella annessa alla chiesa rotonda... more L’arretramento cronologico del ciclo di dipinti murali nella cappella annessa alla chiesa rotonda di San Galgano sul Monte Siepi (che oggi sappiamo eseguiti da Ambrogio Lorenzetti intorno al 1334-35) e il recupero dell’identità del donatore (l’oblato cistercense Ristoro d’Orlando da Selvatella) permettono di considerare in modo nuovo la natura stessa del ciclo di Montesiepi. A differenza di quanto si è a lungo supposto, esso non è da interpretarsi alla luce delle volontà testamentarie di un laico preoccupato del destino della propria anima, bensì entro la cornice della committenza (e della spiritualità) dei monaci cistercensi. Assieme allo sperimentalismo iconografico e stilistico del pittore, emerge con chiarezza dalla rinnovata analisi del ciclo che esso si fonda sull’integrazione di alcuni segmenti topici dell’agiografia di San Galgano entro il quadro – che è dominante – dell’esaltazione della Vergine Maria come co-redentrice e regina coeli, in linea con la riflessione del maggiore pensatore cistercense, San Bernardo di Chiaravalle, e dei suoi seguaci. Nella genesi dei dipinti di Montesiepi furono determinanti anche altre spinte – come le laudi mariane nate nell’ambito delle confraternite laicali – e alcune inedite formulazioni iconografiche – è noto da tempo – furono rifiutate dalla committenza, che a breve distanza dal compimento dei dipinti li fece modificare a un altro pittore. Si trattò d’interventi che, secondo quanto si argomenta nel saggio, ebbero proprio la funzione di rendere maggiormente esplicito il significato sotteso al ciclo.//
The moving back of the date of the cycle of mural paintings in the chapel adjoining the round church of San Galgano on Monte Siepi (which we now know were executed by Ambrogio Lorenzetti in 1334-1336) and confirmation of the identity of the chapel’s donor (the Cistercian oblate Ristoro d’Orlando da Selvatella) allow us to reconsider the very nature of the Montesiepi cycle in a new light. Contrary to what has long been assumed, it should not be interpreted in the light of the last will and testament of a layman concerned about his own spiritual destiny, but rather in the context of the patronage (and spirituality) of the Cistercian monks. In addition to the painter’s iconographic and stylistic experimentation, what emerges clearly from this new analysis of the cycle is that it is based on the integration of some important parts of the hagiography of Saint Galgano within the framework – which remains dominant – of the exaltation of the Virgin Mary as co-redeemer and Regina Coeli, therefore in line with the thinking of the leading Cistercian scholar, Saint Bernard of Clairvaux, and his followers. In the creation of the paintings of Montesiepi other influences were also decisive, such as the Marian laude, or sacred songs, that had been adopted within lay confraternities. Certain unprecedented iconographic expressions – it has been known for some time – were rejected by the Cistercian community, which a short time after the completion of the paintings had them modified by another painter. These were interventions – it is argued in the present essay – which had the precise function of making the meaning behind the cycle even more explicit.
Un diagramma della fortuna storica e le metamorfosi dell'immagine del grande artista trecentesco.
Una nuova considerazione del grande dipinto duccesco per l''altar maggiore della cattedrale di Ma... more Una nuova considerazione del grande dipinto duccesco per l''altar maggiore della cattedrale di Massa Marittima e il ruolo esemplare dell'ultima attività di Duccio nella formazione di Ambrogio Lorenzetti.
Il largamente perduto ciclo di affreschi nel chiostro della chiesa di San Francesco a Siena, in a... more Il largamente perduto ciclo di affreschi nel chiostro della chiesa di San Francesco a Siena, in antico l'opera più celebre di Ambrogio Lorenzetti. Agiografia, promozione cultuale da parte dei francescani, ricostruzione e datazione del ciclo, ruolo del novesco Niccolaccio Petroni quale donatore.
Una 'Maestà' dallo spiccato valore civico-politico e le anticanoniche scelte di Ambrogio Lorenzet... more Una 'Maestà' dallo spiccato valore civico-politico e le anticanoniche scelte di Ambrogio Lorenzetti intorno al 1340.
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Papers by Roberto Bartalini
The moving back of the date of the cycle of mural paintings in the chapel adjoining the round church of San Galgano on Monte Siepi (which we now know were executed by Ambrogio Lorenzetti in 1334-1336) and confirmation of the identity of the chapel’s donor (the Cistercian oblate Ristoro d’Orlando da Selvatella) allow us to reconsider the very nature of the Montesiepi cycle in a new light. Contrary to what has long been assumed, it should not be interpreted in the light of the last will and testament of a layman concerned about his own spiritual destiny, but rather in the context of the patronage (and spirituality) of the Cistercian monks. In addition to the painter’s iconographic and stylistic experimentation, what emerges clearly from this new analysis of the cycle is that it is based on the integration of some important parts of the hagiography of Saint Galgano within the framework – which remains dominant – of the exaltation of the Virgin Mary as co-redeemer and Regina Coeli, therefore in line with the thinking of the leading Cistercian scholar, Saint Bernard of Clairvaux, and his followers. In the creation of the paintings of Montesiepi other influences were also decisive, such as the Marian laude, or sacred songs, that had been adopted within lay confraternities. Certain unprecedented iconographic expressions – it has been known for some time – were rejected by the Cistercian community, which a short time after the completion of the paintings had them modified by another painter. These were interventions – it is argued in the present essay – which had the precise function of making the meaning behind the cycle even more explicit.
The moving back of the date of the cycle of mural paintings in the chapel adjoining the round church of San Galgano on Monte Siepi (which we now know were executed by Ambrogio Lorenzetti in 1334-1336) and confirmation of the identity of the chapel’s donor (the Cistercian oblate Ristoro d’Orlando da Selvatella) allow us to reconsider the very nature of the Montesiepi cycle in a new light. Contrary to what has long been assumed, it should not be interpreted in the light of the last will and testament of a layman concerned about his own spiritual destiny, but rather in the context of the patronage (and spirituality) of the Cistercian monks. In addition to the painter’s iconographic and stylistic experimentation, what emerges clearly from this new analysis of the cycle is that it is based on the integration of some important parts of the hagiography of Saint Galgano within the framework – which remains dominant – of the exaltation of the Virgin Mary as co-redeemer and Regina Coeli, therefore in line with the thinking of the leading Cistercian scholar, Saint Bernard of Clairvaux, and his followers. In the creation of the paintings of Montesiepi other influences were also decisive, such as the Marian laude, or sacred songs, that had been adopted within lay confraternities. Certain unprecedented iconographic expressions – it has been known for some time – were rejected by the Cistercian community, which a short time after the completion of the paintings had them modified by another painter. These were interventions – it is argued in the present essay – which had the precise function of making the meaning behind the cycle even more explicit.
Il libro è dedicato all’insieme di questa sfortunata vicenda. E, più in dettaglio, all’analisi del procedere della fabbrica e allo studio del rivestimento lapideo e del corredo di sculture del duomo nuovo. Così facendo, si schiudono di fronte ai nostri occhi pratiche di cantiere innovative, lo speciale status che assunse il capomaestro in quest’impresa, i diversi ruoli dei maestri di pietra.