Sul Volto Santo di Bocca di Magra Piero Donati The imposing wooden Volto Santo, which has been kept near the mouth of the river Magra since the mid-XVII century, does not originate from the one venerated in Lucca, as it is more ancient. Instead, by rereading Boncompagno da Signa’s Rhetorica Antiqua and thanks to numismatics,…
Monica Baldassarri
Il Volto Santo e la monetazione lucchese nel XIII secolo Monica Baldassarri The mint of Lucca, which had the longest production history in the region, was one of the first mints in the central-northern Italy to introduce an iconographic type on its silver coins (the “grossi”) at the beginning of the thirteenth century. It was…
Clario Di Fabio
La Santa Croce dei Lucchesi a Genova: l’immagine di un Volto Santo perduto Clario Di Fabio This paper deals with the spread of the cult of the Volto Santo in Genoa, within the community of Lucchese silk weavers, which from the 13th century had Santa Croce di Sarzano as its own “national church”. In particular,…
Barbara Baert
Pygmalion and creative enthusiasm* Barbara Baert In this article I examine the concept of enthusiasm through the lens of Publius Ovidius’ (43 BC-17 AD) myth of Pygmalion, where ‘inspiration’ and the ‘god within’ are fundamentally thematised1. Humanism and the Enlightenment see the connection between Pygmalion and enthusiasm as a captivating aesthetic paradigm. During the Renaissance,…
Gemma Zaganelli
Hildebrand critico della scultura cubista. Il caso degli Amanti di Raymond Duchamp-Villon Gemma Zaganelli At the dawn of the twentieth century, the point of view becomes a central issue in the artistic production of painters and sculptors. In particular, the principles of sculpture seem to reflect Adolf von Hildebrand’s theories. In his Das Problem der…
Silvia Giordano
An everlasting experience: the issue of preservation and communication of the ephemerality of performing arts Silvia Giordano The concept of preservation of the “ephemeral” might seem an unsolvable problem, already discussed by several scholars who focused on the theoretical debate, without achieving practical solutions yet. However, the charm of the topic lies precisely in the…
Veronica Sofia Tulli
La Centauromachia di Michelangelo e il sarcofago A 13 est. del Camposanto di Pisa Veronica Sofia Tulli Michelangelo’s Centauromachia is strictly related with ancient art. The cultural background of his first years of activity has been studied by many scholars, who individuated some key-figures of his youth: one of them is Bertoldo di Giovanni. The…
Lara Scanu
Alcune notizie sugli artisti fiorentini presso l’Arciconfraternita di san Giovanni Decollato in Roma e una precisazione per Jacopo Zucchi* Lara Scanu This paper analyzes the role of the artists belonging to the Archconfraternity of San Giovanni Decollato in Rome and how their works have a strong indentity character, referred directly to Florence, the place where…
Riccardo Spinelli
I cistercensi del “Cestello” fiorentino, da Borgo Pinti in San Frediano: le “tre chiese” del nuovo complesso conventuale e i progetti di Gherardo Silvani, Pier Francesco Silvani, Giulio Cerruti Riccardo Spinelli n 1628, according to the will of the Barberini family, the Cistercian friars of San Frediano al “Cestello” in Borgo Pinti exchanged their convent…
Gabriele Fattorini
Antonello e i suoi mondi, di ieri e di oggi. Una monografia esemplare e le mostre di cassetta Gabriele Fattorini Review of Fiorella Sricchia Santoro’s sumptuosly illustrated monograph on Antonello da Messina, the most important Sicilian painter of Italian Quattrocento. Twenty years after the author’s previous monograph on this painter (1986), the present volume features…