Forme del legno. Intagli e tarsie fra Gotico e Rinascimento, a cura di G. Donati e V. E. Genovese, premssa di Massimo Ferretti, Atti del convegno internazionale di studi (Scuola Normale superiore di Pisa, 30-31 ottobre 2010), Pisa, Scuola Normale Superiore di Pisa 2013, pp. 107-128., 2012
Bookmarks Related papers MentionsView impact
Uploads
Papers
about the Sanctuary’s foundation and historical documents, which show a strong presence of Schiavoni, organized from 1476 as an
ethnic confraternity with their own priests, canons, and a hospital for the pilgrims. Having examined the role of bishops such as Francesco
Morosini, Bishop of Poreč, and Giovanni Venieri from Recanati, Archbishop of Ragusa, the author focuses on the architects Marino di
Marco Cedrino and Pietro Amorosi, documented in Loreto between 1470 and 1474 and between 1487 and 1512, respectively. Both were
active as masters at the building site of the Basilica of Loreto and have been traditionally considered as originating from “Dalmatia”.
However, an in-depth analysis of the sources concerning the two masters, including some newly discovered documents, have made it
possible to prove different origins for both: Venetian for Cedrino and Lombard for Amorosi. Notwithstanding these results, Loreto can still
be considered as an “Illyrian” building site: in fact, this sanctuary was one of the major engines of artistic contacts between the two shores
of the Adriatic. These contacts concerned the transport and working of Istrian stone for the church and the apostolic palace, which involved
a great number of architects, stonemasons, sculptors, and ship owners from the mid-15th until the end of the 16th century. In Rovinj, suitable
supervisors and trusted stonemasons were in charge of the first selection and the first working of the stone. For the transport from Rovinj
to Loreto, the architect of the Holy House, Giovanni Boccalini from Carpi (1555-1580) had a specially built ship for transporting wheat,
oil, and other agricultural products of the Holy House to be sold in Istria in exchange for stone, which is a typical entrepreneurial strategy.
confraternity in Loreto and explains the connection between the
legend of the Holy House and the Schiavoni. Images related to
the confraternity and the Illyrian College before and after the
Catholic Reformation are used to explain how the Shrine of the
Holy House was an element of connection between the people of
the Adriatic region.
Gallery of Palazzo Buonaccorsi in Macerata: new interpretation and research perspectives for
the Eighteenth Century in Europe” (Macerata, 21-23 June 2017). In particular, it publishes
the will of the painter Giovanni Anastasi, who died in Macerata in March of 1704 during the
decorative work on the main floor of De Vico palace, one of the most important work of art
before Buonaccorsi palace. The document provides important information about the artist,
his workshop, his relationships with patrons and his working methods, making it possible
to reconsider his figure and mature activity, to whom you can also refer a painting in the
collections of the Civic Museums of Macerata.
come from Romagna, that we can explain as a precise indicator of a taste orientation.
The paper presents some unpublished documents on Lorenzo Lotto able to increase knowledge on the Venetian painter and his works remained in Loreto after his death. Some notes of account allow us to advance new hypotheses about the delivery of the Amici Altarpiece for Jesi, the last altarpiece of the artist. An inventory of the wardrobe of the Apostolic Palace of Loreto, dated 1563, mentions at least seven paintings by Lorenzo Lotto, passed to the sanctuary after the artist's oblation in 1554. In 1580, finally, two "pictures on paper," identified with two cartons of marquetries from Bergamo, were sold to the governor of the Holy House Vincenzo Casali. It is possible to reopen the question of the last period of the Venetian master in Loreto and identify the traces for the dispersion of some of his works.
about the Sanctuary’s foundation and historical documents, which show a strong presence of Schiavoni, organized from 1476 as an
ethnic confraternity with their own priests, canons, and a hospital for the pilgrims. Having examined the role of bishops such as Francesco
Morosini, Bishop of Poreč, and Giovanni Venieri from Recanati, Archbishop of Ragusa, the author focuses on the architects Marino di
Marco Cedrino and Pietro Amorosi, documented in Loreto between 1470 and 1474 and between 1487 and 1512, respectively. Both were
active as masters at the building site of the Basilica of Loreto and have been traditionally considered as originating from “Dalmatia”.
However, an in-depth analysis of the sources concerning the two masters, including some newly discovered documents, have made it
possible to prove different origins for both: Venetian for Cedrino and Lombard for Amorosi. Notwithstanding these results, Loreto can still
be considered as an “Illyrian” building site: in fact, this sanctuary was one of the major engines of artistic contacts between the two shores
of the Adriatic. These contacts concerned the transport and working of Istrian stone for the church and the apostolic palace, which involved
a great number of architects, stonemasons, sculptors, and ship owners from the mid-15th until the end of the 16th century. In Rovinj, suitable
supervisors and trusted stonemasons were in charge of the first selection and the first working of the stone. For the transport from Rovinj
to Loreto, the architect of the Holy House, Giovanni Boccalini from Carpi (1555-1580) had a specially built ship for transporting wheat,
oil, and other agricultural products of the Holy House to be sold in Istria in exchange for stone, which is a typical entrepreneurial strategy.
confraternity in Loreto and explains the connection between the
legend of the Holy House and the Schiavoni. Images related to
the confraternity and the Illyrian College before and after the
Catholic Reformation are used to explain how the Shrine of the
Holy House was an element of connection between the people of
the Adriatic region.
Gallery of Palazzo Buonaccorsi in Macerata: new interpretation and research perspectives for
the Eighteenth Century in Europe” (Macerata, 21-23 June 2017). In particular, it publishes
the will of the painter Giovanni Anastasi, who died in Macerata in March of 1704 during the
decorative work on the main floor of De Vico palace, one of the most important work of art
before Buonaccorsi palace. The document provides important information about the artist,
his workshop, his relationships with patrons and his working methods, making it possible
to reconsider his figure and mature activity, to whom you can also refer a painting in the
collections of the Civic Museums of Macerata.
come from Romagna, that we can explain as a precise indicator of a taste orientation.
The paper presents some unpublished documents on Lorenzo Lotto able to increase knowledge on the Venetian painter and his works remained in Loreto after his death. Some notes of account allow us to advance new hypotheses about the delivery of the Amici Altarpiece for Jesi, the last altarpiece of the artist. An inventory of the wardrobe of the Apostolic Palace of Loreto, dated 1563, mentions at least seven paintings by Lorenzo Lotto, passed to the sanctuary after the artist's oblation in 1554. In 1580, finally, two "pictures on paper," identified with two cartons of marquetries from Bergamo, were sold to the governor of the Holy House Vincenzo Casali. It is possible to reopen the question of the last period of the Venetian master in Loreto and identify the traces for the dispersion of some of his works.