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2010 Elites Mantegna.Pdf 1 © edizioniosiride - 2010 Rovereto - Via Pasqui, 10 tel. 0464 422372 - fax 0464 489854 [email protected] Realizzazione grafica: Osiride - Rovereto Tutti i diritti sono riservati. Non è concessa nessuna duplicazione di quanto pubblicato se non con permesso scritto dell’Editore ISBN: 978-88-7498-122-9 2 ALESSANDRA ZAMPERINI Élites e committenze a Verona. Il recupero dell’antico e la lezione di Mantegna edizioniosiride 3 Il volume esce con il contributo del Dipartimento di Discipline Storiche, Artistiche, Archeologi- che e Geografiche dell’Università degli Studi di Verona Ringraziamenti Un ringraziamento particolare va a Loredana Olivato, per la generosità e la grazia con cui da sempre mi è stata maestra. A lei aggiungo Mario Allegri, Paola Artoni, Giuseppe Barbieri, Paolo Bertelli, Claudio Bismara, Guglielmo Bottari, Pierpaolo Brugnoli, Fabio Coden, Enrico Maria Dal Pozzolo, Francesco Do- nadi, Carmen Flaim, Enrico Maria Guzzo, Hans Eberhardt, Maria Lanari, Monica Molteni, Fran- cesco Monicelli, Sara Moretto, Claudio Pasquetto, Gianni Peretti, Francesca Rossi, Silvino Sal- garo, Arianna Strazieri, Luca Trevisan, Gian Maria Varanini, Mattia Vinco, Daniela Zumiani. Fotografie di Fabio Coden. Le immagini relative agli interni di San Lorenzo, di Sant’Anastasia e della Cattedrale sono pub- blicate per gentile concessione dell’Associazione Chiese Vive di Verona. Legenda delle abbreviazioni utilizzate AAC = Antico Archivio del Comune ACuVr = Archivio della Curia di Verona ASVr = Archivio di Stato di Verona AUR = Antico Ufficio del Registro BCaVr = Biblioteca Capitolare di Verona BCVr = Biblioteca Civica di Verona Comune, Anagrafi = Archivio del Comune, Cancelleria dell’Estimo, Anagrafi Provincia, Anagrafi = Deputazione Provinciale, Antichi Estimi Provvisori, Anagrafi Estimo = Antico Archivio del Comune, Campione dell’estimo SNC = Santi Nazzaro e Celso T = Antico Ufficio del Registro, Testamenti 4 Verona e il valore perenne dell’antico, Loredana Olivato ........................ pag. 7 Le contraddizioni dell’antico ..................................................................... » 15 I presupposti della prima metà del XV secolo .......................................... » 23 L’antico di Mantegna. Correr, San Bernardino e Francesco Benaglio .... » 31 1. Il trittico di Francesco Benaglio a San Bernardino: datazione e iconografia ...................................................................... » 32 2. Le motivazioni dell’antico “mantegnesco” a San Bernardino ........... » 38 Matteo Canato a San Lorenzo. L’antico della pars episcopi ..................... » 41 1. L’arco di San Lorenzo: committenza, funzioni e modelli.................. » 41 2. Le motivazioni dell’antico a San Lorenzo ......................................... » 46 Le cappelle della cattedrale. L’antico dei canonici .................................. » 51 1. Cronologia, committenti e iconografia delle cappelle ....................... » 52 2. Gli artisti delle cappelle .................................................................... » 60 3. Modelli tipologici della cappelle ....................................................... » 66 4. L’antico della cappelle: carattere, fonti e ispirazioni ........................ » 74 5. Il valore dell’antico nelle commissioni dei canonici ......................... » 83 6. Una reazione “all’antica”: il portale del Vescovado.......................... » 94 Santa Anastasia. L’antico dell’aristocrazia laica ....................................... » 99 1. Cronologia, committenti e iconografia delle cappelle ....................... » 99 2. Le fonti formali e l’antico delle cappelle........................................... » 107 3. Il valore dell’antico nelle commissioni dell’élite veronese ............... » 114 4. Un confronto ideologico .................................................................... » 122 5 Gli ordini religiosi. L’antico delle reliquie ................................................ pag. 125 1. La cappella di San Biagio e Falconetto: l’archeologismo e i benedettini ......................................................... » 127 2. Santa Maria in Organo: il classicismo e gli olivetani ....................... » 139 3. Le reliquie di San Procolo: l’antico “veronese” ................................. » 151 La versatilità dell’antico ............................................................................. » 155 1. Antonio Badile (1424/25-ante 1512): l’antico del Comune............. » 155 2. Giovanni Maria Falconetto (1468-1535): l’antico imperiale ........... » 159 Il sepolcro di Ludovico Nogarola. L’antico come distinzione................. » 167 L’antico del Comune .................................................................................. » 175 1. La Loggia del Consiglio: il mito del Buon Governo e la nuova immagine della città ........................................................ » 176 2. La Virtus dei cittadini ....................................................................... » 192 Dopo Cambrai. L’antico della restaurazione ............................................ » 205 1. L’antico come historia ....................................................................... » 205 2. Il monumento Della Torre ................................................................ » 206 Alcune conclusioni ..................................................................................... » 211 Bibliografia.................................................................................................. » 217 Indice dei nomi ........................................................................................... » 265 6 Verona e il valore perenne dell’antico «Trascorsi successivamente un’intera settimana a Verona; è una città di grandi dimensioni, con strade larghe e ben allineate; le case sono molto belle. Andai a vedere per prima cosa le rovine dell’anfiteatro, che venne costruito sotto l’impe- ro di Adriano e che fu poi distrutto dai Galli»1. Alla fine dell’estate del 1792, nell’arco di otto giorni si concludeva il breve soggiorno veronese di Elisabeth Vigée Le Brun. Su questa affascinante figura non vale la pena di soffermarsi oltre, se non rammentandone il ruolo, mantenuto sino a pochi anni prima, di ammiratissima e controversa pittrice alla corte di Francia; e che ora, tuttavia, si trovava a percorreva la penisola in un drammatico, quanto provvidenziale, Grand Tour, onde fuggire ai disordini rivoluzionari di Parigi e a tutte le conseguenze che il suo status avrebbe implicato, risparmiando- si di assistere in prima persona alla caduta di quel mondo dorato, graziosamente e ostinatamente settecentesco, che in patria – ma di lì a poco in tutta Europa – si sarebbe sgretolato per sempre. Fuor di dubbio che il passaggio a Verona di Elisabeth dovesse rappresentare soltanto la breve tappa di un ben più lungo percorso – peraltro in larga parte addolcito dai riconoscimenti tributati con sincero entusiasmo tanto dalle aristo- crazie locali quanto dalle cosmopolite élites incontrate lungo il cammino –, che transitando da Torino, Bologna, Firenze, l’aveva vista infine giungere a Roma, e di qui a Napoli, per poi risalire, toccando nuovamente Roma e Firenze, fino a Parma, a Mantova, poi nel Veneto, quindi Milano e ancora Torino: Verona, in- somma, non era che uno degli intermezzi che avevano costellato il viaggio del- l’artista e che, nondimeno, giustappunto per la rapidità del passaggio, aveva pure sollecitato una selezione accurata dei godimenti da ricercare, così da rendere 1 Le parole di Elisabeth Vigèe Le Brun sono tratte dal diario della pittrice, nella versione pubblicata in Viaggio in Italia di una donna artista. I “Souvenirs” di Elisabeth Vigée Le Brun 1789-1792, a cura di F. Maz- zocca, Milano 2004, p. 179. I diari della pittrice (usciti in tre volumi fra il 1835 e il 1837) sono stati parzial- mente tradotti in italiano nell’edizione E. VIGÉE LE BRUN, Memorie di una ritrattista, a cura di B. Craveri, Milano 1990. In particolare, sui viaggiatori francesi in Italia esiste anche lo specifico contributo di B. GILLES, Le Grand Tour revisité: pour une archéologie du tourisme. Le voyage des Français en Italie (milieu XVIII siècle- début XIX siècle), Roma 2008. 7 LOREDANA OLIVATO oltremodo efficace – nella percezione del divertimento presente e nella notazio- ne della sua memoria futura – quella sosta di pochi momenti. La permanenza a Verona, in realtà, non si era risolta nelle visite ai luoghi appena menzionati. Essa era continuata con alcune chiese della città: così, a San Giorgio, Elisabeth aveva potuto ammirare Paolo Veronese; a Santa Anastasia aveva apprezzato – ma, in fondo, non molto – il gotico proporzionato dell’archi- tettura; a San Zeno, invece, aveva assaporato l’«aspetto misterioso e malinconi- co» che la luce conferiva all’interno del tempio. Bellezze artistiche, queste, alle quali la pittrice non aveva mancato di unire le conversazioni, «termine con cui notoriamente vengono definite in Italia le adunanze», il cui interesse – annotava divertita – stava soprattutto nella «vivacità, nel modo di gesticolare tipicamente italiani»; anche se tanta animazione, alla fine, aveva avuto il suo contrappunto in un alloggio piuttosto rumoroso, nonostante le assicurazioni in contrario della locandiera, che aveva costretto la viaggiatrice a cambiare stanza dopo pochi gior- ni dal suo arrivo. Tuttavia, disguidi a parte, va da sé come, nei primi termini di quella veloce notazione diaristica che abbiamo ripercorso in apertura, fosse eloquentemente, e fin da subito, chiamato in scena uno degli angoli più
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