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Introduzione INTRODUZIONE La chiesa napoletana di Spina Corona, oggi detta l’Incoronata, fu fondata nel corso degli anni sessanta del Trecento dalla regina Giovanna I d’Angiò nell’attuale via Medina, un tempo detta Largo delle Corregge, cioè delle giostre, per essere luogo in cui si svolgevano tornei. Consacrata nel 1373, essa è ciò che resta di un più ampio complesso ospedaliero, dismesso già nel corso del Cinquecento, rispetto al quale la chiesa ha continuato ad avere vita autonoma, con alterne vicende, fino ai nostri giorni. Dopo i lavori di restauro, condotti attraverso numerose campagne a partire dagli anni trenta del Novecento e conclusisi negli anni novanta con la ricollocazione in situ degli affreschi trecenteschi, la chiesa è stata restituita ad una piena fruibilità, ed è diventata un elemento importante del paesaggio del centro cittadino. L’interesse verso di essa ha percorso tutta la storiografia e l’erudizione napoletane a partire dal Cinquecento, in primo luogo perchè divenne, per un’infondata ma duratura tradizione, il luogo simbolo di eventi storici come il matrimonio e/o l’incoronazione della regina con Ludovico di Taranto, suo secondo marito. Inoltre i suoi affreschi, i ‘Sacramenti’ nelle vele della prima campata ed episodi veterotestamentari nelle pareti sottostanti, hanno goduto di una certa fortuna, rappresentando uno dei pochi brani superstiti della stagione pittorica trecentesca napoletana: oltre a costituire un’impresa di una certa estensione, e realizzata in un edificio di fondazione regia, essi furono attribuiti, a partire dal XVI secolo e ancora fino al XIX, allo stesso Giotto a causa dell’errata interpretazione di un passo dell’ Itynerarium siriacum di Petrarca. La notizia fornita da Angelo Di Costanzo per la quale la chiesa avrebbe riutilizzato i locali di un preesistente tribunale, ha finito poi con il condizionare la collocazione cronologica dell’intera vicenda, nonché l’interpretazione degli affreschi, con riflessi anche sulla ricostruzione dell’attività del pittore cui essi sono stati attribuiti, Roberto d’Oderisio. L’obiettivo di questo lavoro è quello di riconsiderare la storia dell’Incoronata nel suo complesso e di gettare nuova luce su un importante capitolo di storia artistica napoletana. Nell’introduzione storiografica ripercorreremo la fortuna critica dell’edificio e porremo le premesse per un inquadramento delle sue vicende costruttive parallelamente a quelle del pittore. Si proporrà, in questo contesto, anche la parte relativa all’Incoronata estratta da uno studio più ampio ed originale sui viaggi napoletani di Johann Anton Ramboux, che mi ha dato l’occasione di effettuare anche una rapida incursione nel tema, ancora poco battuto, della fortuna dei “primitivi” a Napoli nel corso dell’Ottocento. Si procederà alla discussione sulla fondazione del complesso chiesa-ospedale aggiungendo, ad una rilettura dei dati forniti dalla tradizione, nuove acquisizioni documentarie. Alle nuove proposte sulla datazione della vicenda, seguirà la riflessione sulla committenza ed in particolare sul significato che l’impresa rivestì per la sua fondatrice, sia per il particolare momento della sua vita in cui fu condotta, sia in considerazione della speciale reliquia (una spina della corona di Cristo proveniente dal tesoro della Sainte-Chapella di Parigi) di cui fu dotata. Tenteremo poi di ricostruire idealmente l’organizzazione del complesso e le funzioni che i due edifici erano chiamati a svolgere. Per la chiesa il discorso, da un’analisi strutturale e stilistica, si allargherà al più ampio dibattito sulla diffusione nel Medioevo del particolare tipo di pianta a due navate, che l’Incoronata esibisce. Per l’ospedale, non rimanendone 3 alcuna traccia materiale, ci fonderemo soprattutto sulle testimonianze d’archivio, oltre che sulle più generali conoscenze che si hanno su questo particolare tipo di struttura in quei secoli. Seguirà la parte sul ciclo figurativo, in cui analizzeremo dapprima il programma decorativo nel suo complesso in relazione all’intitolazione della chiesa e alla sua reliquia, per dedicare poi una particolare attenzione al ciclo dei ‘Sacramenti’, poiché essi rappresentano il primo esempio noto di trasposizione in pittura monumentale di tale tema. Lo spostamento della cronologia della chiesa di circa venti anni rispetto alla datazione tradizionale, comporterà l’esigenza di allargare la riflessione, relativamente all’analisi stilistica degli affreschi, ad alcuni aspetti della cultura artistica napoletana della seconda metà del Trecento, in particolare ai problemi della circolazione e del riutilizzo dei modelli giotteschi e dell’organizzazione della bottega. Si fissa in tal modo un punto di riferimento fondamentale per la riconsiderazione dell’intero percorso di Roberto d’Oderisio: in questa direzione va anche lo studio sul documento, che proponiamo nella finora inedita versione integrale, con il quale, nel 1382, il pittore venne nominato artista di corte (Appendice). 4 CAPITOLO I La chiesa dell’Incoronata nell’erudizione e nella storiografia napoletane. La fortuna critica di Roberto d’Oderisio Introduzione Uno studio che discuta l’epoca e le circostanze della fondazione della chiesa (fig.I.1), non può prescindere da una riflessione sulle pitture del XIV secolo che in essa ancora si conservano (figg. I.3-4), e di conseguenza sull’artista cui sono stati assegnati, Roberto d’Oderisio. Questi affreschi hanno goduto nel tempo di una grande fortuna, ed ancora oggi rappresentano una delle più importanti testimonianze della stagione pittorica trecentesca a Napoli, oltre a costituire un’impresa di una certa estensione, realizzata per lo più in una chiesa di fondazione regia. La loro attribuzione, cronologia ed interpretazione sono state infatti fortemente condizionate dalla collocazione cronologica e dalla tradizione sulla fondazione dell’edificio. Ma soprattutto, per quanto frammentari, essi rappresentano un fondamentale tassello per la comprensione di un’impresa che, nelle intenzioni della sua fondatrice, si configurava ben più complessa della semplice promozione di un’opera assistenziale. Non da ultimo, rappresentando questo ciclo di affreschi l’opera più prestigiosa e complessa nel catalogo Roberto, per quanto di esso possiamo ricostruire, un loro diverso inquadramento non può non avere conseguenze sul suo intero percorso, nei termini in cui questo è stato tracciato dalla critica. In questa sede si approfondirà del pittore soprattutto la fase decorativa dell’Incoronata, in relazione alla quale si offrirà anche una riflessione sul documento di nomina a familiare del 1382, suggerendo, per il resto del suo percorso precedente e successivo, una proposta di lettura ed un’ipotesi futura di lavoro. La fortuna critica di Roberto di Oderisio è, a differenza di quella della chiesa, piuttosto recente, dato che solo a partire dalla fine dell’Ottocento l’individuazione, da parte di Augelluzzi 1, della sua firma sulla ‘Crocifissione’ di Eboli (fig.), ha permesso di ricostruire un catalogo di opere attorno al 1 G. Augelluzzi, Lettere due sulla chiesa dell’Incoronata e sulla sepoltura di Giovanna I , Napoli 1846, p. 23 e nota 32. 5 suo nome, e soprattutto di far uscire dall’anonimato almeno uno dei seguaci napoletani di Giotto. Il nome di Roberto ha acquistato infatti grande importanza probabilmente proprio in virtù del fatto che, in un contesto dominato da figure di anonimi artefici, quale quello delineatosi dopo la revisione dell’opera di Bernardo De Dominici, la sua rappresentava quasi l’unica presenza documentabile ed accertata, assieme a quella del miniatore Cristoforo Orimina. Nel suo percorso, inoltre, l’Incoronata ha rappresentato il punto centrale di dibattito anche quando, dopo l’intuizione di Cavalcaselle, che per primo notò affinità di linguaggio tra gli affreschi e la tavola di Eboli, si è trattato di stabilire spettanze, cultura e tempi di esecuzione. Verremo quindi ricostruendo parallelamente le vicende critiche della chiesa e del pittore, le condizioni in cui sono maturate le convinzioni che si intende riformulare, e quelle che hanno incoraggiato questa revisione. La lettera di Pietro Summonte e la riflessione storico-artistica nel Cinquecento La lettera di Pietro Summonte a Marcantonio Michiel sullo stato delle arti a Napoli, del 24 marzo 1524, rappresenta il più antico scritto di carattere storico-artistico riguardante l’arte napoletana. Trattandosi di una lettera privata, non ebbe immediata fortuna 2, ma costituisce un testo di notevole 2 Rinvenuta tra le carte di Michiel alla sua morte, se ne fecero delle copie, e pare che Francesco Sansovino nella prima metà del Seicento vi attingesse per la compilazione della sua monumentale miscellanea manoscritta (ottanta volumi) in cui raccolse vari documenti sul Rinascimento italiano. Nel volume settimo ne trascrisse un ampio estratto, e nel volume sessantesimo ne fece inserire una copia quasi integrale, con piccole lacune ed abbreviazioni. Tuttavia l’opera, rimanendo allo stato di manoscritto, non ebbe ampia circolazione. Alla fine del Settecento l’abate Lanzi pubblicò qualche brano della lettera, e nel 1861 Cicogna la ristampò nella sua opera, anche se non in versione integrale ( Vita di Marcantonio Michiel , Venezia 1861, pp. 55-59). Dopo l’edizione critica di Fausto Nicolini ( L’arte napoletana del Rinascimento e la lettera di Pietro Summonte a Marcantonio Michiel , Napoli 1925), si possono segnalare le riflessioni di Ottavio Morisani ( Letteratura artistica a Napoli , Napoli 1958, pp.50-61), Roberto Pane ( L’arte a Napoli nella lettera di Pietro Summonte
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