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Giuseppe RAFFAELLI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 86 (2016)

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Giuseppe RAFFAELLI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 86 (2016) Giuseppe RAFFAELLI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 86 (2016) He was born in Montefiascone in 1671 (Desmas, 2012), but the generalities of his father and mother are ignored, just as his artistic training is still shrouded in shadow, almost certainly held in one of the Roman shops of the last quarter of the seventeenth century, perhaps that of Camillo Rusconi. The first indication of his presence in a sculptural building site dates back to 1696, when he was now twenty-five years old and was to be recognized as an independent master. The intervention is inserted in the context of the decorative works inside the church of S. Maria Maddalena in Rome, where the six niches of the side walls were completed with as many statues, traditionally attributed by the historical guides to Paolo Morelli. A document made known by Luisa Mortari (1987), however, made it clear that Raffaelli was the one to execute the Simplicity : in an initial act of January 4, 1696, the artist undertook to sculpt an «S. Joseph standing up, with the Child in his arms "(Mortari, 1987, p.53), but following the change in the iconographic program, with the choice to represent the virtues of the Sacramental Confession, on November 22nd a new one was drafted. contract with which he was entrusted with the execution of the aforementioned allegory. The sculptor undertook to complete the work within two years for a total compensation of 200 scudi, and already in July 1698 the marble was placed in the third left-hand niche; the work reveals the temperament of an artist now complete, and is characterized by the academic composure of the forms combined with a marked elegance and delicacy of the traits, with a full late-baroque style. At the National Museum of the Palazzo di Venezia (inv. PV.167) the terracotta model of the head of Simplicity is preserved, also attributed over time to Pietro Bracci, Antonio Raggi and François du Quesnoy, and is correctly associated with the sculpture of La Maddalena da Antonia Nava Cellini (1966). Also in 1698, Raffaelli worked in another important building site, started at the Chiesa Nuova on the impulse of Father Sebastiano Resta in anticipation of the upcoming Jubilee year. On that occasion fourteen paintings were commissioned for the nave and the related stucco cornices, modeled by Rusconi: in this context the sculptor realized the framing with angels and putti for the painting by Giuseppe Ghezzi ( Rebecca and Eleazaro ) in the fourth span of the right, work that was paid to him on 23 April and 23 September 1698, and again that with putti for the canvas of Giuseppe Passeri ( Traditio Clavium ) in the third span of the left, work welded on 13 October of the same year (Dunn, 1982). In 1699 Raffaelli was involved in the works directed by Sebastiano Cipriani in the Altieri chapel in S. Maria in Campitelli, intended to house the monuments of Prince Angelo and his wife Vittoria Parabiacchi. Just above the chapel of the latter was placed "a marble putto [...] in which we read the name of the Princess", no longer visible, performed by Raffaelli and for which a payment of 60 scudi was agreed, like those sculpted by his colleagues Alessandro Rondone, Jacopo Antonio Lavaggi and Giuseppe Napolini (Anselmi, 1993). In 1702 he was entrusted with the statue of S. Gervasio Martire in travertine for one of the straight arms of the colonnade of S. Pietro, for which he received 80 scudi on 23 July the following year (Pedroli Bertone, 1987); the figure, magniloquent in the setting of the drapery, shows a certain kindness in the expression of the face, not unlike the tenuous features of Simplicity alla Maddalena. Starting from 1704 Raffaelli entered the ranks of the numerous artists involved in the works of the funerary monument of Pope Alexander VIII, set up on the left of the apse of the Vatican Basilica. Although Cardinal Pietro, nephew of the pontiff who died in 1691, had started the construction as early as 1694, the operations came to life only a few years later, when a life-size model made of wood and plaster was designed by Count Carlo Enrico di San Martino. The first element, sculpted by Angelo de Rossi, to be placed in situ in 1704 was the relief with the Canonization of five saints ; At that time, the life-size stucco figures of the blessing pontiff and the two allegories of Religion and Prudence were also realized. On 26 September of that year Raffaelli received two payments: the first, of 15 scudi, "for haver helped a month to Count San Martino, who made of his own hand the big model of stucco of one of the side statues of the deposit in San Pietro ", and the second, for a much larger sum of 81 scudi and 70 baiocchi," for haver helped in the works of his profession of sculptor to the said Genovese [De Rossi] around the three hinted statues "of the Pope and two allegories (Olszewski, 2004, p.292). On 4 November, Raffaelli was paid 10 scudi to have modeled, always in stucco, the figure of Immortality that had to support the papal coat of arms, made in turn by the stucco artist Giuseppe Lurasca (Olszewski, 2004); the sculpture was not used however in the final version of the monument, which sees the papal arms placed in isolation on the trabeation of the niche that houses the sacellum. In 1706, on the occasion of the removal of the remains of Alexander VIII in St. Peter's, the deposit was discovered in its provisional version, and only then did De Rossi begin to intervene on the marbles and prepare the casts for the bronze casting of the effigy of the pontiff : however, his death, occurred in 1715, abruptly interrupted the work. Substantial new interventions to finally bring the sacellum to completion were promoted by Cardinal Pietro Ottoboni in anticipation of the coming Holy Year. So on March 26, 1723 was allocated a deposit of 80 scudi in favor of Raffaelli - reconfirmed on July 10th of the following year - "for work done and to be done in the two marble statues that are in Chancery» (Olszewski, 2004, p.286, where De Rossi had his studio), that is, the allegorical figures of Religion and Prudence , in which the sculptor had to intervene in small operations, to complete and refine some details. Again, on March 7, 1725, a payment of 20 scudi is recorded for his generosity "works done in the deposit of the Alessandro d'Ottavo SM", probably to be identified with operations related to the final implementation of the various sculptures in S. Peter (Olszewski, 2004, p. 287). 1728 dates back to one of the few information relating to the life of the artist, who in that year appears to live in Piazza dei Cimatori in the parish of San Lorenzo in Damaso (Desmas, 2012), not far from the Chancellery Palace, home of the court of cardinal Ottoboni. This contingency suggests that Raffaelli continued to orbit around the commission of the cardinal and the school of Angelo De Rossi, as would be shown by the last work known to date to him. This is the statue of Temperance destined for the southern vestibule of the atrium of St. Peter, initially commissioned to the sculptor Francesco Moderati, former student of De Rossi. He was paid to start work in August and December 1728, but after that date the scan of the payments in the registers of the Reverenda Fabbrica is interrupted, almost certainly due to the artist's death. Raffaelli then took his place at Moderati, as evidenced by a payment attestation dated 12 February 1730, when the sculptor collected 30 scudi "on behalf of the travertine statue representing Temperance" (Enggass, 1976, 176). On 5 July of the following year the sculpture was finished and "already placed in a niche in the portico of the Vatican basilica", and Raffaelli could collect the last payment of 40 scudi, for a total balance of 400 (176). The sum of the sum, combined with the reduced contribution of Moderati, leads us to consider Temperance as an autonomous and fully autographed work; also from the point of view of style, the figure, underlined by the ample wrapping of the drapery and the delicate accents of expression, is well inscribed in the reduced catalog of the artist and approaches in the aspect to the calm classicism of Simplicity in the church of La Maddalena . The document dated 5 July 1731 is the last attestation relating to the sculptor, and it is around this date that the time of his death is traditionally traced. Sources and Bibl .: F. Titi, Study of Painting, Sculpture and Architecture in the Churches of Rome ... [1674-1763], ed. compared by B. Contardi - S. Romano, Rome 1987, pp. 16, 242, 244; A. Schiavo, Palazzo Altieri , Rome sd [ma 1962], p. 193; Id., The sepulchral monument of Alexander VIII , in Strenna dei Romanisti , 1965, vol. 26, pp. 401-403; A. Nava Cellini, Duquesnoy and Poussin. New contributions , in Paragone , XVII (1966), 195, pp. 30-59; R. Enggass,Early Eighteenth Century Sculpture in Rome , University Park Pennsylvania 1976, pp. 176 s .; S. Romano, Contributions to Giuseppe Passeri , in Research in History of Art , 1977, n. 6, pp. 159-174; M. Dunn, Father Sebastiano Resta and the final phase of the decoration of S. Maria in Vallicella , in The art bulletin , LXIV (1982), pp. 601-622; L. Mortari, S. Mary Magdalene , Rome 1987, pp. 53 s .; M. Pedroli Bertoni, GR , in The Bernini statues of the Colonnade of San Pietro , edited by V.
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