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Simone Martini's Guidoriccio Fresco Document generated on 09/25/2021 6:29 a.m. RACAR : Revue d'art canadienne Canadian Art Review Simone Martini’s Guidoriccio Fresco: The Polemic Concerning its Origin Reviewed, and the Fresco Considered as Serving the Military Triumph of a Tuscan Commune Joseph Polzer Volume 14, Number 1-2, 1987 Article abstract Cet article présente un compte rendu de la documentation parue sur la URI: https://id.erudit.org/iderudit/1073451ar controverse qui entoure l’auteur et la date de la fresque de Guidoriccio da DOI: https://doi.org/10.7202/1073451ar Fogliano, au Palazzo Pubblico de Sienne; il examine aussi les problèmes qu’a soulevés la découverte d’une nouvelle fresque sur le même mur. Nous See table of contents confirmons l’exactitude de l’attribution conventionnelle de l’éphigie équestre à Simone Martini, de même que la légitimité de l’identité pour des raisons documentaires et iconographiques. Pour ce qui est de la fresque découverte Publisher(s) récemment (dont la date se situe entre 1310 et 1315), nous réfutons l’assimilation de la « ville » à Giuncario ou Arcidosso. Au cours de l’examen de UAAC-AAUC (University Art Association of Canada | Association d'art des la fresque de Guidoriccio, nous prêtons attention aux marques techniques, aux universités du Canada) comptes rendus du restaurateur, à la relation entre la fresque et Simone Martini et à son style de décoration à l’étampe, ainsi qu’à la présence de ISSN rainures sur la « mappamondo », sur la bordure du bas, et finalement au sens de la bordure de la fresque dans le contexte des oeuvres ultérieures de 0315-9906 (print) Sodoma. En dernier lieu, nous nous concentrons sur la représentation du siège 1918-4778 (digital) de Montemassi, les témoignages que fournissent les chroniques du temps et leur lien avec ce que l’on voit sur la fresque, en particulier la manière dont Explore this journal sont représentés les « battifoli », et la précision topologique de la peinture des objets dans le panorama. Cite this article Polzer, J. (1987). Simone Martini’s Guidoriccio Fresco: The Polemic Concerning its Origin Reviewed, and the Fresco Considered as Serving the Military Triumph of a Tuscan Commune. RACAR : Revue d'art canadienne / Canadian Art Review, 14(1-2), 16–69. https://doi.org/10.7202/1073451ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1987 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Simone Martini’s Guidoriccio Fresco: The Polemic Concerning its Origin Reviewed, and the Fresco Considered as Serving the Military Triumph of a Tuscan Commune JOSEPH POLZER University of Calgary RÉSUMÉ Cet article présente un compte rendu de la documenta­ aux marques techniques, aux comptes rendus du res­ tion parue sur la controverse qui entoure l’auteur et la taurateur, à la relation entre la fresque et Simone Mar­ date de la f resque de Guidoriccio da Fogliano, au Palazzo tini et à son style de décoration à l’étampe, ainsi qu’à la Pubblico de Sienne; il examine aussi les problèmes qu’a présence de rainures sur la « mappamondo », sur la soulevés la découverte d’une nouvelle fresque sur le bordure du bas, et finalement au sens de la bordure de la même mur. Nous confirmons l’exactitude de l’attribu­ fresque dans le contexte des oeuvres ultérieures de So- tion conventionnelle de l’éphigie équestre à Simone doma. En dernier lieu, nous nous concentrons sur la Martini, de même que la légitimité de l’identité pour des représentation du siège de Montemassi, les témoignages raisons documentaires et iconographiques. Pour ce qui que fournissent les chroniques du temps et leur lien avec est de la fresque découverte récemment (dont la date se ce que l’on voit sur la fresque, en particulier la manière situe entre 1310 et 1315), nous réf utons l’assimilation de dont sont représentés les « battifoli ». et la précision la « ville » à Giuncario ou Arcidosso. Au cours de l’exa­ topologique de la peinture des objets dans le panorama. men de la fresque de Guidoriccio, nous prêtons attention One of the rnost celebrated frescoes of the Sienese fresco in question, gracing the Sala del Gonsiglio proto-Renaissance— the equestrian portrait of (later assuming the name of the Sala del Mappa­ Guidoriccio da Fogliano, general of the Sienese mondo) where the city’s legislative body deliber- forces, represented at the siégé of Montemassi, ated, is a living symbol of Siena’s pricle in its past. located in the Palazzo Pubblico in Siena—lias in Their challenge brought to light many lacunae recent years become the subject of heated debate in our knowledge of Siena’s history during the (Fig. 4). The art historians Michael Mallory and proto-Renaissance and triggered a great deal of Gordon Moran afftrmed in print in 1977 that this study focusing on the early décoration of the fresco is not by the hand of Simone Martini, to Palazzo Pubblico and the events surrounding Gui- whom it has been traditionally attributed.1 They doriccio’s presence in Siena. In the wake of their also insisted that the fresco postdates the trecento challenge it was décidée! that the fresco be sub- by centuries and maintain these views to the prés­ jected to a technical examination, carried out in ent.2 Needless to say, their assertions provoked a 1979 by Leonetto Tintori.3 Significantly, Tintori’s great deal of consternation, considering that the examination led to the discovery of traces of another fresco situated directly below it. It was 1 Their views were first published in Paragone, xxvm, 333 uncovered, and restored along with the Guidoriccio (Novernber 1977), 811'1. 2 See, most recentiy, their article in Burlington Magazine (April 1986), 250ff., where additional bibliography can be 3 This technical examination was funded at my request by found. the MacDonald Stewart Foundation of Montreal. 16 R.ACAR / XIV, 1-2 / 1987 fresco, by Giuseppe Gavazzi, who completed this stylistic comparisons corresponded substantially project in 1981. The new fresco represents two to those offered by Bellosi. I underscored the close men standing in front of a modest hill town. It connection in ornamental technique with Simone constitutes without question the most significant Martini’s “certain” frescoes, and I confirmed the contribution of recent years to the known artistic obvious identity of the rider as Guidoriccio da production of the Sienese proto-Renaissance. Fogliano — which Mallory and Moran had Given its proximity to the Guidoriccio, the new doubted8—by documenting that the décoration fresco has itself become a factor in the discussion. on his cloak and the horse’s gualdrappa represents Concurrent with this restoration project, Sienese the Da Fogliano family coat-of-arms. Since these authorities appointed a number of specialists to an articles were written there has been considérable official commission charged with the examination further spéculation. For what this may be worth, of the Guidoriccio problem. Their examination one obvious step that might contribute to the reso­ reaffirmed the traditional view that Simone Mar­ lution of this dispute still remains to be taken: the tini was the painter and resulted in two com- examination of the connection of the Cjuidoriccio plementary articles which appeared early in 1982. fresco with Lippo Vanni’s Battle of the Val di Chiana For his part Luciano Bellosi referred to a number where their respective walls meet in a corner of the of close stylistic comparisons linking the Guidoric­ Sala del Mappamondo (more about this later). I cio fresco to Simone’s certain works.4 The second signalled the need for doing so in a paper pre­ article, by Max Seidel, replete with useful archivai sented in Rome in June 1984 which dealt exclu- source material, focused on the early pictorial sively with the technical data concerning the two représentation in Siena’s Palazzo Pubblico of a frescoes in question.9 I was pointing ahead towards number of towns acquired by Siena during the the Simone Martini congress held in Siena in early trecento. He identified the mountain hamlet March 1985, hoping that by then this examination depicted on the newly discovered fresco as Giun- might hâve been realized. It has not yet taken carico, obtained by the Sienese in 1314.5 This iden­ place. Mallory and Moran’s latest contribution in tification has been questioned by Mallory and the Burlington Magazine of 1986 was accompanied Moran who consider it to be the town of Arcidosso, by Andrew Martindale’s article representing a painted by Simone Martini in the Palazzo Pubblico pro-Simone position which, however, requires in 1331.6 careful scrutiny (see Appendix).10 Unaware of the existence of this official com­ How precisely ought one to deal with the Gwz- mission and of the préparation of these studies, 1 doriccio fresco in the light of the ongoing polemic? published my views on the Guidoriccio fresco in the One must strive to présent one’s case considered Jahrbuch der Berliner Museen of 1983.7 I sought to from multiple vantage points as coherently as pos­ approach the problem of the fresco’s origin and sible. Extraneous issues must be excluded. Neither meaning from a number of diverse vantage the veracity of Seidel’s arguments for identifying points; these sustained Simone’s parentage.
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