POLITECNICO DI TORINO Repository ISTITUZIONALE

Total Page:16

File Type:pdf, Size:1020Kb

POLITECNICO DI TORINO Repository ISTITUZIONALE POLITECNICO DI TORINO Repository ISTITUZIONALE Designing for territorial revitalization. A diffused art exhibition to foster northwest Italian inner areas Original Designing for territorial revitalization. A diffused art exhibition to foster northwest Italian inner areas / Peruccio, Pier Paolo; Menzardi, Paola; Vrenna, Maurizio. - STAMPA. - (2020), pp. 190-197. Availability: This version is available at: 11583/2846296 since: 2020-09-21T17:44:00Z Publisher: Universidad de Alicante. Escuela Politécnica Superior Published DOI:10.14198/eurau-ALICANTE Terms of use: openAccess This article is made available under terms and conditions as specified in the corresponding bibliographic description in the repository Publisher copyright default_conf_editorial [DA NON USARE] - (Article begins on next page) 07 October 2021 eurau ALICANTE RETROACTIVE RESEARCH IN ARCHITECTURE Editor: Javier Sánchez Merina Alicante University. Spain Editorial Board: Almudena Nolasco Cirugeda María José Pizarro Juanas Alicante University, Spain Istanbul Technical University. Turkey Madrid Polytechnic University. Spain Beatrice-Gabriela Jöger Joaquín Alvado Bañón Meltem Aksoy Ion Mincu University. Romania Alicante University. Spain Istanbul Technical University. Turkey Carla Garrido de Oliveira Joaquín Ibáñez Montoya Maria Luna Nobile Porto University. Portugal Madrid Polytechnic University. Spain. Umeå University. Sweden Clara García Mayor José Parra Martínez Paola Scala Alicante University. Spain Alicante University. Spain University of Naples Federico II. Italy Enrique Nieto Fernández Leticia Serrano Estrada Roberta Amirante Alicante University, Spain Alicante University. Spain University of Naples Federico II. Italy María José Martínez Sánchez Ion Mincu University. Romania Birmingham City University. UK Editor-Proofreader: The front cover image is a collage composed Trevor Garnham of cuttings taken from Final Projects at the Honorary Fellow of Kingston University. UK University of Alicante. The students were the following: Adrián Osorio Graphic Designer: Ramírez, Carlos Bausá Martínez, David Gil Delgado, David Jiménez Iniesta, Federico David Andrés Martín-Pozuelo [dodedata] Tomás Serrano, Jorge Flores Rodríguez, Juan Javier Sánchez Merina Carlos Canales Requena, Lara Fuster Prieto, Laura Mora Vitoria, Mª Ángeles Peñalver email: [email protected] www: eurau.ua.es Izaguirre, Patricia Venegas Serra, Paula Titulación de Arquitectura Vilaplana de Miguel, Rebeca Vidal Salvador, Escuela Politécnca Superior DOI: 10.14198/eurau-ALICANTE Rosana Galián García and Tatiana Poggi. ALICANTE UNIVERSITY ISBN: 978-84-1302-082-2 To learn more about the projects: Carretera San Vicente del Raspeig s/n 03690 D.L.: A 168-2020 https://archivoproyectosarquitectonicos.ua.es San Vicente del Raspeig. Alicante (SPAIN) EURAU ALICANTE / RETROACTIVE RESEARCH 190 191 Designing for Territorial Design for territories considers lands not only as a spatial context but entitled Il Rinascimento di Gaudenzio also as a design object that has to be Ferrari.1 The exhibition also resulted Revitalization. in the development of participatory The use of design methodologies services, the enhancement of local for territorial purposes could lead economies, and the strengthening to innovative products, services, of the relations between districts. Italian inner areas. policies and structures, with the aim The paper analyses the supportive to stimulate new activities and local role of design, with investigations relations. This contribution sheds on emerging design, design for light on the role of design discipline territories and systemic design. It in building and implementing describes the main phases of the methods to support the development project, underlining its outcomes, of a territory. The paper presents an the positive impacts on local actual case study carried out by a communities, its limits and possible group of systemic design researchers future developments. It further from Politecnico di Torino, who suggests possible perspectives for an worked on a multi-layered action evolutionary process in the design plan for the Piedmont Region, in sphere, with distinct guidelines for the north of Italy. For this plan, the 1 2 Peruccio, Pier Paolo + Menzardi, Paola + designers were required to set up Vrenna, Maurizio3 a series of guidelines to improve or activate well founded territorial Key words: 1. Politecnico di Torino, DAD, Turin, Italy. [email protected] policies. The research was carried out Design For Territories, Systemic 2. Politecnico di Torino, DAD, Turin, Italy. [email protected] in the areas of culture, local economy , Inner 3. Politecnico di Torino, DAD, Turin, Italy. [email protected] and tourism promotion through the Areas, Local Development. EURAU ALICANTE / RETROACTIVE RESEARCH 192 SL / DESIGNING FOR TERRITORIAL REVITALIZATION 193 1. Introduction. by the Department of Architecture and application, it is necessarily undergoing design community has come to feel the Design at Politecnico di Torino2 is based a learning phase about methods and for these kinds of issues, which has led necessity to recognize and gather, under artists Leonardo da Vinci and Bramantino on the holistic territorial analysis of an activities from other areas, especially to the delineation of systems theory and (Agosti and Stoppa, 2018). However, The objective of the paper is to inner north western area of Piedmont, the conceptually closer ones. Design systems studies in the second half of the studies that are working on territories. The his work was distinguished by strong present the contributions of design in contaminates – and is contaminated last century. Systemic design implies an literature on this topic is still limited and animation, as shown beyond doubt in his tackling territorial issues, working on of occurring problems, and to identify – every time a new context has to be orientation to advance design practices lacks a substantial theoretical reference most memorable religious works in the new strategies addressed to develop interconnected multi-level strategies that in complex problems. The orientation framework. In spite of this, a relevant chapels in Sacro Monte and the fresco in and strengthen local economies and can be adopted for reaching the desired and the methodology through which this Santa Maria delle Grazie in Varallo Sesia. interconnecting governance policies. change. emerging. The long-planned exhibition became an This is illustrated by the validation process of understanding. As a matter identity based on collaborations and and assessment of theory through the Practitioners are also seeking to of context-based knowledge, where all of Ferrari’s masterpieces, while promoting implementation of a project. Currently, 2. Design toward contribute to this theme with new ideas the involved disciplines are not ranked interaction and the co-design process a wider initiative aimed at fostering the design discipline is undergoing and projects. The beginning of this interest multidisciplinarity: An on a hierarchical scale but rather lie in a cultural tourism and local economies. a transformation in its identity and can be traced back to the end of the ’90s, miscellany of intersections and mutual an internal priority but a necessity Most of the showcased paintings and competencies. The centre of the emerging identity. along with the cultural debate about the deriving from the discipline’s current sculptures were already present on discussion is on how design can pursue transformation of big cities. At that time, role. This role lies in the ability to see all role of mediator (Celaschi, 2017). Thus, the sites, while some of them were lent its original purposes with regards to The design discipline boasts an multiple studies went into more depth these subjects from the top, not with any emerging design and systemic design by other Italian and foreign museums, changes over time, societies and attitudes. established old and elaborate history dominant role, but as the discipline which rarely deploy vertically specialized local churches and prestigious private The capacity to transform reality through from the early twentieth century when of study such as territorial marketing, is able to grasp their connections and abilities; they involve instead enabling collections. The event was made possible better or new solutions may, in fact, it developed as a specialized activity cultural marketing and economy of meanings. "Design is now becoming more capacities aimed at increasing the inter- through the close cooperation between in Europe. At that time, it largely dealt experience. Since then, a radical shift about listening, asking, understanding, operability among several areas of study. several public and private local and various ways of acting, without changing with mass-manufactured products, but has occurred, and the territories once and drafting new possibilities and In this way, new and additional research national stakeholders. It was promoted the original scope. Designers have dealt since then many things have changed considered as the design context are alternative realities" (Muratovski, environments have been integrated with and sustained by the Piedmont Region, with the concept of project (vb., from and design has shifted away from now considered to be the design object 2016), and it is progressively turning Compagnia di San Paolo, Fondazione CRT, Latin "pro-iacere", to throw ahead) from "objects" toward "ways of thinking and (Parente and Sedini, 2017).
Recommended publications
  • BERNARDINO LUINI Catalogo Generale Delle Opere
    CRISTINA QUATTRINI BERNARDINO LUINI Catalogo generale delle opere ALLEMANDI Sommario Abbreviazioni 7 1. Fortune e sfortune di Bernardino Luini 27 2. La questione degli esordi ALPE Archivio dei Luoghi Pii Elemosinieri, Milano, Azienda di Servizi alla Persona «Golgi-Redaelli» e del soggiorno in Veneto AOMMi Archivio dell’Ospedale Maggiore di Milano 35 3. Milano nel secondo decennio APOFMTo Archivio della Curia Provinciale OFM di Torino del Cinquecento ASAB Archivio Storico dell’Accademia di Brera di Milano ASBo Archivio di Stato di Bobbio 61 4. Le grandi commissioni ASCAMi Archivio Storico della Curia Arcivescovile di Milano degli anni 1519-1525 ASCMi Archivio Storico Civico di Milano 77 5. 1525-1532. Gli ultimi anni ASCo Archivio di Stato di Como ASDCo Archivio Storico Diocesano di Como ASMi Archivio di Stato di Milano 89 Tavole ASMLe Archivio di San Magno a Legnano, Milano ASS Archivio Storico del Santuario di Saronno, Varese Le opere ASTi Archivio di Stato del Cantone Ticino, Lugano 125 Dipinti IAMA Istituto di Assistenza Minori e Anziani di Milano Sopr. BSAE Mi Ex Soprintendenza per i Beni storici artistici ed etnoantropologici per le province 413 Dipinti dubbi, irreperibili o espunti di Milano, Bergamo, Como, Lecco, Lodi, Monza e Brianza, Pavia, Sondrio e Varese, 421 Alcune copie da originali perduti ora Soprintendenza Archeologia, belle arti e paesaggio per la città metropolitana di Milano e Soprintendenza Archeologia, belle arti e paesaggio per le province di Como, Lecco, e derivazioni da Bernardino Luini Monza-Brianza, Pavia, Monza e Varese. 429 Disegni 465 Opere perdute f. foglio rip. riprodotto 471 Regesto di Bernardino Luini s.d.
    [Show full text]
  • Sacro Monte Di Varallo
    SACRI MONTI DI PIEMONTE E LOMBARDIA - UNESCO WORLD HERITAGE Briga (CH) SACRO MONTE DI VARALLO Locarno (CH) Surface area: 22 hectares United Nations Sacri Monti del Piemonte Riserva speciale DOMODOSSOLA Educational, Scientific and e della Lombardia Sacro Monte Cultural Organization Iscritti nella lista del Patrimonio di Varallo Lugano (CH) Mondiale nel 2003 Elevation: 455 - 650 metres GHIFFA SS33 Environment: Mountain SS34 Verbania OSSUCCIO SS340 Aosta-Ginevra (CH) VARESE Como Sacro Monte VARALLO ORTA A26 SP229 A9 OROPA A8-A26 A5 SP299 A8 SP144 Borgomanero di Varallo Biella Romagnano SP338 Venezia SP230 A4 PROTECTED AREA Cuorgné Ivrea The Sacro Monte di Varallo is the most important of the SS565 A4-A5 Novara MILANO Valperga pre-alpine Sacro Monte both for its artistic and historical Vercelli Bologna BELMONTE A4 Firenze significance and for its naturalistic make-up, rich in SP460 Roma M. Dallago SP590 A26-A4 A26 autochthonous and exotic plants arranged following the Serralunga Photo SP457 Casale Monferrato patterns of the Italian Renaissance gardens which aimed at CREA TORINO emphasizing the nearby architectural structures. Although Savona Moncalvo Alessandria-Genova the territory of the Reserve has been profoundly altered by man, after years of gradual abandonment, the forest covering has slowly been returning floral elements that Access to the Sacred Mount is free of charge have developed and today accounts for more than 421 HOW TO GET THERE species. Inside the sacred area, the natural environment Note: Access by bus is subject to specific rules and payment has been strongly shaped by man to resemble the typical Info and permits: Municipal Police of Varallo - tel +39 0163 562727 gardens of Renaissance Italy.
    [Show full text]
  • The Sacro Monte of Varallo As a Physical Manifestation of the Spiritual Exercises Ryan Gregg
    The Sacro Monte of Varallo as a Physical Manifestation of the Spiritual Exercises Ryan Gregg Still an active religious institution, the Sacro Monte, or Sa- Despite Longo’s insightful discussion, scholars have failed cred Mountain, of Varallo in Italy’s Piedmont region is the to examine the most significant alteration made at the Sacro culmination of more than four centuries of construction, in- Monte during the sixteenth century, the addition of grilles. To tention, and use. The complex now consists of forty-three chap- aid in the implementation of Borromeo’s plan, gates and grilles els set within a forested park traversed by pathways (Figure were added to all of the chapels, barring a pilgrim from entry 1). Each chapel displays a scene from the life of Jesus com- and restricting his participation in the scene to that of dis- posed of three-dimensional polychromed figure groups, illu- tanced observer. This paper examines the addition of the grilles sionistic frescoes, and assorted props, such as tables, chairs, in terms of how it affected the spatial experience of the viewer and table settings (Figure 2). The created scenes resemble as dictated by Post-Tridentine doctrine. Specifically, it con- tableaux vivants in their lifelikeness, a quality enhanced by siders these barriers in terms of the Spiritual Exercises and the original freedom of a pilgrim to physically enter the chap- what Loyola termed the meditative “composition of place.”4 els and walk through the scenes, becoming, in effect, a par- Beginning with a brief discussion of the origins and early ticipant in the action.
    [Show full text]
  • La Pittura Cinquecentesca Di Bernardino Luini
    Adorazione dei Magi - RUBRICHE Santuario di Saronno Provincia da scoprire La pittura cinquecentesca di Bernardino Luini In questa puntata, Varesefocus presenta Bernardino Luini, nativo della Val Dumentina, che con la sua pittura testimonia come l’arte lombarda, nei primi anni del Cinquecento, si aprì alle novità introdotte da un grande artista come Leonardo. Luini ha lasciato importanti decorazioni a Milano, Lugano e a Saronno, nel Santuario della Madonna dei Miracoli, dove si trova uno splendido ciclo di affreschi dedicati alla vita della Vergine e di Gesù. L’ARTE A MILANO ALL’INIZIO DEL alle opere da lui lasciate nella città. Le più recenti ricerche CINQUECENTO storico-artistiche stanno mettendo in luce le peculiari Tra il 1506 e il 1513 Leonardo soggiornò a Milano per personalità di tali pittori, dal momento che le loro la seconda volta: la sua presenza determinò la testimonianze risultano molto significative nel panorama formazione di una vasta schiera di artisti, venuti a della pittura lombarda fra Quattro e Cinquecento. diretto contatto con lui. Alcuni furono, con molta probabilità, diretti collaboratori Questi pittori sono stati genericamente chiamati di Leonardo e, nelle loro opere, si ispirarono al suo “leonardeschi”; essi non costituirono una vera e propria sfumato ed alla malinconica ed ambigua bellezza delle “scuola” raccolta intorno a Leonardo ma furono sue immagini; altri, invece, recepirono e interpretarono le accomunati dal riferimento al suo linguaggio artistico ed proposte leonardesche, cercando di rinnovare la Anno X - n.2 - VARESEFOCUS 59 Provincia da scoprire tradizione locale grazie ai nuovi influssi ed a personali aggiungono le sugges- Le composizioni di Luini, approfondimenti.
    [Show full text]
  • 5.1 Gaudenzio Ferrari. Christ on His Way to the Praetorimn (Detail). Polychromed Sculpture with Other Media. Varallo, Sacro Monte
    Originalveroffentlichung in: Reframing the Renaissance, Visual Culture in Europe and Latin America 1450-1650, hg. von Claire Farago, Yale University Press, New Haven und London 1995, S. 113-126 und 319-21 5.1 Gaudenzio Ferrari. Christ on his Way to the Praetorimn (detail). Polychromed sculpture with other media. Varallo, Sacro Monte. (Photo: Riserva del Sacro Monte di Varallo.) CHAPTER 5 "Popular" Art in Renaissance Italy: Early Response to the Holy Mountain at Varallo ALESSANDRO NOVA The first Sacro Monte, or Holy Mountain, was founded in the late fifteenth century by the Franciscan Observant Bernardino Caimi. It was established at Varallo (Piedmont), which at that time formed part of the Milanese duchy, and the principal function of the Sacro Monte was to offer an accurate reconstruction of Jerusalem with its environs for those pilgrims who could not travel to the Holy Land. Indeed, an inscription painted over the entrance to Varallo's reproduction of the Holy Sepulchre, recording its comple• tion in 1491, could not have been more explicit: "The Milanese friar Bernardino Caimi designed the sacred places of this mountain, so that those who cannot make the pilgrimage see Jerusalem here."1 The original scheme was fairly modest, but the number of structures built to display the sculptural groups and frescoes representing Christ's life and Passion, as well as the life of the Virgin, increased considerably during the sixteenth century. The Sacro Monte reached its apogee under the guidance of Charles Borromeo and his collaborators, who created a network of Sacn Monti in the region between the Lombard lakes and the Swiss border.
    [Show full text]
  • Mary Magdalene's Conversion in Renaissance Painting And
    Mary Magdalene’s Conversion 175 Chapter 9 Mary Magdalene’s Conversion in Renaissance Painting and Mediaeval Sacred Drama Bram de Klerck Introduction Mary Magdalene’s conversion to Christianity must have been a turning-point of paramount importance in her life. According to many a legendary source, the saint had been notorious for ostentatiously enjoying her youth, her physi- cal beauty and her material wealth. At some point, however, she must have felt the urge to change her ways, to follow Jesus Christ and to dedicate herself to his teaching. The first manifestation of this is often considered to have been her humble and revering behaviour towards Christ when he stayed in the house of a Pharisee called Simon, as described in the Gospel according to St. Luke. A woman, in the Western tradition commonly identified with the Magdalene, entered the house, started weeping remorsefully over Christ’s feet, and subse- quently dried them with her own hair, kissed them and anointed them. If this nameless woman should indeed be identified with Mary Magdalene, this would imply that the latter’s actual conversion had already occurred before the episode in the Pharisee’s house. Surprisingly, this crucial moment in Mary’s life has rarely been narrated in textual sources, nor has it very often been depicted in the visual arts In the present contribution, I will explore the relationship between text and image, in relation to the portrayal of Mary Magdalene in the Late Middle Ages and the Renaissance in the Western World, and more specifically with regards to portrayals of her conversion.
    [Show full text]
  • Leonardo Da Vinci's
    National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
    [Show full text]
  • Performing the Renaissance Body and Mind
    111 PERFORMING THE RENAISSANCE BODY AND MIND: SOMAESTHETIC STYLE AND DEVOTIONAL PRACTICE AT THE SACRO MONTE DI VARALLO Allie Terry-Fritsch Abstract This essay examines the somaesthetic experience of renaissance pilgrims to the Sacro Monte di Varallo, a late fifteenth- century simulation of the Holy Land located in northern Italy. It reconstructs how pilgrims once cultivated their bodies and minds to enhance aesthetic and devotional experience to offer a re-evaluation of artistic style at the site. Built by a team of architects, painters and sculptors at the behest of Franciscan friars, the Sacro Monte di Varallo transformed the mountainous terrain of the Val Sesia into a ‘true representation’ of Bethlehem and Jerusalem. The Holy Land was presented to the pilgrim in a series of interactive spaces housed in independent architectural units, each containing life-sized wooden or terracotta sculptures of Biblical figures adorned with real hair, clothes and shoes, and situated in frescoed narratival environments. Pilgrims were led to each architectural site along a fixed path and encountered the Biblical scenes in a strict sequence that was narrated by a Franciscan friar. If the pilgrim engaged in proper performances of body-mindfulness, the site served as a pilgrimage destination that was equally enriching as ‘the real thing’. The essay questions how the somaesthetics of experience at Varallo served to enfold pilgrims into multi-sensory, immersive scenarios and thereby allowed pilgrims to activate the art and architecture of the Franciscan campus in personalised ways. Through their physical and mental participation in the works, pilgrims actively constructed the means for the art and architecture of the holy mountain to fulfill and even surpass the power of the real Holy Land.
    [Show full text]
  • Bramantino L’Arte Nuova Del Rinascimento Lombardo Museo Cantonale D’Arte, Lugano 28 Settembre 2014 – 11 Gennaio 2015
    LAC Lugano Arte e Cultura Bramantino L’arte nuova del Rinascimento lombardo Museo Cantonale d’Arte, Lugano 28 settembre 2014 – 11 gennaio 2015 a cura di Mauro Natale Conferenza stampa: venerdì 26 settembre 2014, ore 11 Inaugurazione: sabato 27 settembre 2014, ore 17 Comunicato stampa Dal 28 settembre 2014 all’11 gennaio 2015 il Museo Cantonale d’Arte di Lugano presenta Bramantino. L'arte nuova del Rinascimento lombardo, un’importante esposizione dedicata a Bartolomeo Suardi detto il Bramantino (doc. 1480–1530), fra le personalità più emblematiche del Rinascimento nell’Italia settentrionale. La mostra, a cura di Mauro Natale , con la collaborazione di Edoardo Rossetti, ripercorre l'itinerario culturale ed espressivo dell’artista a partire dagli esordi, secondo una sequenza cronologica ragionata e nuova rispetto alle proposte fino ad ora formulate dagli studiosi: dalle prime opere (ad esempio la Madonna con il Bambino del Museum of Fine Arts di Boston) alla collaborazione con l’architetto e pittore Donato Bramante – da cui ha tratto il soprannome con il quale è noto ancora oggi – fino alle ultime opere conosciute tra le quali la Fuga in Egitto custodita in Ticino, nel santuario della Madonna del Sasso a Orselina . Proprio in occasione della mostra, che vede riunirsi eccezionalmente diversi capolavori del Bramantino nella sede del Museo Cantonale d’Arte di Lugano, l’Ufficio dei beni culturali ha deciso di promuovere, in collaborazione con il museo , il restauro di questo dipinto , che costituisce una delle più importanti testimonianze di epoca rinascimentale presenti sul territorio ticinese. Oltre al dipinto di Orselina è possibile ammirare in mostra altri capolavori restaurati per l’occasione tra i quali spicca la Madonna in trono con il Bambino e santi della Galleria degli Uffizi , che si può adesso apprezzare nella sorprendente cromia originale, luminosa e cristallina, restituita dal restauro.
    [Show full text]
  • Gaudenzio E Gli Altri.Pdf
    Città di Vercelli, Settore Cultura, Sport ed Eventi 2 Città di Vercelli Settore Cultura, Sport ed Eventi Gaudenzio e gli altri… Gli artisti della Scuola Pittorica Vercellese e il “Sodoma” nelle raccolte della Biblioteca Civica di Vercelli A cura di Gianfranca Zandarin Servizio Civile Nazionale Vercelli Coordinamento e supervisione: Patrizia Carpo Operatore Locale di Progetto SCN Vercelli 2014 3 A cura di: Gianfranca Zandarin, Servizio Civile Nazionale Vercelli Progettazione, coordinamento e supervisione scientifica: Patrizia Carpo, Operatore Locale di Progetto SCN, Responsabile dell’Ufficio Archivio Storico del Comune di Vercelli, Responsabile della Sezione Manoscritti e Rari e della Catalogazione SBN (libro antico e moderno) della Biblioteca Civica di Vercelli. Realizzazione grafica ed elaborazione immagini: Gianfranca Zandarin In copertina: In alto: Gerolamo Giovenone, Adorazione del Bambino con i santi Pietro Martire, Antonio Abate e Antonio di Padova, particolare. Vercelli, S. Cristoforo, sacrestia. A destra: Gaudenzio Ferrari, Storie della Maddalena, particolare. Vercelli, San Cristoforo, Cappella della Maddalena. 4 Indice Gaudenzio Ferrari p. 5 Eusebio Ferrari p. 14 I Lanino p. 15 Bernardino p. 15 Cesare p. 20 Pietro Francesco p. 20 Gerolamo p. 21 I Giovenone p. 22 Giuseppe il Vecchio p. 22 Gerolamo p. 22 Giuseppe il Giovane p. 26 Giovanni Battista p. 28 Pietro Antonio p. 28 Raffaele p. 29 Gli Oldoni p. 30 Boniforte p. 30 Eleazaro p. 30 Ercole p. 31 Giovanni Antonio Bazzi, il “Sodoma” p. 32 5 Gaudenzio Ferrari (Valduggia 1475/1480 - Milano 1546) 1821 G. BORDIGA, Notizie intorno alle opere di Gaudenzio Ferrari pittore e plastificatore, Milano 1821 (10.O.182). 1835 G. BORDIGA – S. PIANAZZI, Le opere del pittore e plastificatore Gaudenzio Ferrari disegnate ed incise da Silvestro Pianazzi; dirette e descritte da Gaudenzio Bordiga, Milano 1835 (10.P.49).
    [Show full text]
  • State'-' Museums of Berlin. Fo-Ufctlcn
    T 1 ( CoPvt' OF Tr^LOTuk) \)^ ^BMoRfmpvM CN| (ou/MT (g!VT(n (S State’-' Museums of Berlin. fo-UfcTlcN - Ncv/.!Q24-. (see Mftl?GHN FO? RfF, Tc? BANTINGS /ScW Kaiser-Nriedrich-Kuseum, ,N $,h 1 <fefc« &u.ecTto/s.) Berlin C2. Beginning of November 1924. Bear Count Contini, In order to retain in a measure the impression which your magnificent collection has made upon me, I have made a short com­ pilation of my notes which I made during the beautiful days at your home, while standing before the art works. As I know that my opinions on some of your paintings are of a certain value to you I send you herewith a copy of these notes. What a surprise your collections was I have already told you verbally: not only by the number and quality of the master­ pieces, but by their choice and arrangement in your rooms, by the mixture with sculptures and colorful majolicas of the same period and the furnishing of the rooms excellent old furniture also of the A periods. This was a small triumph for me, as I have ever striven for this arrangement and furnishing —as you will know from our K.51.Museum--/ In a certain sense you have created a museum, but haie at the same t ime understood, by the limitation to a certain period— essentially the Renaissance-- to obtain a uniform effect in the decoration of your villa. You have properly excluded the paintings on a gold background, which within the last decades, have ueen so much soyght for by collectors.
    [Show full text]
  • Santa Maria Delle Grazie and the "Last Supper" by Leonardo Da Vinci
    Santa Maria delle Grazie and the "Last Supper" by Leonardo da Vinci In the centre of Milan, there is one of the jewels of the Italian Renaissance: the Basilica of Santa Maria delle Grazie with the adjacent Last Supper by Leonardo da Vinci. Because of the presence of the "Last supper", the basilica of Santa Maria delle Grazie was declared a Unesco World Heritage site. Free admission at the Basilica every day of the week, at the opening hours indicated in the following site: https://legraziemilano.it/la-basilica/gli-orari/ (only in Italian language) The visit to the Last Supper is strictly regulated to preserve the integrity of the painting (25 people at a time, for 15 minutes) and it is necessary to book well in advance at this link (only in Italian language). The ticket is free for people with disabilities and a family member or carer, but reservation is required. Santa Maria delle Grazie, a jewel of the Renaissance The tour starts from the wonderful basilica, built in 1463 and largely modified in less than thirty years, until it became the jewel of the Renaissance that we can see today. The chapel dedicated to the Vergine del Rosario, still existing on the left side of the church, probably constituted the first nucleus of the complex that was commissioned by Vimercati to host an image of the Virgin considered to be miraculous. The convent, originally named after San Domenico, was later dedicated to Santa Maria delle Grazie as a tribute to the symbolic meaning of this chapel. Guininforte Solari, the most qualified and famous architect of that time in Milan, was instructed to carry out the work.
    [Show full text]