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Arte 84-85 Testo Per Estratti View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Florence Research PARAGONE Rivista mensile di arte figurativa e letteratura fondata da Roberto Longhi ARTE Anno LX - Terza serie - Numero 84-85 (709-711) Marzo-Maggio 2009 S O M M A R I O Numero dedicato a Anna Forlani Tempesti per il suo ottantesimo compleanno MINA GREGORI: Per Anna Forlani Tempesti LO R E N Z A ME L L I: Perugino, il disegno di figura e lo studio delle mani - EL E N A CA P R E T T I: Appunti su Piero di Cosimo - CR I S T I N A ST E FA N I: Un disegno inedi - to di Camillo Bo c c a c c i n o - BE N E D E T TA BA S E V I: Lelio Orsi, Denis Calvaert e Bartolomeo Cesi: alcuni disegni inediti - IL A R I A RO S S I: Un nuovo Pr o s p e r o Fontana agli Uf f i z i - AL E S S A N D R A GI O VA N N E T T I: Le storie a grisaille della cappella di San Luca alla Santissima An n u n z i a t a - LU C I L L A CO N I G L I E L L O : Ja - copo Ligozzi tra turchi, fantolini e disegni di architetture - NA D I A BA S T O G I: Due ritratti femminili di Santi di Ti t o - FR A N C E S C A EU S E B I: Alcuni disegni del Pomarancio nella Biblioteca Comunale degli Intronati di Si e n a - ST E FA N I A VA- S E T T I: Un disegno per gli affreschi di Be r n a rdino Poccetti in palazzo Ri n u c c i n i - AL E S S A N D R A BA R O N I : A scuola d’incisione da Giulio Parigi: Cantagallina e al - t r i - RO B E RTA SE R R A: Presenze emiliane nella raccolta di disegni di Filippo Ba l - dinucci al Lo u v re - MA RTA PR I V I T E R A: Il capitano e ingegnere Giuseppe Sa n t i - ni, collezionista di disegni e disegnatore - OR N E L L A MATA R R E S E: Un taccuino di viaggio e alcuni disegni di Ti s c h b e i n - VA L E N T I N A RI D O L F I: “Vedute di Roma e diverse”: due taccuini di viaggio di Rodolfo Fa n t u z z i - LA U R A GI A N N O C C O L O: A proposito di Samuele Jesi: tre disegni, una litografia e la storia di un ‘Cane’ Bibliografia di Anna Forlani Te m p e s t i SERVIZISEED I T O R I A LI STEFANIA VASETTI UN DISEGNO PER GLI AFFRESCHI DI BERNARDINO POCCETTI IN PALAZZO RINUCCINI Nel foglio del Metropolitan Museum of Art raffigurante il ‘Martirio di Santa Caterina d’Alessandria’ /tavola 48/, sapienti tratti di penna a inchiostro marrone rendono il dinamismo di una scena in cui tutto avviene con la velocità di un lampo. San- ta Caterina al centro del disegno, irriducibile ad abiurare la fe- de cristiana, pur dopo torture e tormenti, è condannata dal- l’imperatore Massenzio al martirio della ruota dentata, ma è li- berata dal supplizio grazie all’intervento divino che irrompe nella scena sotto forma di raggi luminosi che illuminano la san- ta provocando la distruzione dello strumento di tortura. Con- temporaneamente tre angeli armati colpiscono gli aguzzini che, cadendo, sono massacrati dalla stessa ruota, ormai spaccata. La confusione e lo scompiglio della scena sono resi con maestria dai tratti di penna arruffati, spezzati, più o meno calcati che creano gorghi di ombre e forti contrasti di luce. Questa è, in- fatti, la protagonista, rappresentando la presenza divina e come tale è resa dal pittore che graficamente la fa diventare l’ele- mento più significativo dell’intera scena. Ai tratti a penna si accompagnano estese acquerellature marroni che si contrap- pongono alle zone lasciate chiare. La scena è stata studiata dal pittore dapprima a matita rossa, ancora visibile, e poi, una vol- ta definita, la composizione è stata ripassata a penna e sottopo- sta al committente per l’approvazione finale. Il disegno, infatti, ha tutto l’aspetto di un bozzetto sia per la tecnica, sia per la pre- senza della riquadratura che per le dimensioni del foglio1. POCCETTI IN PALAZZO RINUCCINI 79 Il disegno presenta un’antica attribuzione a Francesco Va n- ni, come rivela la scritta in basso a destra, ma già nel 1958 Phi- lip Poncey l’aveva giustamente riferito a Bernardino Poccetti2. È ora possibile indicare anche il dipinto per il quale il disegno è stato pensato /t a v o l a 49/. Si tratta dell’inedito affresco della cappella privata di palazzo Rinuccini in Borgo Santo Spirito a Firenze, eseguito dal pittore nel 16093. Il piccolo oratorio, de- dicato a Santa Caterina d’Alessandria, è dipinto nella volta e nelle lunette laterali con riquadri, figure allegoriche e motivi de- corativi ornamentali e architettonici. Non è escluso che anche le pareti o almeno parte di esse fossero affrescate perché alcuni saggi hanno messo in luce frammenti di decorazione sulla pa- rete di ingresso. Al centro della volta entro un grande ottagono campeggia la figura del ‘Martirio’, raffigurato come un giovane che reca i segni e le ferite causate dalle torture subite, ma ab- braccia gli strumenti della Passione di Cristo, primo martire cri- stiano, guardando con fiducia verso l’alto, sicuro di una ri- compensa eterna /t a v o l a 5 0 / 4. Lo affiancano due figure femmi- nili allegoriche, di cui una purtroppo perduta (si intravede solo la testa). Quella conservataci raffigura la ‘Verginità’, imperso- nata da una fanciulla che tiene in grembo dei gigli, seduta ac- canto a un unicorno. A destra dell’ottagono è raffigurato un ri- quadro con la ‘Disputa di Santa Caterina di fronte ai dotti’ /t a v o l a 51/ e a sinistra il ‘Martirio della ruota dentata’ /t a v o l a 49/, di cui si è conservato il disegno. Nella lunetta della parete d’ingresso ‘Il corpo della santa è portato via da angeli in volo’ fa riferimento al leggendario episodio della vita di Caterina se- condo cui dopo la decapitazione, dal suo collo, anziché sangue, fuoriuscì latte e il corpo fu portato dagli angeli sul Monte Sinai. Dal luogo della sepoltura sgorgarono latte e olio5. Nella lunetta di fronte all’ingresso sono dipinte altre due figure allegoriche sedute ai lati della finestra che recano gli attributi della santa: quella a destra i gigli e la palma del martirio, quella di sinistra una corona e la spada, allusivi dell’appartenenza di Caterina a una stirpe regale. Tali attributi, insieme alla ruota dentata, si ri- trovano come elemento decorativo nel fregio che corre tutto in- torno alla volta. Nella cappella sono illustrati i momenti cruciali della vita della santa, mentre le figure allegoriche sottolineano in modo 80 STEFANIA VASETTI quasi didattico il significato e la chiave di lettura delle scene: l’e- saltazione del martirio in nome della fede cristiana e l’impor- tanza della verginità e della castità. Temi ricorrenti in periodo controriformistico, molto comuni alla fine del Cinquecento nel- la cultura romana, soprattutto tra gli oratoriani. Non dimenti- chiamo che lo storico Cesare Baronio nel suo Martyrologium R o m a n u m riportò in auge il culto dei primi martiri cristiani. An- che in ambito gesuitico queste tematiche erano molto sentite co- me dimostrano le commissioni nelle chiese di Santo Stefano Rotondo e di San Tommaso di Canterbury, dove il tema preva- lente delle decorazioni è la rappresentazione dei martirii dei primi santi6. Tali raffigurazioni, per la loro drammaticità sono meno frequenti nelle cappelle di palazzi privati. La spiegazione di questa scelta iconografica è da rintracciarsi in una particola- re devozione da parte di uno dei committenti della cappella, Alessandro di Francesco Rinuccini, autore di un poema in ver- si latini in cui è narrata la vita e il martirio della santa. L’opera fu pubblicata con una dedica a Cosimo II nel 1613, ma è proba- bile che già all’epoca della decorazione della cappella il Rinuc- cini stesse pensando alla stesura del testo7. Nell’opera si insiste molto sulle virtù di Santa Caterina, capace di rifiutare l’amore dell’imperatore Massenzio per salvaguardare la sua castità e di sopportare le sofferenze del martirio in nome della fede8. Nella decorazione del soffitto della cappella il Poccetti adottò uno schema decorativo che in quegli anni aveva ripetuto anche in altre commissioni. Si consideri la contemporanea cap- pella di villa Il Boschetto affrescata per gli Strozzi nel 1609 do- ve sono impiegati gli stessi elementi9: riquadri con figure alle- goriche, storie agiografiche, incorniciature architettoniche di- pinte, fasce ornamentali che sottolineano lo sviluppo architet- tonico della volta, putti inseriti tra motivi decorativi e un uso molto limitato della grottesca a favore di elementi iconografici religiosi interpretati in chiave decorativa. L’uso dei festoni di fio- ri con vasi all’antica e il particolare fondo dorato a finto mosai- co si ritrova invece nel soffitto della sala di Bona in palazzo Pitti, anch’esso databile intorno al 160910. Tale tipologia deco- rativa sarà sviluppata nei decenni successivi non tanto dai diretti e più stretti allievi del Poccetti, specializzati nella decorazione a grottesca, ma da artisti più dotati, come Filippo Tarchiani, Ana- POCCETTI IN PALAZZO RINUCCINI 81 stagio Fontebuoni e Michelangelo Cinganelli negli affreschi della villa del Poggio Imperiale e del Casino Mediceo.
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