LICEUS

Alessandro Lusana

Eclectic Painter: Life and work of Domenico Antonio fiorentini

1747-1821

Summary

Fiorentini’s genealogy

Incipit opus: Lepine traces

Incola est

Gust of lagoon

Convergence

Altera majora: subsequent works

In Urbe ille fecit

Denique lapis: a drawing

Home of Fiorentini in Rome

Res eant: lose work

Further brush

Fiorentini’s genealogy

A voice much seen to painting panorama of XVIII century is Domenico Antonio Fiorentini, painter very famous at local countries, but unknow to official critic, alone few time is considered, and alone rare considered to Roman painter of XVIII century; in fact Fiorentini would can be relegated to local panorama, without resounding celebration, but I think that considerer an author, who as other, would be called as smaller, but I think that must be considered like other, at least for activity, very important, which he had during his life, and he worked to Rome at Palace of Quirinale, however beyond attestation of quality, we turn look to genealogy of Fiorentini, at least documents now attest, which, different to birth in Sermoneta of Fiorentini, is Roman, although stable in Sermoneta once centuries. A Johannes Baptista Florentinus, sartus romanus morì nel 1585 in Sermoneta; a very important find, for which I began this search, for rebuilding, other information are emerged from a cadastre now unpublished of Sermoneta, datable to 1567, which report a Charlo fiorentino, resident at Decarcia, that is area, of Trivio, in Sermoneta, gather other same family and at same place. And a home at same area follow home of Charlo fiorentino. Charlo perhaps same mentioned to 1644, among die. Anno Domini die 16 Ottobris. Carolus filuis Marci Fiorentini: same year Anno Domini die 23 Decembris. Angela filia Marci Fiorentini. To 1635, december 27th, die Josef magistri Dominici Florentini, nel 1637; a second, Giuseppe, figlio di Marco Fiorentini die; therefore Anno Domini 1638 die 23 Februari. Johannes Baptista Florentinus; to 1653: Anno Domini 1653 die 16 7mbris. Maria Stephani Fiorentini; to 1656, toghether die both mother and his son: Anno Domini 1656 die 13 Julii. Nicola, et uxor Marci Antonii Fiorentini alias Mascanilli; a wedding: Anno 1631 die 8 Junii: Denunciationibus praemissis tribus diebus festivis continus quorum primus fuit 23 Martij et 26 Aprilis internis solemnio abito est nullus impedimento de tuto ego Vincentius Antiochis Archipresbiter Collegiatae Santae Mariae Sermonetae. Dominus Franciscus Quatrassus et Domina Vittoria Vera ex mea Parochia interrogavit eorusque mutuo consensu abito solemniter per verba de presenti Matrimonio coniunxi. A worker with name Giuseppe Fiorentino to1691: Note of shopping hold Pietro Pantanelli for service in Rocca of Sermoneta; to women who are at Rocca for their pay, to Giuseppe Fiorentino per 35 some di osto condotto in fortezza, per far mangiare due spazzacamini che pulirono i cannoni della fortezza. To 1673 is a baptism: Anno 1673 die 30 Aprilis. Maria Magdalena filia Laurentii fiorentini et Catherina Doni coniux confirmitatis fuit ad supra. Matrina Maria Felix; to September 16th die a daughter Maria figlia di Stefano Fiorentini, to 12th September 1693 die Lorenza Paola: filia Josephi Fiorentini de Sermoneta, Die 5 martii 1693 Filippus Gallus baptizavit in fonte natus die 3 huius ex Josepho Fiorentino et Beatrice Conte coniugibus huius Parochia cui impositus est nome Paulus Francischus Antonius; nel 1665 Felix son a Fiorentini die: Anno Domini 1665 die 24 Decembris. Flexius filios Dominaci de Mattiae de Portio Fiorentini famulus Santi Spiriti etati sue annorum 29 circa in comunione Santa Matris Ecclesiae anima Deo…corpus sepultus in supra dicta Ecclesiae. nel 1669, precisamente il 17 gennaio, viene registrata la morte di un Marco Fiorentino di anni 57; to 1658 is baptized Filippo Giacomo figlio di Lorenzo Fiorentini: Anno Domini 1658 die 16 Julii: Filippus Jacobus filios Laurentii de Fiorentino Incola et Cinthiae Tardone Coniugis huius Parochiae natus 14 eiusdem fuit a me Franciscus Varo Archipresbitero in Ecclesia Santae Mariae Sermonetae Baptizzatus…; other baptize talks: Anno 1673 die 30 Aprilis. Marte filios Dominici Fiorentini et Angela Malatesta coniugis confermatus fuit ut supra: die register talks: Anno Domini die 16 Februari. Josephi Florentinus de Parochia Santi Angeli…sepultus in tumulo Santissimi Societatis Sacramenti, forse un membro della Confraternita. More over: Anno Domini 1711 die 17 Augusti. Constantia filia Josephi Fiorentini uxor Johannes Baptista Capponis…; e nel 1716: Anno Domini 1716, die 3 7bris. Josephi Florentinus de Sermoneta Maritus Beatrisis de Raneco. And: Anno Domini die 14 Februari. Constantia fiorentina. Wife of above mentioned Joseph: Anno Domini 1728 die 19 8bris. Beatrix Conte relicta à quondam Josephi Fiorentino; and: Anno Domini die 25 Aprilis. Paulus Antonius filios Dominici Antonij florentini; and: Anno Domini 1733 die 5 Junii. Dominicus Antonius Fiorentini. Few yers later: Anno Domini 1737 die 11 Aprilis. Maria Cesira Fiorentini. Same year: Anno Domini Constantia Lioterno uxor Francisci Fiorentini: terhefore to 1742: Anno Domini 1742 die 20 Januari. Crescentius Fiorentini. A year later: Anno Domini die 23 Februari. Franciscus Fiorentini. A second Francis die to 1748: Anno Domini 1748 die 9 7bris. Franciscus Fiorentini maritus Magdalena Cupole. To 1757: Anno Domini die 21 9bris. Philippus Fiorentini; and two day later: Anno Domini die 23 9bris. Catharina Fiorentini Virgo. At same year birth of Domenico Fiorentini: Anno Domini 1747 die primo 26 Julii. Elisabeth filia Joseph Fiorentini. To 1755: Anno Domini 1755 die 9 Januari. Anna Maria filia Alexandri Fiorentini. Later four years father: Anno Domini 1759 die 20 8bris. Alexander Fiorentini; and his birth: Anno Domini 1747 die 4 9mbris Dominicus Annorum Thomas Franciscus filios Alexandri Fiorentini et Anne Camillae Valle de Sermoneta huius Parochiae Coniugium natus hodie, est rite baptizatus pater reverendus domino canonico Buccia Matrina fuit Domina Laurentia Pitij.

Lepine traces

First declaration painting of Domenico Fiorentini is a timid suggest by a modest Saint Michael Archangel[1], who accompanying a saint at ex College of Saint Pietro and Paolo to Sezze, not distant from Sermoneta, where Fiorentini conform his painting nature and so showing origin of his master, that is at store of Carlo Antonio Incoronati, painter during 60s of XVIII century, to Cori, next Sermoneta, and precisely to church of Saint Mary of Piety, for which Fiorentini not seems be a collaborator, perhaps Domenico gone in this store after this year, because age of Fiorentini hold this theory. For these hypothesis we can think that Fiorentini has formed at local panorama, although this culture just is next Roman XVII century, at least we can understand by strong form of cloth used by Incoronati, who seen to mannerism of Roman Cesare Nebbia and to cloth of Guido Reni, dense for matter but delicacy for gravity, style which master of Fiorentini took and translated both in Cori, for Saint Giovanni Napusceno, at sacristy of same church and, above all, for serious tunic of Saint of Sezze, where seems pregnant of heavy colour of brush from Roman XVII century; a date that Fiorentini take with veracious stylistical share for more work. For altarpiece of Sezze shows a uncertain sign, almost a scheme for anatomy which not exceeds the anatomical rigor for share style of his master, but expressing just, at least for face, few particularity typologies that will connote it following time, overall result denotes a distinction between master and pupil, sign of strong personality of Fiorentini, who search a autonomy way, taking stylistical phase of master but with strong distinction. However trace is at human spirit, as that painter, then Fiorentini not object to rule, first commission, the painting for chapel of most Saint Rosary, at cathedral of Sermoneta, seems hold style of Incoronati; cloth of angels who follow Bernini, certainly seen in Eternal City, but suggested by cultural influence of master, which emerges almost with arrogance, for cloth of angels to side, cloth untidy and style approximate, much swaying, joined by influence of Incoronati; therefore a translation with spirit of Bernini of a painting local alone, which a very new for Sermoneta, although obsolete for time of ideation, probably for 70s of XVIII century; but is present Giovanni from San Giovanni too, who painted few history for church of Saints Four Crowed, Rome, from Fiorentini took few starting point for composition, as steps and climb of female figure; sign of very Roman frequentation of Fiorentini, who joins, for this painting cycle, decorative emphasis of Baroque, to this time turned towards other stylistical horizon. Whole the style not excites enthusiasm; style seems fall for anatomy more precarious both angel and human, the face is much schematic, but shows a grow very important of Fiorentini in comparison with Saint Michele Arcangelo above seen, and moreover shows same style, that is very next to Oratorio of Battenti; cupola, the cloth take style of his master, with more intense cloth in comparison with his master and taking much reference of Manner during pontifical Sisto V pope. Hypothetic date goes to me for formal style, which follows specular anatomical form and face of Saint Michele Arcangelo, same static definition with style approximate, which shows young age of painter. Autograph of second his commission has gave by signature, which shows painter of Battenti’s cycle, at same cathedral of Sermoneta, where form seems thicken at cloth, but not renounces his style which is among posture of XVII century and nice Manner. Two major histories, on the side of Oratory, then Last dinner and Washing of feet are specular stylistical; cloth always dense, shows the next time for two painting. Style shows clear formal grow, the face are better, in comparison with initial schematic of saint Rosary chapel, at last for side angels, but for cloth is same, which now for this great format takes connotes of magniloquence, and adopting date for face which are distant from canons very easy, for face better worked and almost with characterize; a look to Christ of XV century of Pietro Colaberti, on the vault church of Santo Michele Arcangelo, which Fiorentini took for his Christ of Last dinner, who Fiorentini seen and took for face and hair, for eyes and posture; while for Giuda at first plane, Domenico not escape from caricature of Leonardo or Pier Leone Ghezzi, calling help anomalies of face for to sharpen ugliness of treacherous. For niche back Christ, an composite tool for presence if Christ, sees to other author of XV century, this is Desiderio da Subiaco, who worked, during 90s of XV century, to Camerae Pinctae to Caetani castle of Sermoneta, as Virgin and Child and Saints of Jerome Siciolante. The specular Washing of feet not suggest other reference or citation, but follows style of previous history, large cloth even dense, and I think same drawing too, adopting now for figures of Apostle, moreover the face seems same. For Baptism of Christ, always Roman XVII century emerges with clear prevalence; few Baptism as that of Orazio Gentileschi, at church of Saint Mary of Peace, Rome, and Ludovico Cigoli at San Giacomo to Corso, Rome, or same subject of Carlo Maratta, now to church of Saint Mary of Angels, but just at Vatican, which have given few begin point for this Baptism, and for natural stone, which not equal that of Orazio but shows presence of natural. Saint Bartolomeo take directly from Guido Reni and Schiavoni of Michelangelo, but reinforce the anatomy, although now lacks of definition, but it shows a resumption which Fiorentini knew to young age, and that follow will change still, as motives of plastic of XVII century, beyond of Michelangiosque, which would can suggest the physical plastic, sufficient is think plastic body of mythological Abduction of Proserpina, at Galleria Borghese Rome, or Enea and Anchise at same Gallery, which Fiorentini would can took and has used for his Saint. But polyvalence of Roman catalogue emerges and for posture of Saint who seems equals of Saint James of Jacopo Sansovino, at church of Saint Mary of Monserrato, Rome. Therefore the monumental, Latin meaning, and universal Sistine chapel, would can suggest the posture of Saint Blaise to contrary, from energetic posture of Prophetic of Michael Angel. Saint Francis instead is took from same subject of Luca Giordano at Caetani castle of Sermoneta, for Crucifixion, on wall bottom, Siciolante is exemple od Reform Catholic spirit late XVI century, above all for Crucifixion Massimi, at Saint John in Laterano, Rome. Virgin, on the vault, ultimately, follows for posture Assumption of Virgin of Annibale Carracci, at church of Saint Mary of People, Rome, which to Fiorentini would can opportune, while for face of Virgin repeated that of Rosary chapel at cathedral of Saint Mary in Sermoneta. The plan of all decorative cycle, isn’t of Fiorentini, but Alessandro Melelli, other painter just worked at same room between 1625-1630, at last for a number of pay to this painter, who be born in Cori, near country to Sermoneta, to 1580, called by a biographical page painter not mediocre(pictor no mediocris), and in Cori died to 1650, Melelli had painted a first cycle at this chapel, whose now we have a alone fragment, below to Crucifixion, and a summary description of this painting to 1694, which describes few subject now present at cycle of Fiorentini, and few architecture painting.

Incola est

The two young commissions of Fiorentini join the customer and pressed attention toward his painting; therefore commission that come to Fiorentini was very, in fact other young painting, at last for style, a commission perhaps of Battenti Company at church of Saint Michael Archangel to Sermoneta, and shows a Fiorentini still unsure for style, but from face of figure Fiorentini is very manifest[2]; therefore Oratory brother at Saint Michael Archangel, pressed this second commission for Fiorentini; now Fiorentini shows his trace with din of piety, taking with less emotional and pictorial transport, spiritual haemorrhagic of Fra Vincenzo da Bassiano, translating the pathetic resignation, that seems taking form Crucifix of Roman church Ara Coeli; plastic form school of Incoronati resolves the cloth of Baptist, so translating trace of XVII century which still take much painters as Domenico, who and here followed his master of Cori. The style emerges from few connotes alone of Fiorentini, stop concentre attention to precarious work, which shows begin to formal work of younger painter; the uncertain face, for schematic exit, who follows with autonomy the first manner of Fiorentini to Battenti room, but there still keep among formal indecision both his and from Melelli. However while style of painting shows inherence to strictly report to Fiorentini, the face of Saint Joh Baptist, which follows that of first teen on the vault of Rosary chapel; hair shaved and fluent, is similar to third teen of same painting, the mouth is very next to Saint Leonard, at Oratory of Battenti, at cathedral of Saint Mary; the cloth of same Baptist at Baptism report to matrix of cloth Fiorentini’s, just used for headgear of Saint Elisabeth, at Holy Family, at same Oratory, this is a brushstroke which suggest summary material of cloth, with serious share. The date of painting is uncertain, for mutism of paper, but for style we can give a date; for this painting, among two work sure, therefore, this is first work of altarpiece of Sezze Romano and Oratory of Battenti; style change and makes worse in respect to first work to Sezze, but here perhaps Fiorentini last influence of his master Incoronati, for search his pictorial way; therefore begin formal grow, which press to take style just adopted for Oratory Battenti; same Crucifixion is an exemple, although still with external influence.

Gust of lagoon

La stylistical nature of Fiorentini emerges by versatile for cultural way followed and manifest for work now we have knew; diverse styles seem have influenced Domenico during his pictorial life, from Manner as for as XVII century, as precisely form of XVII century, an empiricism and adjustment to will of costumer, who we believe alone for material and pictorial subject, then use, dynamic not new for homo pictor, in fact other painter as Giacinto Brandi and Giovanni Lanfranco, and Girolamo Siciolante, therefore adhesion, very personal, of Fiorentini to abovementioned cultural reference is a principle of selection determined only will of painter; two work of Fiorentini show the strong influence to Domenico of Neovenetismo, that is a pictorial way Venetian directly, translated to Rome around 90s of XVI century, and determined by work of Sebastiano del Piombo and Girolamo Muziano, who join a very consideration above all chromatic. Perhaps and the painting of Tiziano at Palazzo Farnese in Rome, which, together to cultural education alone Venetian, take from above painters mentioned, give a strong contribute for a dense colour for few Roman painting late XVI century, as altarpiece of Scipione Pulzone, at Roman church San Silvestro al Quirinale, until to thirty years of XVII century, for exemple painting of Cavalier d’Arpino, at Roman church of Saint Mary of Rosary, although these altarpiece attest a phase decline of this phenomenon. But Fiorentini for his speculative nature of painter, took and how can give a painting of Venetian style; two painting are document of this stylistical phase, a Virgin with child and saint martyrdom, at cathedral of Saint Mary in Sermoneta, and a second painting to Jesuitical college in Sezze, respective biograph of this painting are till unknow; therefore is alone the style of Fiorentini that attest is presence and his style. Truth style diverges with cleanness, but the colour becomes a medium for adoption of style above mentioned[3]; dense colour ochre, very covering, with very monotony, the overall style, and distinct flash of Virgin, at painting of Sermoneta, show the clean next to Venetian style; and for a total comprehension metamorphose of Fiorentini is sufficient confront with the decoration of Oratory of Battenti, in Sermoneta and chapel of Most Saint Rosary, next same cathedral of Sermoneta; the colour of Michelangelo and Alberti press consideration that are very distant from colours adopted by Fiorentini. The second painting here considered is as just told at college of Jesuitical to Sezze; where emerge same style of colours, very next to painting of Sermoneta, but with a brushstroke less intense, although reportable; but emerges few digression as a careful formal analysis, therefore emerges with major cleanness the drawing, that now seems reconcile overall; while for painting of Sermoneta was a mere technical support, therefore a new consideration which Fiorentini gives to his venetian phase, that Domenico take, as stylistical date, but personalize and uses for aim for painting, for that is present and few ancient reference, the posture of figure remembers few ancient fragment, first approach for every painters and sculpture, and for every architect, which was valid for humanae litterae, as exemple for mechanical study; therefore bare landscape, suggest his present with rare lines, but shows that phase of landscape of Michelangelo very less of landscape, is finish and for contribution of Venetian matrix and of Annibale Carracci, lunette Aldobrandini. For this colours emerges and a Saint Less James, form church of Sermoneta Saint Michael Archangel, and now at same cathedral; the overall style seems at transfer phase among Madonna with child and Martyrdom, and painting at Jesuitical college; pictorial style shows dense brushstroke, that seems pass over the objectivity of figuration, for a borderline very tighten nature of colour; colour of cloth shows few reference with season of Manner of Fiorentini, but with intense for heavy brushstroke.

Convergence

The presence of Fiorentini at cathedral of Saint Mary Sermoneta continues; versatile nature of painter emerge for dim pictorial suggest from take the syllabic system for identification of this painter. At an homonymy chapel at cathedral Saint Mary, a Madeleine translates style of XVII century of Fiorentini; in fact we aren’t astonish that a painter is unknow although in a small town as Sermoneta, as case of this painting; changeable nature of Fiorentini is a date certain for his catalogue, that takes among more pictorial styles, which Rome shows to painters who searching commission, and overall pictorial canons for propose with very enthusiasm to small town, where costumer was less selective. Madeleine shows directly style of Fiorentini; fluid hair repeat that of few portrait, painting by store of Fiorentini at a freeze at Palazzo de Marchis, Sermoneta, foot that licks world remember that of teen on the vault of Most Saint Rosary at same cathedral; eyes report that of Saint Domenico at altarpiece of Most Saint Rosary at church of Saint Michael Archangel of Sermoneta, and neck of Madeleine report directly that of Virgin on the vault of Oratory of Battenti, long fingers of Madeleine translated those of Saint Domenico, at altarpiece at Museum Diocesan of Sermoneta, and finally cloth is dense as that of figures at arch access to Battenti chapel at church of Saint Michaele Archangel, and cloth very next to Giuda, at Last dinner, at same Oratory. Style shows reference of colour typical of Emilia, but from Venetian, which Fiorentini took from style of Guercino, in Rome, from work of Guercino during papacy of Gregorio XV, as Saint Margherita, at Roman church of Saint Pietro in Vincoli, or Annibale Carracci at Roman church of Saint Rose, or pupils of Guercino as Girolamo Troppa, or Mola, reference which Fiorentini could took and used with large and epidermic brushstroke, with background took from Gerard von Honsthorst, called Gherardo delle Notti, for exemple altarpiece at Roman church of Santa della Scala, and Derision of Christ, at Roman church of Santa Maria della Concezione.

Res minora: marginal works

Other version of Fiorentini are two Angels at church of San Michele Arcangelo in Sermoneta, which show after time respect to a Santa Cecilia, and which shows a youth of style still dense and flesh after Venetian phase: marked eyebrow and eyes as mouth see those of Virgin at Sacro Cuore di Maria[4] and not forgotten these of Madonna Child and Saint Martyrdom, at cathedral of Sermoneta, and these of Virgin an the vault of Oratory of Battenti, and hair takes of Christ at same altarpiece, while nose very evident and eyes have took from that of child at left of San Carlo Borromeo, at Oratory above mentioned, for posture Fiorentini take that of his first work at altarpiece mentioned(Fig.1); in fact here Fiorentini keeps, for his style, adhesion to XVI century, for dense brushstroke with formal line. Time of this work seems that Fiorentini takes form a graphic past, this is marked use of line, just used for Virgin, Child and saint Martyrdom, above mentioned, in fact anatomical graphic much marked shows an opportune retrospective; shadow and light very suffused, but present, suggest flesh passage which compensate physical representation, but uses and a variegate matrix of Rubens, without result of Veronese, as at three altarpieces at Roman church of Vallicella, but keeping equal spirit with to light subject. Other children’s work of Fiorentini emerges for one three child at church of San Michele Arcangelo in Sermoneta; face takes from two child at altarpiece worked with his master(Fig.1), style of face of child takes same easy schematic; line which join nose with eyebrow sees to face of Virgin at altarpiece with Virgin, Child and Saint Martyrdom, moreover posture is same that of second child at altarpiece of Sezze, and same strength, compact hair report to of child at altarpiece of Santa Maria above mentioned, as eyes suggest style of Fiorentini, and very next to an ideal portrait at freeze at Palazzo de Marchis in Sermoneta, and mouth anticipate that of Virgin at Sacro Cuore di Maria. The style of Fiorentini sees to past and present therefore among own and other people’s; this is Child certainly take from his memory, while for Madeleine remember how Guido Reni in somewhere, this is ecstatic Madeleines of Reni alone spiritual formally determined by spirit of Catholic Reform.

Altera majora: subsequent works

The catalogue of Fiorentini remembers and commission with relevance past to youth decoration at Oratory, that attests the continuous pictorial of Fiorentini for other phase of his activity. An inventory of Palazzo de Marchis, in Sermoneta, attests presence of two freezes, to up storey, whose now one alone is present, and keeps Mythological histories and Historical, document tells: plane of brick stick with freeze of more painting…; for identification of room which keeps this freeze helps subsequent write, which tells; ceiling all decorated with frame painting with very bloom, and background with child…; from we understand model of ceiling still present at this palace. Painting busts at freeze of anonymous which are adherent to histories and female figure. Importance for this context painting emerges from whole work painting of Fiorentini, who probably has a valid collaboration few collaborators, at least for style very divergent among subject painting, as horses: Scene of hunt seems to show a note of Pisanello, for preference graphic work instead colour, dog next not seems to lose formal character jus used by colleague, the chivalry is more presumable than visible, anatomical short suggest, for right lines but without human conformation. Few remarkable stylistical note emerges from Poseidon, who instead shows a style very precise, although with few fall, but for figure of god not compromises final exit; but repeats well equine impression that this collaborator uses for other scene of battle; in fact formal definition is analytical and for zoological nature, how for sea god, and so not deny his nature of engraver of figure, for exemple the muscle of same god, while remains is for other painter, more summary for anatomy, and is very next to female figures to side, equal arranged for anatomy. The Scene of Battle is better for anatomy and for while stylistical nature; work join for his style, anatomical translation of horses is remarkable than other, and dramatic battle is very well; author is same of Poseidon; same definite line and repeats same posture of horse to wright of Poseidon, therefore uses same drawing; face of lion is same than Domenico has used for lion of Cibele, Palazzo Caetani. Rome, landscape take canons late XVI century of Bril, presents to Palazzo Caetani, rarefied physical present shows next and form of leaf manifests origin; however subject sees to Battles of Filippo Cortese, which certainly have given few indication as the Bambocciate, for scene of ambush. Other collaborators work to remaining scene, among that of Abduction of Europa, worked on same scares stylistical nature and with pictorial fall, which are same of teen at scene with Hunt scene, brushstroke is very summary and anatomy is very precarious, hair is same compact. Same collaborator of Abduction of Europe is author of Unknow subject with fountain who shows same precarious anatomy of female figure on the side, long arm of figure to left, and breast same figure translates same formal peculiarities; face summaries are same of Abduction of Europe. Natural phase of ideation for a painting, which select with rigorous discrimination material, and graphic, necessary for translation of whole pictorial, which emerges from unique drawing of Fiorentini, which documents a ideation of a fountain, with horses which have favoured ideation for posture of fourth horses on the scene of freeze above mentioned, who keep, for pictorial translation same tension of muscle insert to graphic work, while fountain is a Baroque ideation. Bye from Citerea Island, emerges form temple as architectonical exemple that can remember few exemplary of rational representation that report directly to Poseidon; contrast among line of stile, this is columns, and the hull of board, very summary painting, shows present of few collaborators, active to various particular at this painting. Tension of horses is opportune and for other Scene of battle, that recall the direct intervention of other simil scene; lances and horses take style of precedent, which not seems will desist from his style, tails of cotton of horses and face sharp. Last scene report to a third Scene of battle, which shows two different hands, first of collaborator of precedent Battle, for precisely of ruined wall to wright, as nature that shows same precisely hand, while second collaborator work on architecture and anatomy, very summaries. Busts, unknown are perhaps a homage to ancestor of owner, now unknow, whose isn’t any portrait, therefore we can think that these are devised directly and alone from Fiorentini, this pictorial practical hold hypothesis that customer family was important in Sermoneta, but he isn’t noble, for lack of precedent portraits, which have guarantee a better study for face. Customer would can identify with Impaccianti family, remarkable of Sermoneta and active for administration of town during XVI century, and at an inventory are tenant of this Palace at 1744. Style however attest an other schematic canon of ideal portrait; likeness among face is very specular, and shows a worked alone imaginary, definition falls; large brushstrokes which try definition a face with adhesion to a repeated typology; with summary consideration of anatomy, with fall of brushstroke among windows and light. We have and notice of second freeze, at a second room of noble plane, whose now is present alone a citation an inventory above mentioned. Remains instead, with strong stylistical trace, nature of Fiorentini for female figure, which shows a connotation both for face and anatomical directly report to Domenico, the face report to Blissfull Tommaso form Cori, for eyes and mouth and plump of face. Female figures certainly not exalts for style, anatomical falls and precarious work, but it is other document of activity of Domenico. A second commission facilitate a concession of Fiorentini Roman sight[5]; customer is a family of Sermoneta this is Razza family, who could see few altarpiece and therefore commission this painting at his palace with Roman sight; originally this room was representation room, the sight of Quirinale falls clear for style and for architectonical translation, but shows few characteristic of Fiorentini as two horses of Dioscuri, which remember horses of Pluton and of Scene of battle; face of female on the left side attest more style of Domenico, because reportable to few face of female same freeze; while an homage that certainly Paolo Uccello would manifest is prospective of Via Pia, now Via XX Settembre; suggest deep which adopt a geometrical criterion than inherent to reality. Decoration, on the vault of this room, manifests a spirit as professional botanic, who now sees to Roman XVII century, as Mario de Fiori, or to blooms of Piero Bonzi, called Gobbo dei Carracci; therefore a prove of formal finesse, that attests how Fiorentini was polyvalent for pictorial work. For sight of San Giovanni in Laterano, besides condition very precarious seems modified the overall style, the right definition begin with architectonical and perspectival rigour, side of Roman Basilica, emerges for his geometrical definition and completeness, but falls for second plane with homes back, after Coliseum, definite for summary form; but and a second painting of Domenico is at Palazzo Razza, cover by rain and other damn; a Virgin with Child and Saint Joseph, which attests a phase of Fiorentini who is now very next to Siciolante[6]; face of Virgin follows that of first altarpiece of Siciolante, now at castle Caetani; face is very next, long fingers are very specular to Virgin of Siciolante, Child not lost occasion for to attest his narrow parent with Saint John Baptist of Siciolante; silk cloth of sleeve of Virgin of Siciolante suggests dressmaker’s for that of Virgin Fiorentini’s; while Saint Joseph, to left, manifests next face with his colleague at altarpiece with Virgin of Most Saint Rosary early by this painting; a tangency of Sermoneta that manifests as Fiorentini seen both past of XVII century but XVI century; a date for important that we must consider is customer, determining for choice of models, that have prefer a note of Siciolante. Other commission in Sermoneta is dated 1799, an altarpiece for a Crucifixion, just at crypt of same church, but now at first floor,, that manifests a connotation with Siciolante, and precisely with a Piety just Papazzurri chapel but now to Poznam(Poland), but there present until 1821, and that Fiorentini, resident to Rome from 1768, could see; therefore lay Virgin same Siciolante and adverse party Saint John Baptist. Overall result, for cloth emerges for seam as tailor of luxury, while anatomy are still precarious.

In Urbe ille fecit

At 1768 Domenico was to Rome, therefore finish apprenticeship he searched, as use then, a centre for to work, and seems that result is positive at least for commission to College German Hungarian to Rome, for this commission Fiorentini deep feels still of cloth his master, but better for definition and remember still Oratory of Battenti, the cloth of Apostles is very next to this painting, as cloth of Virgin on the vault same Oratory, face of childes bring forward that of Child at altarpiece of Most Rosary; while clouds are equal of cotton, as Virgin on the vault above mentioned. At the right time tailor of Peace and War, on the ceiling of same College, manifest still very next with soft style of Incoronati, at altarpiece at Sezze; overall is better define for graphical work, which facilitate style, perhaps taking from Roman Lippi. Blissfull Tommaso form Cori, at church Saint Mary of Piety, shows that Fiorentini was resident to Rome for lack of commission to Sermoneta, Domenico for this portrait adopts a canon of reality, clearly Caravaggesque, but without attestation of Lombard culture, and alone taking manifest aspects, as cloth and posture, interpreted, for faithful at first plane, which devices clear from elegance of Fiorentini, and of Roman XVII century, but with pregnant colour, but with veils very present, with few remember of Saint Sebastian at Oratory, for posture of faithful to left.

A work of Fiorentini for Caetani family, but with commission to Antonio Cavallucci, is a Cibele[7]: the face of Cibele on cart reports to equal goddess on cart at Palace Altieri, Rome, whose seems next for posture; cloth seems device from style of Fiorentini, and moreover skin is very distant, more better define for brushstroke very delicate but concrete; lion seems a remember more next to Sermoneta, or those of stoup at cathedral of Saint Mary, or few zoological step took from Isaia da Pisa. With conjuncture of Napoleon to Rome, where imperator never comes and conquest of Italy, the seat of representation of Napoleon must be decorated with painting; therefore around 1812[8], Fiorentini comes to appointment with Roman painters; a series of payment attest participation with particulars and stranger for decoration, but useful equal; a date merely house attests home of Fiorentini in Rome, to Place of Carrette n.3, and who to Quirinal Palace works for restoration a freeze would by Paolo V Borghese pope, during first years of XVII century; as a second freeze, certainly for his ideation, how attests a payment as reports at write: to adorn freeze; we can think as a decoration preceding down, who same Fiorentini will repainting. Hypothesis of second commission of freeze to Quirinale is for a dual worlds adopted for payment, which shows analytically work of repainting of freeze. The worlds Painting freeze conflicts with other that tells for a second payment; For to frame restoration work of painting at half of this Room; is evident that diversity among payment is for different work; therefore at same payment which pay Domenico, document attests that same Fiorentini is pay for painting freeze and for restoration work are different labours; therefore Domenico a work is for restoration while a second is for painting. Moreover, at occasion of restoration of this freeze is mentioned with cure where Domenico worked: Count of works for Painter of figure for restoration of few freezes bottom ceiling of great Room; therefore restoration will a long description that report much subject restored; therefore if painting freeze is same we must considerer that, much irregular lack description, for to attest and to justify payment with more synthetic Painting freeze; which is very much synthetic for description of a work, considered instead important. Moreover a coat of arms id among at Salone dei Grandi Ufficiali, and other work of Fiorentini documented, not for documents but alone for style, few Pots, which report directly to blooms at Palazzo Razza in Sermoneta, same falls of prospective, same dense brushstroke and same confusion of booms, which restore a formal style just see elsewhere. Remaining four circle monochrome, all pay tells: Number 4 circle with child light and window, and half bas-relief colour metal, with painting a façade of this room; which attest still style of Fiorentini, that takes work precedent, cloth is same as Saint Martyrdom of Sezze, and to Virgin at altarpiece with Madonna, Child and Saintes, at Archeological Museum of Sezze[9]. The Roman panorama keeps to Fiorentini and a dislike, at least among we know; a silent refusal, that of Academy of Saint Luca. Ask for entry as member is documented, around 1810, but lack from register of Academics attests refusal; however letter of Fiorentini report and few information around his work, now loses; for to ask admission to Academic, Fiorentini writes: Domenico Fiorentini has painted at church of Saint Quirico and Giulitta with common applause…decoration mentioned is lose for restauration during second half XIX century, at same church of Saint Quirico e Giulitta, mentioned at write, this write press to considerer that Fiorentini resident in that parish join of much notoriety, for this commission, that same painter mentioned. The work of Saint Bartholomew, in Rome, which had a critical following, at least for recent and longer critic, as Angeli, who talking of church Saint Bartholomew to Island, particular chapels to wright he describes: On the altar Saint Francis and Saint Bonaventura of Antonio Fiorentini to walls. Composition of painting take theatrical faith of XVII century, and Domenico not omits, as usually for Fiorentini, the style of abovementioned century, colour heavy for exemple of Luca Giordano, and Saint Francis praying at Caetani Castle in Sermoneta, suggest fold for Saint Bonaventura, brushstroke shows an intention attentive to formal style but that deviates from century choose, but Domenico orient self toward Roman XVIII century, define with clearness skin and is very overall delicate and very next to altarpiece with Madonna of Rosary, at Museum Diocesan of Sermoneta, although we must repeat that very next but with different connotation; in fact this altarpiece shows a phase passage among XVII and XVIII century, which for Domenico is almost a invention, for Latin meaning, this is a discovery, that hold a approach to century contemporary Domenico, but always keeping his personal version, which emerge by strong trace of skin child, and for dark tone, that is to all painting, influenced by few painter in Sermoneta as Master of Madonna of Rosary, and as Litardo Piccioli at altarpiece at Convent of Saint Francis of Sermoneta; painting that Fiorentini seen from adolescence and which would can influenced this altarpiece. Suggests from Sermoneta are evident by remember for Saint Francis and angel, on the right on the vault, is evident a next with altarpiece in Sermoneta; Saint Anthony in Sermoneta, I think has accredited the posture for Saint Francis at Roman church, as same Saint of Sermoneta who suggests the of Saint in Rome; while landscape sees of painting at Palazzo Caetani in Rome, which Fiorentini seen for occasion his painting with Cibele and which feel influence of Paul Bril. At Palace Altieri worked and Fiorentini, at bedroom for summer, where are two painting with Salvatore Mannaioni. The cloth of Fiorentini further connotes alone XVII century, certainly feel style of Giani, at least if I conform to style of Atalanta and Ippomene or Atteone and Diana, which have influenced style of Domenico with strong trace adopted by Giani; Fiorentini certainly was pressed and by version of colours, that pressed Domenico to take a brushstroke although better defined, therefore an influence which Fiorentini include and translated freely and take alone necessary. Other information gives the visit of pope Pio VII, at Oratory of Saint Francis Saverio, as Caravita, for pope visit was prepared much decoration and scenographies, whose Cracas tells: Drawing of machine, and figures are of famous Mister Domenico Fiorentini, brother of this Oratory. Still Cracas help us for Roman work of Fiorentini, therefore for description of a procession from church of Saint Quirico and Giulitta to Saint Domenico e Sisto, in Rome, report happen:…has given significant signs for admiration for to see church of Saint Quirico better for witty painting. Famous mister Domenico Fiorentini from Sermoneta is artist who with taste and genius without else, has painted enormous figures, which every is a painting. His colour with first and seeing original for every figures so cloth and for naked, this artist joins discordant, strength and vagueness; all for harmonious way for light an nice half dye, which play among them satisfy look of spectator. Sermoneta is very reason for give Rome at century XVI a Tullio and Girolamo Siciolante. Sermoneta at XVIII century a Cavallucci; and now a Fiorentini, who at his painting give harmonious and quietude…Before for time but write after for teste a note, equal synthetic Cracas, repeat abovementioned for machine of Caravita, for hagiography of Saint Mary Egiziaca, prepared at same Oratory, therefore tells: Drawing of machine, and figures are of famous Mister Domenico Fiorentini, brother of this Oratory.

Formal XVII century

A painting of Fiorentini emerge at local panorama is Virgin of Rosary, at church of Saint Michael Archangel of Sermoneta, now at Museum Diocesan of Sermoneta; genesis of commission is unknow, but we think that religious company of Rosary has commissioned during first years of XIX century; chapel of this company goes up 1525, of Bucci family, whose we keep a document, goes up 1646, which attest a hereditary step, altarpiece keep clear impression of XVII century, brushstroke follows, although with a style better, the Virgin and Child and Saint Dominique in Sezze, seen but with better formal clearness and for colour; overall follows brushstroke dense of XVII century, cloth of Saint Dominique, on the wright is a exemple; Saint Jerome, on the left, seems adhere to style of Fiorentini, profile follows that of Saint Charles Borromeo, on the left wall at Oratory Battenti, in Sermoneta, but cloth is always of XVII century, with fold very remarkable that show Fiorentini is longer from gravity of before style; Saint Joseph, up, sees to Jerome Troppa, after filtration of naturalism of Guercino, while Virgin is very next to Fiorentini, with same face, but better defined in regard to Venetian Virgin with Child and Saint Martyrdom, at Cathedral of Sermoneta, whose is however clear remember. Autography seems invalid for Saint Catherine, on the wright, who shows practical compendium of a collaborator, less clever, who outline figure. A referent to stylistical confusion and chronological is attested by a voice inherent to Domenico[10], but shows nature stylistical of XVII century of Domenico: Fiorentini Domenico Antonio, painter of XVII century in Rome, life of Saint Francis at third chapel on the wright at church of Saint Bartholomew on the Island.

Roccamassima

Saint Cecily now at church of Saint Mary in Roccamassima, has leave a right stylistical analysis for search and identify true local brush of Fiorentini: face of saint restore, with rarefied light, but equal identifiable that of Holy heart of Mary, form of neck seems take style, mouth take exactly anatomical datum with dense skin style of Fiorentini, hand of a figure follows next that of Virgin abovementioned and for posture. Style of this painting shows begin and final digression of Fiorentini form usually version of XVII century of his master Carlo Antonio Incoronati, for search other formal way, which using whole light of XVIII century seem almost cut down figure with assimilation to clear. Therefore line subvert take dense brush of Domenico for to choose formal line of face than of cloth, that device from usually density for clearness of style; therefore Fiorentini sews with rigor fold of cloth which now is luxury; take, for face, and few characteristic of Oratory in Sermoneta; Virgin employed on the vault, with better line, brush exactly shows growth very notable of this painter among light rarefied of XVIII century and schematic composition of martyrdom with angel-child bring laurel typically of Catholic Reform. Customer is still unknow but larger word of Fiorentini shows enjoy of notable fame, although alone in local contest, adhering both will, or preference of customer and so enriching their pictorial style, which at this painting take manifest din.

Lux fiat

From Archeological Museum of Sezze emerges, among work there keep, a painting which I have go back to Fiorentini[11], who attest his presence and in word of Sezze, further few reference just revealed; a Virgin with Child and Saint Dominique, for particular style, and for catalogue of Fiorentini shows an improvement of style, line subvert precarious work of Fiorentini; precise work of cloth clear brush considered with punctually analysis, style of face is very better, and lose stereotypical translated, for take natural face; sign shows anatomy overall of child, better for flesh chubby; stylistical moment although concentrated, take and valour of light, until now, except few exemple, seems submerge subject, therefore continues adherence of Fiorentini to Roma XVII century, but for light, which begin with Cortona, here seems manifest. Light irradiate but not submerges subject, saturating whole contest. Saint Dominique at this altarpiece is same of altarpiece with Virgin of Rosary; and other notation is posture of same Saint, turns back, seems takes that of figure at centre at altarpiece with Employed of Virgin of Carlo Saraceni, at Roman church of Saint Mary of Scala.

Denique lapis

After much brush a drawing not disturbs, on the contrary enlarge a style which consider alone pictorial nature, that now is opportune for assimilation signs to pictorial work. In fact to take pictorial style of work Fiorentini, at formal contest, is easy, for keep impression adherent to cultural style of Domenico, but for conspicuous work of Fiorentini datum objective is in his existence very manifest; now is certainly that formal execution of a painting involve, first ideation the graphical process, which is rule. Graphical chapter of Fiorentini find now his begin at a drawing, which Fiorentini after has used for a painting to Sermoneta, although formal translated isn’t same but alone direct derivation. Datum of style attests autography of Fiorentini; typology face of child on the left, report few child of Fiorentini, although the posture isn’t same for this drawing and painting, child of Virgin of Rosary, and child up, and Child on the right and Saint John Baptist, at Holy family, painting at second room of Oratory, not lacks horse contribution, that for posture of horse, which take both style and posture at other painting, at freeze at Palazzo De Marchis of Sermoneta, as use of same posture for a horse, for a subject with Poseidon at same freeze, same muscle of animal and spiritual participation.

Roman home of Fiorentini

Fundamental contribute given by documents reports and few interesting particular for who isn’t go up to official criticism, therefore and home of Fiorentini, which we take from payment of Quirinale, tells where Fiorentini was, because in Sermoneta his family seems disappears, at least from State of Souls with date 1780-1783, that not mentioned nobody member of family Fiorentini, and neither Domenico, who was in Rome from 1780; therefore indication of Payment make easy search of this home, first home of Fiorentini is Vicolo del Lauro, now lose and perhaps in Rione Monti among Via Miranda and Via Cavour. But Fiorentini was tenant, at 1771, with Antonio Pane, and his wife Facezia Romei and nephew Giuseppe Scapigliati, and he married Maddalena Lanciani at 1784, and was resident at Piazza delle Carrette n.3 and die at 1820.

Res eant: lose works

Among works of Fiorentini are also lose works, whose now we have alone few photos; an Holy Heart of Mary, whose we have alone photos, now lose, but then at church of Saint Michael Archangel of Sermoneta, this painting attest how Fiorentini has accepted Guido Reni, with a scheme for face of figure, and he has bettered style; Saint Cecily, at Roman church of Saint Cecily in Trestevere of Reni suggest fixed look, mouth is next to Saint Leonard, at Oratory of Battenti, the scheme which joins eyebrow to nose follows scheme of Virgin employed on the vault of same Oratory, fingers take of Saint Catherine on the left at Virgin of Rosary at Museum Diocesan of Sermoneta. A second datum that frustrates catalogue of Fiorentini is lose, for restoration, around 1850, few painting at Roman church Saint Quirico and Giulitta, worked before 1810, mentioned at letter send to Academy of Saint Luke; moreover two Saint Peter and Paul, then at crypt church of Saint Michael Archangel are recently deleted on the bottom wall of same crypt, but also a painting attested by Guattani[12], who describes annual contest of painter at Roman Convent of Convertite, and he tells:…After are mentioned at same room three painting: first a Venus to back at harmonious landscape, work of famous Mister Fiorentini…

Ultra stilum

Features specifies of Fiorentini can also be marginal for a consideration for episodes very hidden, or alone occasional for a pictorial biographical, this is episodes strangers to comments of style but take alone truth of document of economical and juridical datum, whose Domenico has knew context. Therefore a peace for lack of a dowry to Anna Maria, his sister, die at 1786, which widow will as just his propriety, and how restitution given by Domenico to a member of Sermoneta.

Appendice A

Cappella Bucci e del Santissimo Rosario

In Nomine Dei Amen. Anno Domini 1646 Inditione XIV die vero primo Augusti Pontificatus Sanctissimiin Christo patris, et Dominus Nostri Domini Innocentii divina providentia Pape X Anno secondo. In mei personaliter costituti Illustres Domini Petrus, et Alexander de Bucci de Sermoneta heredes cum beneficio Legis, et Inventarii quondam Cesare Bucci eorum patri, qui asserentes dicto quondam Cesare in suo ultimo Testamento, in quo decessit reliquisse tumulos vigintiquattuor terrarum in detto Testamento plene expressarunt, et declamata pro legato pio cum onere duarum Missarum qualibet hebdomata celebrando in Cappella Nova Sancti Hieronimi in Ecclesia Sancti Angeli Sermonete existens de jure patronatus ipsorum Domini de Bucci, dictumque legatum olim concessisse Domino Antonio Pitio, dictumque Domino Antonio Pitius iam uxore duxisse, ubi esse tactus locum vacazioni dicti legati; Hinc propterea dictus Legatus cum eius oneribus, et honoribus sponte cesserunt, concesserunt Illustrissimi et admodum Domino Francisco Bucci eorum Nipoti presentibus cum omnibus et omnia nullo jure ad habendum ponentes constituentes dantes et donec constituerunt promittenets presens Instrumentu predicti Legati concessionis sempre, et perpetuo habere ratum, gratum, et firmum, et in nihilo contrafaceres quovis pretextu alias de quibus pro quibusque sese heredes ac bona in forma Reverendae Camerae Apostolicae cum clausulis citra obligaverunt renuntiaverunt consenserunt et sic tectis juraverunt superquibus. Actum Sermonete in domo meis solite habitationis de proprietate venerabile capituli Sante Marie in Regione eiusdem Ecclesie iuxta suos presentibus Revendus Dominus Carolo Francho, et Domini Alexandro Tomarosio, et Fracisco Martello de Sermoneta Testibus. Ego Joannes Felix Tabarro de Sermoneta terracinensis Diocesis, publicus dei gratia Apostolica autoritate Notarius de predictis rogatus presene Instrumentum scripsi, satis scripsi pubblicavi, et in publica forma redegis.

Appendix B

Rome 7th October 1786. Following Tuesday 4th at October is holiday of seraphic father Sain Francis from Assisi Holy father with service gone to church of Saint Mary in Aracoeli. For this occasion pope seen an altarpiece at room of general father which represents Faithfull Tomas from Cori when confesses when celebrated holy rite of mess, commissioned by reverend father Luca Monti member of that Order, from mister Domenico Fiorentini from Sermoneta, which little time will be send to church of minor fathers to Cori. Altarpiece is signed “Domenico Fiorentini Sermonetanus Pinxit 1786.

Appendice C

March 1812. Name and Profession of worker. Fiorentini Domenico; valor of work after estimate of architect: 963; Overall payment until now 214. Domenico Fiorentini: Fiorentini Dominique Pour avoir travallié aux figurer puor la decoration des Sallons; Numero de la Piece-n.131 Fiorentini Domenico-Qualitè-Peintre-Nature des Travaux executer-Travaille aux figures pour la decoration des Salons. Piece N. 131. Imperial Palace of Quirinale. Months of February and March 1811. Domenico Fiorentini painter of figures resident to Rome at First Justice of Peace, at Palce of Carrette. N.3. Count of works done for painter of figures at great Salone ahead Chapel abovementioned palace, at occasion painting freeze. Salon of great Official. For frame of work of restoration of painting at half vault of this Salone, for painting Imperial Coat of arms, that considered 642: for Franc 963. I painter of figure resident in Rome at first Justice of peace at Palace of Carrette. N.3. I declare that I have worked and to have verified with mister Imperial Architect=Rome 29th march 1812=Domenico Fiorentini. I architect of his Imperial Majesty at Rome attest, that abovementioned works are faithfully and exactly worked…for francs 963. First Salone of Marescialli ahead chapel. For to have restoration freeze, which is fourth sides, whose freeze is worked with colossal figures representative more Virtue with child with few fruits, and with much accademie of light and widow and frame that keep the painting, that show Mosé and around these painting child and adorned with light and widow…with few Turkish, who seem overlook to balcony…

Appendice D

Saint Lorenz to Month. Estate of soluls 1771. Home n.5. Other door side home Oddi. First stair 14. Mister Anthony Pane, Lady Facezia Romei his wife…Domenico Antonio Fiorentino host…22.

Appendice F

Marriges III(1737-1804, n. 999): Fiorentini-Lanciani et filique Alexandri. Anno Domini 1784 de 28 Octobris. Remissis 4 de Licentiamque acta Cicconius Notarius Ego Seraphinus Soci Padrisque Dominicus Antonius Fiorentini ex Sermoneta Terracina Diocesis, et Magdalena Lanciani filia Domenicus Sanbelionis Romanum ambo formiter interrogavi eorumquehabitantis de sempre verba de presentia solennemter Matrimonium comunicavi praesentibus quondam Franciscus Gregorio Fagni, et doctor Michalele Mantechi ambobus Condidi Traedem eisque postea missa benedixi Anno Domini 1782 de 31 Octobris

Appendice G

In Dei Nomine Amen Anno a nativitate Domini Nostri millesimo septagesimo quadragesimo octavo indizione undicesima die decima septa, mensis octobris, sedens Domino Francisco Dominus Benedicto decimo quarto, dicto papa ejus Pontificatus anno nono. In mei praesentiamque testimonia, et personaliter constata Anna Camilla Valle filia Nicolai, et uxor Alexandri Fiorentini de Sermoneta mihi cognita, quae cum praesentia con suo verbo voluntate dicti Alexandri, et in executione pacti de retrovendendo, uno actus necessaris, sponte annis, suisque retrovenditio da retrocessic…