Gregorius
quantus fuit
The architectural history
of a open gallery, now Vatican, this is second architectural order of court of
Saint Damaso, in Vatican City, is always acknowledge for architectural project
to same famous architect of 16th century, certainly better known
than painting masters; anyway this second phase is very important in this
assay, because very little studies have considered this open gallery, which is
a commission of pope Gregory 13th[1]; but is some assays
is present to architecture it is very little to painting, which it not seems
has pressed much assays, but I hope that with this written somebody, a good
Samaritan, can considers this open gallery and continues this engagement; but
we must start from first that has considered and, above all has written some
name, this is Giovanni Baglione, not always trustworthy, but we must go on with
exclusions and inclusion that same Baglione not considered. The painters will
be distinguished and identified with their collaborators, although these are
occasionally, but to these without names, or with alone conventional name for
distinguish these, and I hope that future some other worked can be given them
by some studious; a note to understand what is praxis on painting yard is given
by a Holland painter and biographical writer Karl van Mander, who writes, in
his Het Schilder-Boeck, to Niccolò
Circignani, painter, “…he has used much
collaborators”, who certainly has worked very much on drawing of masters.
To this yard certainly some name is credible and among Lorenzo Sabatini and
Raffaello Motta, or by Reggio, who are present among documents for payments,
and therefore is very simple find them to painting, and Giovan Battista
Lombardelli called from Marca, who I think he has suggested rather that
painted, that certainly is worked of pupil, Jacopo Semenza, very unknown
painter who worked in Rome and Veroli, south Latium, in church of Saint Salome;
Mascarino, architect and painter, was represented by his pupils and
collaborators, here called painter at day, this is painters worked a day or
some days. Our search shows immediately the presence of a collaborator or pupil
of Sabatini who has worked an Angel(Fig.1),
the profile translates same profile of physiognomy, which reminds directly an
Angel of Sabatini in an altarpiece with Assumption,(Fig.2) datable around
1573-1575 in Bologna; the form of foot follows of Sabatini used by him for
altarpiece in Bologna, and eyes and lips of Angel follow directly of Sabatini,
in same mentioned altarpiece, particular lips of baby almost hade, but we can
see the heat on left side
(Fig.3).
Painter therefore is collaborator of Sabatini who, with drawing of master,
painted this Angel, that has
characteristic directly reported to Sabatini but with some contradiction, for
exemple cloth, that is work of other collaborator, for his material treatment
that is very different by Sabatini style; therefore fidelity drawing is
different to two painters, because twice painters take some stylistical
character of master but with much material and therefore they invalid formal
result of master, some meteorologist has worked the clouds; an approximately
form which will follows to other painting, but we must consider that this
anonymous painter wants follows cotton nature of Sabatini for cloud in
altarpiece of Bologna, certainly suggested by master but the collaborator has
took alone superficiality and he has translated alone external nature, and so,
he has disqualified the style, and more he has used a brushstroke very heavy but rigid. A second Angel(Fig.4), is worked by a second
collaborator of Sabatini, who translated in other where stylistical character
of Lorenzo: lip is very next to Lorenzo, and that we have considered to baby on
altarpiece of Bologna(Fig.2), the nose follows same formal character of baby in
mentioned altarpiece and so to neck which follows of Virgin in same altarpiece,
while the cloth is work of Sabatini who works with personal calibre for a work
of luxury tailor’s, without that he leaves his style; it is sufficient the
matter that he has used to angels in altarpiece of Bologna, and therefore
scansion of felt to our Angel, very fine and air, so same in altarpiece of
Bologna. Same distance between two textile moments is evident also by white
cloth worked of same Angel and cloth which covers legs; first very summary and
worked with intense brushstroke, while second is very better worked; finally
the clouds show same stylistical character, already seen to precedent cloud,
therefore it is same meteorologist already seen. We must consider something
around this painter at day; he may considers very next Sistina Chapel, and he
works with strong presence the body, and brushstroke seems ivory, perhaps
suggested by advise of Sabatini who seen certainly Parmigianino. With blood to
brush a third Angel(Fig.5) of a collaborator of Sabatini, and certainly he same
has given drawing, collaborator take again character and Sabatini’s this is
physiognomic and so corresponding to precedent Angel, therefore it is directly
reportable, but he doesn’t’ renounces personal worked and personal style,
although not overall; anyway typology of face, lips, eyes and the nose, fluent
hair, ear and pectoral muscle are characters which attest very proximity of
twice figures, but also Sabatini is present with one translated character,
which attests again the origin of idea, posture of this Angel seems follows
that of angel to below, on right side, in altarpiece of Bologna, and to cloud
is present again same meteorologist already seen for two precedent Angels, but
now with better style, because he uses very fine softness and he remarks
immaterial nature of cloud. All style of this painting is, in confront of
precedent(Fig.4), certainly better worked; brushstroke seems renounces
enthusiastic light, the coherence used for anatomy with a brushstroke ivory,
better skin, and light and dark is very delicate; while the cloth is work of
second collaborator, who follows the soft work of Sabatini but with results
uncertain or at last he tries but he doesn’t succeed; finally, to book, works
third collaborator who used brushstroke with heavy material and he suggests
presence of this object but he leaves the formal description. Other
Angel(Fig.6) attests the style of collaborator of Sabatini reawakening, with
some ability, some character of Sabatini, anyway face, to nose, eyes and feet
remind Sabatini’s; in fact nose and eyes follow Virgin’s in altarpiece of
Bologna, and right feet reminds, for drawing of master, that of angel below in
same altarpiece, and we can’t leave lip, which again shows, indirectly, the
style of Lorenzo. Confront, with other colleagues, shows the precarious style
although better considered for worked cloth, that now is very different by
heavy material of Sabatini, so establishes that this collaborator converges
with some character of Sabatini, but meantime he disagree for owner
consideration. An ephebic Angel(Fig.7), at last for face shows character of
Sabatini, the typology of face of baby, on right, follows that of baby, on
left, of altarpiece of Bologna, and long fingers are same of same Virgin
mentioned; therefore drawing of Sabatini but worked of collaborator. All work
to style leaves with plastic, in fact the cloth deviates by style of Sabatini,
the brushstroke suggests rather that tell the cloth, and this shows a modest
attention of author for style of
Sabatini. Other two Angels(Fig.8), the faces follow that of angel on right left
in altarpiece of Bologna, typology face follow angel now mentioned, but after
he takes his way; nose follows that of angel mentioned, eyes and long fingers
are particular worthy of Lorenzo, while to hair collaborator find his way, may
a moment of autonomy by presence of prompter, the cloth is very similar to
other already seen, may the tailor’s of Bologna has saved the sleeve of right
angel. Other collaborator of Sabatini, who differently by other wants moderate
his party, is author of this Angel(Fig.9), which seems for long fingers, for
chin and mantle, very rigid, seem follow suggest of Lorenzo, and ultimately he
recalls also the altarpiece in Bologna; stylistical complex takes by Sabatini
but not succeeds to translated stylistical character. Other collaborator is
author of other Angel(Fig.10), who uses long finger of Sabatini, and takes some
face of next colleague of angel, already seen, and from him he takes hair,
while the cloth and the neck feels suggest very deeply of Sabatini and of his
Virgin of Bologna, it is valid for nose and to lip, with evident borders; while
cloth material changes, material is very flourishing, although not get out for
rigid style. Lorenzo with some consideration to cloth, the profile follows
exactly that of angel in altarpiece of Bologna, alone partial visible, but very
distinct to profile and to eyes, which has suggested this collaborator that
used here, fingers follow those of Lorenzo. Finally last Angel(Fig.11) is work
of Sabatini, the face follows of angel on middle space, on lift, in altarpiece
of Bologna, brushstroke, hair, eyes, eyebrow and fingers remind the Virgin of
altarpiece. After much foreboding of verb, like angels, now we have
protagonist, Christ, and to Christ and adulteress(Fig.12), author is
collaborator of Sabatini, here called Master of Adulteress, this name is
necessary because other painting are his and other, therefore we must
distinguish, but now he is accompanied by Sabatini, who has worked somewhere,
but without to outclass collaborator; this concept is alone one ideal valuation,
because I think that Sabatini was very busied for painting and collaborators
then he not doesn’t worked practical, meantime his collaborator translated this
drawing with this episode; style of Sabatini emerges by figure of adulteress,
hers cloth follows that of Judith, therefore folds follow the style of Lorenzo,
long fingers take that Virgin of Bologna, and profile follows that of angel in
inferior register of same altarpiece of Bologna. To Sabatini are also cloths of
figure who indicate Christ, and that of older men, on left side, in first plane;
versatile style of master is shown by coherence of cloth which is equal of with
adulteress, dramatic coherence of scansion of cloth takes the cloth of angels
in altarpiece of Bologna; body are worked by a collaborator, who works with
uncertain and he uses brushstrokes to faces and to beard, fitted more to
suggest than to describe, and in fact he renounces to faces. Face of Christ is
other pictorial note of Sabatini, who here ended his presence to this episode.
This collaborator, with two colleagues, seems monopolizes every episodes of
Sabatini; episode with Christ and Canaanite(Fig.13), here worked same Master of
Adulteress he follows his style, above all for cloth of Christ and he worked so
he equalizes figure of Christ in episode with Christ and adulteress; strong
plastic impression, and his iridescent light on cloth of Christ in episode with
Christ and adulteress, translates to this episode same iridescent light, hands
of Christ are same of figure on left side on first plane in episode with Christ
and adulteress, and faces are very easily reportable to faces of figure in
episode above mentioned, equalized by same brushstroke very summary and so
showing the stylistic character of Master of Adulteress. Architectures support
practical definition of same author; in fact the structure of arch repeated, in
below, are very specular to ideation of Sabatini for Christ and
adulteress(Fig.12); but other collaborator, here called Master of Canaanite,
who worked two female figures on first plane; in fact style is very distinct by
other, anatomies are rigid, but to faces he take style of Sabatini, anyway
fingers are same of Virgin in altarpiece of Bologna, it is possible for drawing
of Sabatini, but same collaborator worked to cloth of woman kneel down; strong plastic
impression of folds seems equalizes, because may took by same drawing, That of
other figure, in following text. Third collaborator worked head of figure on
left side: compact beard with precarious style that we will find other where.
Sabatini is present also to idea for ideation episode Christ and Hebrews(Fig.14),
although idea is alone Sabatini, while work is to two collaborators, one to
figures and second to architecture: hair of figure bent on first plane take
disordered hair of angel, below on right side, of altarpiece in Bologna, to
posture of same figure, some suggestions of Raphael certainly this collaborator
had, the figure of Euclid in Atene’s school has given posture this figure, the
cloth tries emulate that of Allegory of Lepanto battle(Fig.15), in the Sala
Regia, but result is very modest, also because this collaborator seems follows
Sabatini but occasionally, while other collaborators; therefore compact beard
of figure on centre on second plane, translated a character of collaborator who
has worked head of figure, on left, in
episode with Christ and Canaanite; long fingers is character that show work of
collaborator, who tries suggestions of Sabatini but he find equal valour to
other collaborator alone, for exemple long fingers of Christ which are
assimilable to same fingers in episode of Christ and adulteress; all worked is
modest, the precary brushstroke compromises both cloth and faces; this
collaborator works with totally autonomy which he translated in figures; while
a second collaborator works to architecture, that are very next to episode with
Christ and adulteress, very next for geometrical subdivision, but without participation,
this is without a physical distribution, almost aseptic. To Recovery of
epileptic(Fig.16) worked three collaborators: first is mentioned Master of
Canaanite, he works two figures on first plane, identifiable for iridescent
light on the cloth, and with delicate clear and dark, but always considering
his personal style, and better with some iridescent light the face of woman
kneel down, who we has seen in episode with Christ and Canaanite, but now
bettered. Christ of second collaborator a remind of Sabatini emerges by face
which is easily with Christ in episode with Christ and adulteress, same Master
works to figures on left side. For Delivery of keys(Fig.17) work at last four
collaborator, which first is Master of Adulteress, who for this episode takes
face of saint Peter of saint Peter walks on water, second collaborator, this is
master of Canaanite, on contrary, cuts and sews the cloth of saint, to third
collaborator works figures on the left side, now called Master of Hebrews, that
has worked also to precedent episode, the beard very soft of figure half hade
on second plane follows that of episode now mentioned, as fingers of figure on
first plane, with green mantle follow style of Christ, in same episode, which
in fact takes by Master of Adulteress, therefore compact hair, and alone
suggested, follows that of Christ in episode with Christ and Canaanite; to
Christ works third collaborator who follows Sabatini to cloth, for profile he
takes typology of Master mentioned, although very different is result; other
figures are worked by fourth collaborator. Parable of child(Fig.18) we must
give back three collaborators with different cultures, one is certainly a
collaborator of Giovan Battista Lombardelli; the beard with yellow cloth, in
first plane, anticipates that some figure in episode with Roman citizen
recognize saint Gregory Magnus on the Foconi(Fig.19), room in Vatican City,
which here I give back to Lombardelli, same density to cloth and dramatic hairs of figures, on right side,
follow the style of room of Foconi, as face of figure, on right side of saint
Gregory; but this painting shows an impression of a collaborator of Lombardelli
who after, gradually, flows for other figures; Christ is worked by a second
collaborator, who remarks his difference by other. Third collaborator works at
last three figures, two on right side and other back child; his style is in the
beard, to eyes and hair, to on right side figures he follows Lombardelli and
his colleague who has worked Christ. The Recovery of leprous(Fig.20), is worked
by four collaborators, who work with their culture: author of Christ is same of
Parable of child, and here called Master of Parable of Child: cloth is same of
episode mentioned, with his analytical precision for folds, and sharp fingers,
the leprous shows same style of same collaborator of Lombardelli already seen
in same Parable, form of foot takes that of figures, on right side, of Christ
in same episode, a length very impressive which we must consider a stylistical
attestation rather that a stylistical representation of anatomy, more over taped
fingers translated those of figures, on right side, of Christ; finally third
collaborator has worked figures on lift side who, to lip, have character
directly of Sabatini, while a fourth collaborator worked to figures on right
side. To Dispute in the temple(Fig.21) two collaborators work, which first used
a heavy brushstroke and he seems forgets both anatomy and cloth; this painting
seems almost a motive for dismissal, while emerges, but it is very easily,
luxury tailor’s to cloth on left side, in second plane. To Massacre of
innocents(Fig.21a) works a collaborator of Marco by Faenza, but he follows his
stylistical culture; the brushstroke is given very summary, he seems have
considered that he was a painter alone to figure of soldier on right side, in
fact anatomy reawaken. The Wedding in Cana(Fig.22) Lorenzo Sabatini shows his
style with some typological face which after his son Mario in other painting;
the cloth translates that used by to an Angel, which keeps very fine precision,
and this is to Lorenzo, above all for style that emerges by the mantle,
internal side, so stylistical language is evident; to figures on right side a
second collaborator works, but he seems to exclude style of Lorenzo and he
prefers a personal consideration of cloth, although to faces he takes Lorenzo.
To Virgin hers face translates that of an Allegory(Fig.23) of Palace of
Archiginnasio of Bologna, fingers are took by same Allegory; innkeeper kneel
down shows same style, more over cloth of Virgin keeps the style of cloth to
figure on right side next column; other figures are worked by other painter.
The Call of Apostles(Fig.24) keeps chromatic impression of episode precedent,
style of Christ gives in temptation to remark his habit with Sabatini, it is
sufficient also a modest confront with cloth of episode the Wedding in Cana,
although we must consider that this cloth is worked by collaborator of
Sabatini, but this collaborator seems wont emulate master, in fact he falls
between some fold very rigid and also too flourishing, while style of Mascarino
emerges by face to centre, which remind that of figure next column, already
considered; anomalous fingers of Christ remind those of Christ in precedent
episode. To Enter of Christ to Jerusalem(Fig.25) is worked by a collaborator of
Raffaellino da Reggio, who takes style to cloth of his master, ochre mantle, in
second plane, follows the plastic scanned well tailor’s of Raffaellino with
Tobia with angel(Fig.26), but he not emulate style, but with very much will he
tried and he reached alone tailor’s, the face of figure, on right side, follows
that Isaia in roman church of Saint Silvester to Quirinale, and Tobia has
perhaps suggested some reference to face of figure on right side spreads
mantle, and finally face of figure on left side laps of angel in episode with
Tobia and angel. The wash of foot(Fig.27) is worked by Raffaellino directly,
cloth repeats that Isaia, equally gather for precise work, and almost
geometrical, so that equalize the mantle of figure on first plane on right
side, and his gingers are very next to that Isaia; other figures are worked by
a collaborator. Dinner in home of Simon(Fig.28) is worked by Raffaellino and
his collaborator, same tailor’s for mantle here which has sewed cloth of Tobia
and Isaia, and also to tailor’s red
mantle of figure on left side set takes with formal symbiotic, the style of
yellow cloth of apostle on first plane, here given back to Raffaellino; face of
apostle with red mantle has similar face which we have seen to Isaia, fluent
hair of Christ equalizes that of same figure in Wash of foot, fingers are
suggestion by Wedding of Cana of collaborator of Mascarino, which has took this
particular and he has assimilated to his stylistical character, dishes on
bottom are worthy of a luxury jeweller, and these establish style of
Raffaellino; it is sufficient confront with same dishes on second plane in Wish
of foot; but some figures are different, and therefore present is a
collaborator. Resurrection of son of Nain(Fig.29), the cloth shows influence of
Sabatini for large superficies with heavy brushstroke, but he uses also some
fold, but chromatic reference is Mascarino to episode of Wedding of Cana;
meantime a presence until now obscure emerges, this is Jacopo Semenza, and
precisely a collaborator who has worked to Three of life in Veroli; lesson of
master seems learned, but style become very precarious to face on second plane,
brushstroke which laps ivory takes lesson of master, but leaves formal
definition; anatomy leaves connotations and limits his work to suggest. Other
painting of this collaborator of Semenza is this Christ calms storm(Fig.30),
faces very summary is motive for identification; cloth of Christ follows folds of figure with green cloth to
precedent painting; hat of marines anticipates that of a figure in Veroli. Transfiguration
of Raffaello is followed by Master of Adulteress, and two collaborators to this
episode(Fig.31), this Master take again some anatomical character, fingers of
hand and foot, eyes and nose, but he take and use again some character of
Sabatini, like cloth of figure with red cloth, on second plane, in episode with
Christ and adulteress, but worked with very summary, and this suggestion is
considered by second collaborator, author of three apostles in inferior
register, style emerges by polished cloth, in fact it is very soft and strong
for material presence; a take again it isn’t disturbs, apostle on left side, follows
face of figure on left side in episode with Recovery of leprous; third
collaborator works figures on sides of Christ, who has very merit for his
brushstroke to anatomy, and he has worked some cloth very commendable. Recovery
of man with arid hand(Fig.32) work both Massei and a collaborator, style of
cloth of Christ report directly, to material cloth, with Christ in front of Cafe,
on wall of Roman Basilica of saint Prassede, profile of man recovered
anticipates the town same on episode of saint Prassede, long fingers remind
those of soldier on side of Christ, painted in mentioned basilica, the leg of
recovered man follows these of soldier
mentioned; collaborator works figures in bottom, very different to quality,
although he tries to emulate his master but result is very modest. To Recovery
of daughter Jarou’s(Fig.33), work both Massei and his collaborator, but Jerome
emerges by precise definition of cloth, which follows these in precedent
painting, but double work and style emerges in all stylistical work, cloth of
figure in centre, with opened arms, shows style of Massei, so to mantle of
figure on left side; while other figures are worked by collaborator. To Sermon
to lake of Genezareth(Fig,34), Massei works with a collaborator and Massei
changes profile of woman on right side on precedent painting, cloth is very
similar to precedent painting, and that of woman in first plane follows idea
tailor’s of woman in episode mentioned. To Expulsion of merchants by temple(Fig.35)
work two collaborators of Mascherino, one has worked also to Wedding of Cana;
long fingers take again those of Christ on same episode mentioned, cloth of
figure on right side follows that of figure adherent to column in same painting,
the mantle of merchant in first plane follows that of Virgin in same episode
mentioned, hat of figure, to centre, seems asked on loan to innkeeper kneeled
in same episode; others figures are worked by second collaborator, who take
colour but with evident border. To Christ in home of Zacchaeus(Fig.36) emerges
same chromatic character already seen to Wedding on Cana and to Expulsion of
merchants, which figures in bottom seem follow style, distant eyes of kneeled
figure to centre follows those of Archiginnasio of Bologna(Fig.37), arm of
kneeled figure almost herculean and arm of figure on right side which escapes
in episode of Expulsion, cloth is took by that of innkeeper kneeled in Wedding
of C, fingers of figure in second plane with green cloth follow those of
merchant to centre in Expulsion; same cloth plastic shows same author, fitted
above all for precise definition of cloth, more over profile of Christ in
episode of Expulsion is used here for profile of figure in second plane,
therefore same paternity of brush for these two figures, therefore same
collaborator of Mascarino, who uses, and it can’t be otherwise, the cloth style
of cloth of Christ in episode of Expulsion, deep folds signed by light and
shade. Finally to woman who feeds works Raffaellino da Reggio, since very
similarities to face between this woman and angel with Tobia; while Mascarino
works figure of Christ and that back on. To Christ in synagogue(Fig.38) work
both Mascarino and collaborator who has worked in episode of Wedding, Mascarino
works figure on back on right side, while collaborator prefers take again it by
bottom adopted to figure on back in episode of Christ in home of Zacchaeus,
adopting same cloth plastic and same beard, to others figures Mascarino finds
help of collaborators. To Christ and Samaritan(Fig.39) work totally Massei who
follows his character to face; therefore anticipates profile of Christ on wall
of basilica of saint Prassede, in Rome, and follows profiles of figures in
episode with man with arid hand(Fig.34), for exemple that figure with white
board which is very similar to profile with Christ in this episode, and profile
of Samaritans is very next to woman on left side in episode with Christ
preaches to lake of Genezareth. To Recovery of possessed(Fig.40) works a
collaborator of Giovan Battista Lombardelli, but with proximity to Massei and
Raffaellino da Reggio, whom collaborator take and used for different town of
this episode, Massei to cloth of Christ while second he used to apostle on
right side, hair anticipates that of same apostle in episode with delivery of keys,
fingers follow these of figure in episode with Wedding of Cana, while figure of
possessed follows, to anatomy, some figure in an episode on vault of Gallery of
Geographical Maps in Vatican, precisely Fall of Simon Mago. To Recovery of
paralytic(Fig.41) work two collaborators of Mascarino; style complex shows the
dramatic brushstroke of Expulsion of merchants by temple, posture of figure in
centre, with raise hand, repeated same posture of figure on left side in same
Expulsion, fingers of Christ follow those of same figure in episode with
Wedding of Cana(Fig.22); more over style of cloth is same to Expulsion,
therefore this collaborator of Mascarino, here called conventionally Master of
Expulsion of merchants, is a second collaborator which we will see other
painting after, but here he works Christ figure but he follows much personally
the impression of Mascarino to cloth, in fact he adopts same chromatic
impression and brushstroke equally dynamic. To Vocation of apostles(Fig.42)
work both Master of Expulsion by temple and master of precedent episode; Christ
follows same figure in precedent episode, both to face impressionistic and to
cloth, painting rigidly to folds; hair of apostle on back, on left side, take
again by figure, on left side in second plane, in episode already seen; fingers
follow those of Christ in episode with Wedding of Cana; more over profile of
apostle on back follows that of figure with red turban in bottom in episode
with recovery of paralytic. To Recovery of mother in law of Peter(Fig.43) we
find same collaborator who has worked precedent two, but now he is busied both
figure on right side and Christ, while second collaborator works all figures on
left side: in fact neck of Christ follow same of Christ in two precedent
episodes, fingers follow same character of Mascarino, while cloth seems
undergoing influence of Massei; polished style borrows plastic of Mascarino and
correlates to brushstroke of Massei, second collaborator works to figures to
left side. To Flight to Egypt(Fig.44) is worked by two collaborators of
Sabatini, who follow, with suggestion of Lorenzo, face of Virgin by altarpiece
in Bologna, and as neck and nose translated that Bolognese, and more over these
figures are wetted by light of Sabatini; but our collaborator deviates by
Sabatini and betrays because he approaches to Lombardelli of Foconi room, and
he takes some face, as that of figure to three, on right side, follows typology
of profile of saint Joseph in this episode. To Preach of saint John Baptist (Fig.45)
walks on way of Sabatini but with some typology to face of Lombardelli, cloth
of figure, on left side, follows the iridescent light of cloth of saint Joseph
in precedent episode; therefore style of this collaborator sees to style of
colleague in precedent episode. To Vocation of apostles (Fig.46) is worked by a
collaborator of Lombardelli; colour takes same iridescent light of his
colleagues, as cloth of apostle on back on left side. To Christ tempted in
desert(Fig.47) work two collaborators one may of Sabatini, but now he takes
style of Massei in episode with Christ and Samaritan, but he not forgets
graphical style of Sabatini; therefore nose of Christ follows that of Virgin of
altarpiece in Bologna, while hands are similar to hands of Christ in precedent episode.
Second painter is collaborator of Mascarino; style of other figure to long
fingers, board and profile follow figure with yellow cloth, in centre, whom we
have seen in Recovery of mother in law of Peter(Fig.43), and he keeps also the
style of tailor’s, in fact strong fold and polished material of cloth shows
impression of Mascarino, but in version of collaborator; more over fingers
follow to paralytic of Recovery(Fig.41). To Vocation of Jacob and John(Fig.48)
work two collaborators of Massei, first work to faces following same
impressionistic style used to Preach to lake of Genezareth(Fig.37), hair of
Christ follows that of figure on profile, on left, of mentioned episode,
fingers of apostle with joined hands follow those of figure in bottom, left side,
in same Preach. Cloth on contrary is worked by second collaborator, who seems
deviates by cloth of Massei for to encounter plastic form of Sabatini. To
Vocation of saint Matthew works a collaborator of Massei and to cloth of Christ
he follows rightly style of his master, other figures are worked by a
collaborator of Mascarino, who gather board, drunk faces, long fingers and
follows the style of cloth of figure on right side in episode with Wedding of
Cana. To Episode of two blind(Fig.49) is worked by an autonomous collaborator,
much versatile and eclectic, in fact he sees cloth of and light of Sabatini,
and hairs of collaborators of Massei who has worked to Vocation(Fig.46), as
profile of Lombardelli used to blind in first plane on right side, but he follows
everybody but not emulates nobody.
Alessandro Lusana
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Fig.48
Fig.49
[1] J.S.Ackermann, The Cortile del
Belvedere, Biblioteca Apostolica Vaticana, 1954, pp. 102-103.
Ackermann,
with documents shows that pope Gregory 13th took again, at 1574, to project of
Martino Longhi il Vecchio, construction of this open gallery, while to
decorative phase is responsibility with other, of Lorenzo Sabatini, and his
successor, at 1576, his son Mario, and after Ottavio Mascarino.
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