PETER HUMFREY - Introduction (pp. 9–10)
The present volume, comprising contributions by friends, colleagues and former pupils, is intended as a Festschrift to honour Mauro Lucco on the occasion of his 70th birthday.
Mauro is a long-serving member of the Advisory Committee of Artibus et Historiae, and it is accordingly highly appropriate that he should be honoured in this context.
Although his academic career is one of great distinction, it may be summarised in a few lines. After graduating from the University of Bologna in 1974, he served briefly (1977–1982) as an inspector in the Soprintendenza per i Beni Artistici e Storici del Veneto, before returning to Bologna as Ricercatore, and then becoming Associato (from 1993) and Ordinario (from 2000). In 2008 he took early retirement, to dedicate himself to full-time research.
By contrast, it would take a very large amount of space to list, let alone to analyse, the enormous volume of publications he has produced over the past four and a half decades. The subject of his laurea thesis was Marco Basaiti, and within a few years he established himself as one of the leading authorities on the painting of Venice and the Veneto: especially on that of the later Quattrocento and early Cinquecento, but with a depth of knowledge that has extended much more widely, from the fourteenth to the eighteenth centuries. Representing a permanent monument to this interest and knowledge is the eleven-volume series La pittura nel Veneto (1986–2001), of which he was overall editor, and of which he wrote large sections himself. These were followed by several monographs on individual painters, including Giorgione (1997), Antonello da Messina (2011), Mantegna (2013), and Bartolomeo Montagna (2014). A co-authored catalogue raisonné of the work of Giovanni Bellini is currently close to publication.
With his abiding concern with the visual qualities and physical properties of individual works of art, Mauro could have pursued an equally outstanding career as a museum curator. Indeed, by common consent among his former students at Bologna, his courses on museology were particularly inspiring. And while remaining in the academic profession, he has been closely involved over the years with curating (or co-curating) a large number of important international loan exhibitions. These include: Lorenzo Lotto (Washington, Bergamo and Paris; 1997–1998); Dosso Dossi (Ferrara, New York and Los Angeles, 1998–1999); The Age of Van Eyck (Bruges, 2002); Pedro Berruguete (Paredes de Nava, 2003); Antonello da Messina (Rome, 2006); Bellini, Giorgione, Titian (Washington and Vienna, 2006); Mantegna a Mantova (Mantua, 2006); Sebastiano del Piombo (Rome and Berlin, 2008); Garofalo (Ferrara, 2008); Giovanni Bellini (Rome, 2008–2009); Tiziano e la nascita del paesaggio moderno (Milan, 2012).
Yet all these books and contributions to exhibition catalogues represent just the peaks of a mountain range, the foothills of which comprise innumerable articles and conference papers – most of them of ground-breaking importance. Even when writing about famous and already very well discussed works of art, Mauro has never been content merely to synthesise existing knowledge, but has always been ready to rethink old problems and, if necessary, to challenge received wisdom. This he has done on the basis of a highly refined connoisseurship and a prodigious visual memory, in a way that has very significantly advanced our knowledge and understanding of north Italian painting in a vital phase of its development.
The essays in this volume salute this achievement, and are dedicated to Mauro with affection as well as with admiration.
WILLIAM L. BARCHAM - Jacopo da Montagnana, the ‘Man of Sorrows’ and the Bellini (pp. 11–23)
Jacopo da Montagnana, the ‘Man of Sorrows’ and the Bellini
Jacopo da Parisati, or Jacopo da Montagnana, portrayed the Man of Sorrows at least four times, three works in fresco and one in tempera on panel. Each image differs from the other, and they run the gamut of iconographic possibilities for the Imago pietatis in the later 1470s or early ’80s when the artist developed original and affecting imagery for the subject. According to Giorgio Vasari, Montagnana was Giovanni Bellini’s student, but the younger painter’s somewhat brittle pictorial style hardly reflects the older artist’s poetic artistry. Yet he remained up-to-the-minute in terms of absorbing his master’s motifs for the theme. A study of Montagnana’s versions of the Cristo passo (as it is termed in the Veneto) confirms too that he knew Jacopo Bellini’s drawings for the Lamentation in his Paris and London albums. In the context of this volume, it pays due homage as well to Mauro Lucco whose has contributed twice to our understanding of the painter.
ANCHISE TEMPESTINI - La famiglia dei pittori Bellini. Precisazioni e novità (pp. 25–33)
The Bellini Painters Family: Amendments and New Facts
According to historical sources, it seems that the Venetian Bellini painters family takes its origin from Trogir on the Croatian coast, not far from Spalatum (Split). The painter Jacopo Bellini was a son of Nicolò Bellini, as was his illegitimate brother Giovanni, a painter and probably illuminator, who left Venice after 1440 and is documented in Ferrara where he died in 1460; his signed Coronation of the Virgin is in the local Pinacoteca Nazionale. According to an article by Daniel W. Maze in Renaissance Quarterly (2013), the painter Giovanni Bellini, son of Jacopo Bellini and brother of the painter Gentile Bellini, did not exist, even though he is amply documented. Giovanni Bellini would have been born, according to Maze, not earlier than 1424 and maybe in 1428, when his father Nicolò, who is recorded in 1424, was already dead. But on the contrary, the painter Giovanni Bellini, son of Jacopo Bellini, was born between 1429 and 1440, died in 1516, and was an illegitimate son of his father and a woman of the Vendramin family.
CARLO CORSATO - Giovanni Bellini’s Saint Catherine of Siena and Saint Thomas Aquinas Altarpiece: Primary Sources, Perspective and Visual Philology (pp. 35–55)
Giovanni Bellini’s Saint Catherine of Siena and Saint Thomas Aquinas Altarpiece: Primary Sources, Perspective and Visual Philology
The altarpiece of Saints Catherine of Siena and Thomas Aquinas, formerly placed above the first altar on the right in the church of Santi Giovanni e Paolo in Venice, but destroyed by fire in 1867, is perhaps one of Giovanni Bellini’s most famous works – yet it is also one about which we possess the least material information. Through the analysis of primary sources and the surviving documentation this paper reconstructs the original material characteristics of the panel, including its technique and original size. The paper also discusses the restoration of the stone frame, still in situ and convincingly attributed to Pietro Lombardo and his workshop, and takes into account unpublished photographs of the 1994–1995 treatment supported by Save Venice. On the basis of this information a digital recreation of the original altarpiece is provided, and the opportunity is taken to correct the errors in the previous reconstructions published by Giles Robertson, Rona Goffen, and Denise Zaru.
PAOLA BENUSSI and PETER HUMFREY - The Altarpieces by Giovanni Bellini and Alvise Vivarini from San Cristoforo della Pace and their Patrons (pp. 57–71)
The Altarpieces by Giovanni Bellini and Alvise Vivarini from San Cristoforo della Pace and their Patrons
Among the works of art formerly in the Venetian island church of San Cristoforo della Pace and dispersed after the Napoleonic suppressions were two altarpieces subsequently acquired for Berlin: a triptych by Bellini (destroyed in 1945); and a unified pala by Alvise Vivarini. The present article seeks to identify the patrons of both works on the basis of unpublished documents. It also investigates other aspects of the commissions: the likely dates of the two altarpieces, their iconography, and their placing in the church.
MASSIMO FERRETTI - Accertamento su Benedetto Diana (pp. 72–93)
An Investigation of Benedetto Diana
Benedetto Diana is here proposed as the author of the Six Saints in the Accademia Carrara, Bergamo, a work from the Lochis collection. Formerly bearing an authoritative attribution to Carpaccio, the painting has also been connected with a variety of different areas of the Venetian terraferma. The present proposal is based partly on considerations of chronology: that of the artist himself, despite difficulties in tracing this; and also that of Venetian painting in general in the transitional period from the fifteenth to the sixteenth century. But the new attribution also helps confirm that Diana’s artistic culture was not exclusively rooted in metropolitan Venice. Finally, the return of the painting to its original triptych format during recent conservation, and the existence of the false nineteenth-century signature of Cima da Conegliano, provide the occasion for some observations regarding the history of restoration and collecting in Lombardy.
ANDREA BAYER - Francesco Francia’s Portrait of Federico Gonzaga and the Letters that Surround It (pp. 95–104)
Francesco Francia’s Portrait of Federico Gonzaga and the Letters that Surround It
Francia’s portrait of the young Federico II Gonzaga (1500–1540) has been famous since 1903, when Herbert Cook recognized that it was the subject of one of the most suggestive series of letters written about a Renaissance portrait. These outlined Isabella d’Este’s determination to commission a portrait of her son to ease her loneliness while he was a hostage at the papal court of Julius II and her anger when the completed portrait was confiscated. Further letters showed that Isabella swiftly lost interest in the portrait, giving it as a gift to a collector, while at the same time she and her husband, Francesco Gonzaga, commissioned a portrait of Federico from Raphael. In this paper, I examine this epistolary evidence to follow the shifting functions of a single portrait – from private keepsake to diplomatic conversation piece and gift – as well as the critical transition in collecting that followed it, as the Gonzaga set their sights on Raphael.
DAVID ALAN BROWN - Solario Revisited (pp. 105–112)
The painter in a distinguished family of Lombard sculptors and architects, Andrea Solario (c. 1465–1524), was especially admired by the French occupiers of Milan, for whom he also worked north of the Alps. The appeal of Solario’s pictures evidently lay in the way they combined detailed realism, typical of the Northern Renaissance, with a pronounced devotional impulse that owes much to Leonardo. To his 1987 monograph on Solario, complete with a catalogue raisonné of the paintings and drawings, the author here adds two further works, among several by or attributed to the artist that have recently come to light – a fine example of his preferred theme of the Madonna and Child in a private collection, Paris, and a copy sketch of an antique statue that he studied on a Roman sojourn in 1513. The new painting can be inserted in a series of Madonnas in which Solario explored a variety of solutions to problems posed by the genre, while the drawing shows him working outside his usual range.
VILMOS TÁTRAI - Una questione di leonardismo: la versione di Budapest della Madonna con i Bambini che giocano (pp. 113–120)
A Question of Leonardism: The Budapest Version of the Madonna with the Holy Children at Play
In the year 1862 in London Count János Pálffy acquired a painting at the time attributed to the circle of Leonardo da Vinci. Although as part of his bequest it entered the collection of the Museum of Fine Arts in 1912, it was restored only in 2006–2007. Its composition – together with that of a further five paintings, is based on sketches of the Virgin adoring the Christ Child drawn by Leonardo on one of the sheets of the Metropolitan Museum, New York (17.142.1). While the group of five paintings also reflects the influence of Raphael in his Florentine period, the Budapest panel is purely Lombard-Milanese in character. As earlier suggested by Carmen C. Bambach, Mauro Natale and Thereza Wells, the group of the three figures can be attributed to Marco d’Oggiono while the landscape should be ascribed to a different hand. According to the author of the present article the foreground with the main group of figures was probably executed about 1495 in the Milanese workshop of the master, while the landscape in the background with Lombard and Netherlandish elements of style were added about two decades later, circa 1515. The painting is particularly noteworthy for its close attention to detail in the accurately rendered flowers of the foreground, realized in the spirit of Leonardo’s best botanical studies.
MASSIMILIANO CAPELLA - Gli affreschi di Floriano Ferramola in palazzo Calini a Brescia: un caso di arte e moda all’italiana all’inizio del Cinquecento (pp. 121–142)
The Frescoes by Floriano Ferramola in Palazzo Calini in Brescia: A Case Study of Art and Fashion all’italiana at the Beginning of the Cinquecento
The paper discusses the biography and activity of the painter Floriano Ferramola (d. 1528) who worked in Brescia, where he carried out, among other works, the important cycle of the Calini building illustrating episodes from Ovid’s Metamorphoses. The Calini frescoes also represented a spectacular example of connection between art and fashion in the early sixteenth century in North Italy.
ROBERTO CONTINI - Pacchia in Galizia (pp. 143–146)
Pacchia in Galicia
The tondo depicting a Madonna and Child with Saint John the Baptist
is one of the highlights of the Museo municipal Quiñones de León in the Galician town of Vigo, in the north west of the Iberian Peninsula.
Despite the reference to the circle of the purist Florentine painter Fra Bartolomeo, this work shows the anticlassical, expressionistic features of Raphael’s contemporaries such as Girolamo Genga, also a native of Urbino. The striking links with Genga’s œuvre notwithstanding, the present writer prefers to attribute the authorship of the panel to a sort of alter-ego of Genga, the Sienese Girolamo Del Pacchia, in the second decade of the sixteenth century.
LUCIA CORRAIN - Sulla soglia della rappresentazione. Lorenzo Lotto e il San Girolamo penitente di Sibiu (pp. 147–159)
At the Entry to the Image. Lorenzo Lotto and the Saint Jerome in Penitence in Sibiu
Why is a life-size grasshopper placed so prominently in a painting by Lorenzo Lotto representing Saint Jerome in Penitence? That is the question that this study will try to answer.
In the course of his career the Venetian painter produced a number of works representing Saint Jerome by himself. The present example, now in Sibiu in Romania and datable to about 1513/1515, clearly belongs to the series depicting the saint of Stridone, but differs from the others in the prominent display of the grasshopper. Furthermore, the creature presents itself to the viewer on a scale and from a viewpoint quite different to that of the rest of the painting; and in its position at the aesthetic entry to the image, it serves to connect the external world of reality with the internal world of the image.
All this creates a dialogue between the saint and the artist, Jerome and Lotto. Both are ‘translators’: one of words, and the other of the image; both are in search of a life turned towards God. And in the painting, the grasshopper, which carries no negative connotation, is closely related to the crucifix that the penitent holds in his left hand.
KEITH CHRISTIANSEN - Thoughts Regarding Two Lost Portrait Covers by Lorenzo Lotto (pp. 161–168)
Thoughts Regarding Two Lost Portrait Covers by Lorenzo Lotto
The subject of this note are two pictures, originally from the celebrated collection of Bartolomeo della Nave, whose small painted modelli were carried out by David Teniers the Younger, as a base for engravings for what became his Theatrum Pictorium, published in 1660, with a second edition appearing in 1673: the Allegory of Deceit (New York, Metropolitan Museum of Art, Lehman Collection) and Allegory of Lust (Philadelphia Museum of Art, Johnson Collection). What we are in possession of are copies of a pair of lost works that Lorenzo Lotto most likely painted during his residence in Venice, following his return from Bergamo in 1525 and after completing the frescoed oratory at Trescore. Both the size and the subject of the two pictures suggest the possibility that they were painted as covers for a pair of portraits, a fairly common practice in Venice. Unfortunately, no surviving portraits known today can be associated with them. Still, it is no small matter that, through Teniers’s copies, we have the record of two highly original and enormously compelling secular-subject paintings by one of the most individual painters of the Renaissance.
PAUL JOANNIDES - A Studio Version of Titian’s Baptism of Christ (pp. 169–176)
A Studio Version of Titian’s Baptism of Christ
This article discusses a hitherto unpublished copy, on canvas, of Titian’s Capitoline Baptism, on wood, painted for Giovanni Ram c.1514. It argues that the Leventis canvas, which excludes the patron so prominent in the panel but which otherwise follows it exactly, was executed c.1540 by a member of Titian’s studio and that it was probably commissioned for devotional not aesthetic reasons. It is remarked that the Leventis Baptism is the first example yet identified of Titian’s studio repeating, virtually unchanged if in a looser facture, a composition devised so many years before. X-ray and IRR examination further reveal that the Leventis Baptism was painted over an unfinished portrait of a young woman which, while it is not known in any other version, does resemble closely both Titian’s Bella and his portrait of Isabella d’Este, both of the mid-1530s.
BEVERLY LOUISE BROWN - Sugar and Spice and all Things Nice? Titian’s Portrait of Clarice Strozzi (pp. 177–213)
Sugar and Spice and all Things Nice? Titian’s Portrait of Clarice Strozzi
Titian’s portrait of two-year-old Clarice Strozzi is one of the artist’s best documented works. Not only is it signed and dated 1542, but shortly after it was finished Pietro Aretino penned an open letter in praise of the ‘portrait of the little girl of Ruberto Strozzi’ extoling the picture’s vibrant animation. The effervescent frivolity, however, is not generated by Clarice and her dog but by the two putti depicted on the marble relief decorating the table. Like so many other of Titian’s all’antica sculptural inventions, the two putti help to elucidate the meaning of the picture. Rather than showing a child as a child, Titian’s portrait encapsulates all the female virtues of the perfect wife – beauty, chastity, faithfulness and fecundity. It is a barometer of her potential future, celebrating not who she is but who she will become. Clarice feeds her dog (a well-known symbol of martial fidelity and fecundity) a ring-shaped biscuit or ciambella, which was traditionally given to a mother after the birth of a child. She is dressed as a bride in a flowing white gown with a scent-filled pomander dangling from a belt that falls almost to the ground and precious jewelry, which signals not only her inner virtue but also the Strozzi’s wealth and her potential dowry. Putti were associated with the joy of birth and fecundity and were often found on the reverse of deschi da parto playing rough and tumble games. Small terracotta sculptures of belligerent children also served as talismans for expectant mothers, encouraging them to have healthy sons. Like Eros and Anteros, who according to classical sources were said to have fought valiantly for love, the wrestling putti in Titian’s portrait symbolize the reciprocal love the Clarice will bring to a marriage and indicate the healthy progeny she will produce.
MICHELE DANIELI - Sette maniere più una: Tiburzio Passerotti a Venezia (1577–1589) (pp. 215–240)
Sette maniere plus One: Tiburzio Passerotti in Venice
Tiburzio was the son of Bartolomeo Passerotti, and his carreer begun in the shadow of father. But they had some disagreements, and Tiburzio moved to Venice, where he arrived before 1580 to stay until 1589. Until some decades ago, his only known Venetian work was the Election of Lorenzo Giustiniani as Patriarch of Venice, in Palazzo Ducale.
This paper aims to give a new consistency to the Venetian sojourn of Tiburzio. Recently new paintings have appeared, correctly referred to the artist in his Venetian period, thanks to which we can draw a more precise picture of his residence. The Lorenzo Giustiniani, formerly dated around 1589, must be considered his debut, perhaps dating from shortly after the fire of Palazzo Ducale in 1577.
Through new attributions and some unpublished works, the author reconstructs the path of Tiburzio in Venice, and proposes to recognize his presence in the church of San Zulian, where he painted the Crucifixion among the canvases illustrating the Passion of Christ, and four Virtues on the ceiling.
He worked closely with Leonardo Corona, and perhaps their influences were mutual.
The old opinion, according to which Tiburzio was forced to retire from Venice shortly after his arrival, because of the failure of the Lorenzo Giustiniani, can be definitively discarded.
CAROLYN C. WILSON - Nunc faber alter adest: Cristoforo Bianchi’s Emblematic Engraving from 1597 and the Saint Joseph Altarpiece of 1603 by Giovanni Barbiani of Ravenna (pp. 241–268)
Nunc faber alter adest: Cristoforo Bianchi’s Emblematic Engraving from 1597 and the Saint Joseph Altarpiece of 1603 by Giovanni Barbiani of Ravenna
Although he has long been characterized as a Counter-Reformation saint, the importance of Saint Joseph’s liturgical cult veneration in the late pre-Tridentine period in Italy, following Sixtus IV’s attention by 1479 to the saint’s feast, and often in response to social crisis, is attested by ample documentation of the establishment of altars, chapels, churches, and confraternities of devotion in Saint Joseph’s name, as well as his frequent embrace as civic and personal patron, and by contemporary liturgical, theological, and devotional writings. The surge of activity in establishing new sites of Saint Joseph’s liturgical cult in Italy appears to taper off toward the middle of the sixteenth century, with papal interest revived during the late 1590s. With the aggrandizement of Saint Joseph’s feast by Gregory XV in 1621, his cult veneration was recast with attention to the charism of Teresa of Ávila, who was canonized the following year.
Awareness of the extent and tenor of the liturgical cult veneration of Saint Joseph during the last quarter of the fifteenth century and over the course of the sixteenth, along with familiarity with contemporary clerical writings on the saint, enriches our understanding of iconographic choices that contemporary artists made to represent and honor the saint as potent intercessor and to convey exegesis. Following a summary of the critical doctrine on Joseph set forth by Bernard of Clairvaux, a brief review of relationships between specific graphic and painted works, most created as accessories to the saint’s liturgical cult, serve to illuminate our ‘reading’ of them and to suggest how devotional meanings and related compositional motifs recur, were shared across time, and were disseminated as the liturgical cult of Joseph evolved and spread. The second of Cristoforo Bianchi’s emblematic engravings, each inscribed with a Latin epigram and distilling aspects of the accompanying text, that appear in the first editions (1597, in Rome under the auspices of Clement VIII, in Spanish and in Italian) of Jerónimo Gracián’s Sumario de las excelencias del glorioso San José and Sommario dell’eccellenze del glorioso S. Giosef is here recognized as the source for Giovanni Barbiani’s high altarpiece of 1603, designed for the former church co-titled to Saint Joseph and Saint Peter in cattedra in Ravenna, and is key to our interpretation of it.
GIOVANNI SASSU - «Nessun’altra vita sarà mai scritta da me con maggior piacere»: il Carlo Bononi di Girolamo Baruffaldi (pp. 269–286)
‘I will never write about anyone else with more pleasure’: The Carlo Bononi by Girolamo Baruffaldi
The reconstruction of Carlo Bononi’s career has always been based on the account by Girolamo Baruffaldi in his Vite de’ pittori e scultori ferraresi. Anyone who has studied Bononi, from Cesare Cittadella to Antonio Frizzi and up to Roberto Longhi, made reference to the biography written by the scholar in the early eighteenth century. The monograph by Andrea Emiliani in 1962 retraced its structure almost exactly: from the sequence of the works to the artist’s trips to the identities of the patrons.
The 2017 exhibition about the artist highlighted that this pattern can no longer be followed: the image of Bononi as an incoherent and often incomprehensible artist is undoubtedly due to the excessive trust granted to the testimony of Baruffaldi. Questioning the ‘source of the sources’ and the motivations of certain interpretations in the Vite, the present essay tries to extract from Baruffaldi’s biography a sort of ‘reliability index’ distinguishing the false from the true and the true from verisimilitude, in the conviction that only a cleanse from the ‘toxic’ information can advance future studies on this artist.
GIUSEPPE PAVANELLO - Mattia Bortoloni a Torino: gli affreschi in palazzo Falletti di Barolo (pp. 287–296)
Mattia Bortoloni in Turin: The Frescoes in Palazzo Falletti di Barolo
This article focuses on the modello (which is published after the recent restoration) and the corresponding fresco in the hall of Palazzo Falletti di Barolo in Turin. They are works by Mattia Bortoloni. The same artist, in our opinion, painted the frescoes in the contiguous ‘Mozart Room’.
GIOACCHINO BARBERA - Asterischi sulla fortuna di Antonello da Messina tra Otto- e Novecento (pp. 297–302)
Notes on the Critical Fortunes of Antonello da Messina between the Nineteenth and the Twentieth Centuries
Some figurative evidence of the success of Antonello da Messina during the nineteenth and the early twentieth centuries are presented here, to complement our previous publication in the catalogue of the great exhibition on the Messina painter, edited by Mauro Lucco, at the Scuderie del Quirinale in 2006. They are in particular: a painting by Giuseppe Rillosi (Bergamo, 1811–1884) representing Giovanni Bellini having his portrait painted by Antonello, commissioned by the countess Noli Marenzi in 1857 for her residence in Bergamo; a Self-portrait by Antonello da Messina, work of a nineteenth-century forger, whose photo was found by Simone Facchinetti in the photo library of the Berenson Foundation; a Portrait of Antonello da Messina in his Studio dated 1924, by the painter Giovanbattista De Zardo (Calalzo di Cadore, 1857 – Messina, 1926); and a full-length bronze relief representing Antonello by the sculptor Antonio Bonfiglio (Messina, 1895–1995), executed in the 1950s, that decorates, together with other reliefs of Messina jurists, scientists and artists, the atrium of the Chamber of Commerce of Messina.
RAFFAELLA FONTANAROSSA - Storia di Margherita. Genealogia di un’icona della museologia moderna (pp. 303–317)
The Story of Margherita. The Birth of a Modern Museological Icon
The arrangement of the surviving marble pieces of one of the most famous medieval monuments, the tomb of Margaret of Brabant by Giovanni Pisano, has always been a test-bed for directors of public museums in Genoa. Starting with their first display in 1892, the sculptures were normally presented fixed to a shelf running along the wall, and this was repeated in all subsequent arrangements. After the Second World War, however, when Palazzo Bianco was reopened in 1950, visitors found themselves facing a totally new device: Margaret was placed at the centre of the room, mounted on a mobile support, which allowed an all-round view of the masterpiece. The novel mise-en-scène, designed by Franco Albini and Caterina Marcenaro, was celebrated all over the world and soon became the icon of the golden era of Italian museology, which coincided with the reconstruction phase. Using literature and visual sources, the essay retraces its critical fortunes.
GIOVANNI C. F. VILLA - Palazzo Chiericati e Vicenza. Le metamorfosi di un museo e della sua città (pp. 319–334)
Palazzo Chiericati and Vicenza. The Metamorphoses of a Museum and its City
The essay presents what has been accomplished, museologically and museographically, in the period 1998–2018 at the Civic Museum of Vicenza. These years saw the complete renovation of Palazzo Chiericati, an architectural masterpiece by Andrea Palladio and a building included in the list of UNESCO World Heritage Sites. The census of its collections and the reflection carried out around their reorganization, in addition to the cultural policy of the Museum, started with the publication of scientific catalogs and the review of didactic paths, and continued with the opening of the museum to the public, and the development of exhibition projects elsewhere in Italy and abroad.