National Gallery of Canada / Musée des beaux-arts du Canada

Bulletin 14, 1969

Annual Index
Author & Subject

Two Lombard Decorative Reliefs

by Ulrich Middeldorf

  1  |  2  


1 Two terracotta plaques 53.5 x 50 cm. (21 1/8 x 19 3/4 in.) each. They are said to come from a French private collection, apparently that of the widow of Stanislas Lami.

2 For Palazzo Fodri see Emilio Gussali, Rassegna d'arte, vol. XVI, 1916, pp. 85 ff.; Carlo Calzecchi, Bollettino d'arte, vol. XXVI, 1932-3, pp. 524 ff.; W. Terni De Gregory, Pittura artigiana lombarda del rinascimento, Milan, 1958, pp. 121 ff., 155; Giacomo C. Bascapè and Carlo Perogalli, Palazzi privati di Lombardia, Milan, 1965, p. 246, fig. 53. I have not been able to see G. Bonetti, Cremona, 1930, no. 12, pp. 339 ff., in which the documents for the building are published. For the period in Cremona in general see the learned introduction of Alfredo Puerari, Le tarsie del Platina, Cremona, 1967, pp. 13 ff.

3 Gussali, pp. 88 f. ; Calzecchi, pp. 529, 535, n. 4 and 5. Bascapè and Perogalli, pp. 246, 247 f., figs. 56, 57. A Cremonese architect, Faustino Rodi (1756-after 1827) is mentioned as author of this fraud.

4 For relatively clear reproductions of the frieze see Calzecchi, fig. II; Giulio Ferrari, La terracotta nell' arte italiana, Milan, 1928, pl. CLIX; and Et tore Signori, Cremona, Bergamo, 1928, repr. p. 82.

5 Calzecchi, fig. 15.

6 For Poggio a Caiano see André Chastel, Art et humanisme à Florence au temps de Laurent le Magnijique, Paris, 1959, pp. 218 ff. ; for the house of Bartolomeo Scala see Alessandro Parronchi, Journal of the Warburg and Courtauld Institutes, vol. XXVII, 1964, pp. 108 ff.

7 See the literature, quoted in n. 2, and Armando Novasconi, Le arti minori nel Lodigiano, vol. II, Lodi, 1963, p. 112, n. I.

8 Adolfo Venturi, Storia dell'arte italiana, vol. VI, 1908, pp. 913 f., fig. 616.

9 Museo Civico nos. 1756, 1757, 1760. (Not in Silvio Vigezzi, La scultura in Milano, Milan, 1934, Catalogue of the Sculptures of the Castello Sforzesco). Photos in the Kunsthistorisches Institut, Florence. The provenance mentioned in Gussali, p. 96, n. I.

10 Francesco Malaguzzi Valeri, Giovanni Antonio Amadeo, Bergamo, 1904, pp. 133 ff., repr. pp. 122-34; Et tore Signori, p. 91, repr. pp. 86-90.

11 While these lines were going to print, two further fragments of such a frieze, belonging to the estate of the late Georg Swarzenski in Boston, were brought to the attention of the author by Ursula Schlegel. They complicate the question in so far as their figures are composed differently and they are of less slender proportion and of different execution. They certainly come from different moulds.

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