ARTES. Periodico annuale di storia delle arti, 13, 2005-2007 (2008)
ISSN 1122-3154 / ISBN 978-884672185-3

In this issue:

Francesca Gamalero, "Il Libro d'Ore ms. Pal. 56 della Biblioteca
Palatina di Parma: l'intervento quattrocentesco alla corte dei duchi
di Savoia", p. 5
The "Libro d'ore" (Parma, Biblioteca Palatina, ms. Pal. 56) was
started at the end of the Trecento and completed at the court of Savoy
in the following century. The most ancient part of it is attributed to
the Master of the "Libro d'Ore" of Modena (Modena, Biblioteca Estense,
ms. Lat. 842), while the most recent one, that the author confirms and
dates by the early 1470's, can be traced back to two artists: the
second Master of the "Libro d'ore" of Ludovoco di Savoia and another
one, whose style is close to Antoine de Lonhy's. The commission of the
second intervention is related to the circle of the court of Savoy's
members.

Giuditta Cerutti, "'la sarà inexpugnabile'. Vicende costruttive della
fortezza di Oramala nel Quattrocento", p. 37
Running through the 15th century phase of the construction of Oramala
castle and its documentary basis, the author suggests acknowledging
the present castle, which was till now considered a medieval
construction, as the stronghold built at the end of the 15th century.
The medieval structure, tumbledown in that period, was rebuilt between
1479 and 1483 thanks to Bernino da Sagliano at first and to the
Malaspinas of Oramala and Godiasco afterwards.

Marinella Pigozzi, "Gli intrecci dell'arte con la scienza, a Bologna,
da Annibale Carracci a Francesco Cavazzoni: gli esiti farnesiani
romani", p. 85
The author analyses the different attitudes towards natural sciences,
grown within the Bolognese environment, where important figures were
present, such as Ulisse Aldrovandi, the exponent of the descriptive
and classificatory encyclopaedism, but also Annibale Carracci, who
expresses the experience of nature through the art. The result is
evident in the Farnese Gallery, where Annibale gets the arrangement in
the complex composition thanks to the perspective, considering as
point of reference Tibaldi's Bolognese productions.

Francesco Menchetti, "I disegni di Vignola e di Domenico Tibaldi per i
canali e i torrenti di Bologna", p. 121
Some drawings executed by Jacopo Barozzi from Vignola and by Domenico
Tibaldi are considered here; they were carried out between 1547 and
1581, and concern bridges or hydraulic engineering works in relation
to Bolognese waterways.

Alessandra Casati, "Addenda al catalogo di Camillo Procaccini", p. 151
The author identifies two paintings of Camillo Procaccini, the
Presentazione della Vergine al Tempio and the Assunzione, accomplished
for the chapel of the Immaculate in San Francesco of Lodi in 1606.

Alberto Crispo, "Aggiornamenti per Francesco Cairo", p. 161
The author traces four paintings back to Francesco Cairo - two sacred
topics, a mythological one and a female head -, all present or
reported in the past as belonging to private collections, or passed
otherwise to the antiquarian market, setting them within the rich
master's production.

Valerio Terraroli, "Sebastiano Ricci a Brescia", p. 165
The Fenaroli brothers let decorate their house in Brescia, nowadays
Palazzo Bettoni Cazzago, between 1696 and 1702. Basing himself on
documents and still in situ works, the author acknowledges the
presence of various artists: Ludovico Bracco, Giuseppe Vittori and
other minor masters. In two of the halls of the palace Sebastiano
Ricci painted the allegories of Fame and Truth, now both identified.

Mauro Bonetti, "Erudizione e dilettantismo a Brescia nel Settecento:
la villa dei conti Mazzuchelli a Ciliverghe", p. 175
The Mazzuchelli Counts' villa in Ciliverghe di Mazzano near Brescia
was built beginning from 1742. The author recognizes its model in a
plan illustrated by Vincenzo Scamozzi in the treatise L'idea della
Architettura Universale (1615). The correspondence between Giammaria
Mazzuchelli and the Paduan man of science Giovanni Poleni allows to
debate again on the problems of the "fabbrica" and the attribution of
the plan.

Gianpaolo Angelini, "Per l'architettura residenziale del Settecento
lombardo: Lorenzo Cassani e palazzo Olevano a Pavia", p. 231
The palace of the Olevano family, showing the U shape plan generally
adopted for villas, was built during the 18th century, achieving a
project belonging to the architect Lorenzo Cassani. The article
examines the commission, the plans and the constructional phases. The
same architect fulfilled for the family the imposing villa in Cava
Manara, whose plan is studied.

Davide Tolomelli, "L'inventario dei beni del maresciallo Antoniotto
Botta Adorno", p. 281
The inventory of 1775, compiled after marshal Antoniotto Botta
Adorno's death, is here published and includes the palace lying in
Pavia and the villas in Torre d'Isola and Branduzzo.

Elisabeth Wünsche-Werdehausen, " 'La felicità in trono'. L'entrata di
Vittorio Amedeo II a Palermo nel 1713", p. 361
The article analyses the triumphal entrance of Vittorio Amedeo II of
Savoy in Palermo in 1713, when the duke became king of Sicily. The
arches and the triumphal ornaments along the way were erected
according to the drawing of the architects Paolo Amato and Andrea
Palma. The author examines the political significances of the
ceremony, which tried to legalize the sovereign's right over his new
possession.

Ranieri Varese, "La morte di Canova", p. 389
The author analyses the testimonies on Canova's death - Alessandro
Paravia, Melchior Missirini, Leopoldo Cicognara and others - and
identifies the patterns which related the event. Cicognara adopts the
criteria of the "public death" and masonic references, whereas the
other authors cling to patterns in agreement with the Christian faith.

Patrizia Regorda, "La critica d'arte di Roberto Papini negli anni
Venti e Trenta", p. 407
Roberto Papini (1893-1957) was an art critic of the decorative and the
figurative arts. Concerning the activities of this last branch, which
is not so well-known, the author intervenes and shows both those
theoretical statements, which wish to go back to an artisan education
and are in relationship with Purovisibilism and with Berenson's
attitudes, and the appreciations towards the contemporary authors, who
specify the versatile trends of the critic.

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