Maddalena Vaccaro will focus on archival documents about the ivory diptych from San Tommaso in Acquanegra, now preserved in the collections of the Museo Nazionale del Bargello in Florence, aiming to ‘virtually’ re-connect the piece to its context of provenance. In fact, the diptych, figured with scenes from Christ’s life, was shown on St. Peter’s altar till the end of 19th century and is a rare proof of the liturgical decor of the church. Through documentation, she will reconstruct as the ivory was moved from Acquanegra to Florence. In fact, firstly the diptych was removed from the altar due to theft attempts, and then put on sell since 1882, after the parish priest requested its artistic evaluation to the Ministero di Antichità e Belle Arti. The Ministery, who initially challenged its trade, then imposed the sell to a National Museum. Thus, the analysis investigates the correspondence between the Parish, the Ministery, the Commissariato alle Antichità e Belle Arti della Toscana and the Museo Nazionale in Florence in order to clarify the actions managed for the conservation of the piece, but also the awareness of the artistic value of the diptych. Benedetta Chiesi will consider the artistic aspect and iconography of the Acquanegra ivory, quite unknown in the scientific literature on Gothic ivories. Indeed, the diptych had not been studied since it appeared in the catalogue of Raymond Koechlin in 1924. This text aims at investigating the ivory in connection with a group of closely comparable works, to confirm its chronology and origins. The iconography and composition, with eight scenes from the Christ’s Life and Passion, read from left to right beginning at the bottom, allows comparisons with the so-called Large Passion diptych group and especially the group of diptychs with colonnettes. These iconographic models were employed by a number of Parisian ateliers in the second half of the 14th century, and spread largely in France until the end of the century. The study of this diptych in connection with the documentation concerning its context of provenance allows to note the misinterpretation of one of the scenes in the Passion cycle (the Arrest), willing to see in it san Tommaso, the patron of the church of Acquanegra. This text, in complex, aims at highlighting the overall artistic aspect of the diptych and to strengthen the relation with its historical provenance, which is to be considered as an extremely important factor due to its infrequency in the studies on Gothic ivories.

Il dittico eburneo di Acquanegra (Firenze, Museo Nazionale del Bargello)

VACCARO, Maddalena;
2015

Abstract

Maddalena Vaccaro will focus on archival documents about the ivory diptych from San Tommaso in Acquanegra, now preserved in the collections of the Museo Nazionale del Bargello in Florence, aiming to ‘virtually’ re-connect the piece to its context of provenance. In fact, the diptych, figured with scenes from Christ’s life, was shown on St. Peter’s altar till the end of 19th century and is a rare proof of the liturgical decor of the church. Through documentation, she will reconstruct as the ivory was moved from Acquanegra to Florence. In fact, firstly the diptych was removed from the altar due to theft attempts, and then put on sell since 1882, after the parish priest requested its artistic evaluation to the Ministero di Antichità e Belle Arti. The Ministery, who initially challenged its trade, then imposed the sell to a National Museum. Thus, the analysis investigates the correspondence between the Parish, the Ministery, the Commissariato alle Antichità e Belle Arti della Toscana and the Museo Nazionale in Florence in order to clarify the actions managed for the conservation of the piece, but also the awareness of the artistic value of the diptych. Benedetta Chiesi will consider the artistic aspect and iconography of the Acquanegra ivory, quite unknown in the scientific literature on Gothic ivories. Indeed, the diptych had not been studied since it appeared in the catalogue of Raymond Koechlin in 1924. This text aims at investigating the ivory in connection with a group of closely comparable works, to confirm its chronology and origins. The iconography and composition, with eight scenes from the Christ’s Life and Passion, read from left to right beginning at the bottom, allows comparisons with the so-called Large Passion diptych group and especially the group of diptychs with colonnettes. These iconographic models were employed by a number of Parisian ateliers in the second half of the 14th century, and spread largely in France until the end of the century. The study of this diptych in connection with the documentation concerning its context of provenance allows to note the misinterpretation of one of the scenes in the Passion cycle (the Arrest), willing to see in it san Tommaso, the patron of the church of Acquanegra. This text, in complex, aims at highlighting the overall artistic aspect of the diptych and to strengthen the relation with its historical provenance, which is to be considered as an extremely important factor due to its infrequency in the studies on Gothic ivories.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11386/4659312
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