The accounts kept in the Millini fonds of the Serlupi Crescenzi Archive have allowed the author to redefine the stages of the construction of the Patrizi chapel in the basilica of S. Maria Maggiore. At the same time, it was possible to ascribe the two portraits of Costanzo and Patrizio Patrizi, previously attributed by critics to an anonymous sculptor and to Alessandro Algardi, to the hand of Orfeo Boselli. This rediscovery makes it possible to add two important pieces to the autonomous production of the Roman sculptor, known essentially for his work as a restorer of antique sculptures. In addition, the author proposes to identify a bust made by Orfeo Boselli in a private collection, already erroneously identified as an effigy of Paolo Giordano II Orsini, as a portrait of Torquato Alessandri, a friend of Boselli's who is depicted in his mature age and in old-fashioned clothes to honour his military career.
Gli incartamenti contabili conservati nel fondo Millini dell’Archivio Serlupi Crescenzi hanno permesso all’autore di ridefinire le fasi della realizzazione della cappella Patrizi nella basilica di S. Maria Maggiore e al contempo di attribuire i due ritratti di Costanzo e Patrizio Patrizi, rispettivamente ricondotti dalla critica a scultore anonimo e ad Alessandro Algardi, alla mano di Orfeo Boselli. Si aggiungono così due importanti tasselli alla produzione autonoma dello scultore romano, noto essenzialmente per la sua attività di restauratore di pezzi archeologici. Inoltre, si propone di identificare un busto di Orfeo Boselli di collezione privata, già erroneamente individuato come effigie di Paolo Giordano II Orsini, come ritratto di Torquato Alessandri, amico di Boselli che è rappresentato in età matura e in vesti all’antica per onorarne la carriera militare.
«An anomaly in Algardi's oeuvre»: Orfeo Boselli e la cappella Patrizi in S. Maria Maggiore
Adriano Amendola
2022
Abstract
The accounts kept in the Millini fonds of the Serlupi Crescenzi Archive have allowed the author to redefine the stages of the construction of the Patrizi chapel in the basilica of S. Maria Maggiore. At the same time, it was possible to ascribe the two portraits of Costanzo and Patrizio Patrizi, previously attributed by critics to an anonymous sculptor and to Alessandro Algardi, to the hand of Orfeo Boselli. This rediscovery makes it possible to add two important pieces to the autonomous production of the Roman sculptor, known essentially for his work as a restorer of antique sculptures. In addition, the author proposes to identify a bust made by Orfeo Boselli in a private collection, already erroneously identified as an effigy of Paolo Giordano II Orsini, as a portrait of Torquato Alessandri, a friend of Boselli's who is depicted in his mature age and in old-fashioned clothes to honour his military career.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.