The tondo of the Musee du Louvre (inv. 719), titled Madonna and Child between Santa Rose and Saint Catherine, and Two Angels, is among the most beautiful and famous works of Pietro Vannucci (Federico Zeri, in 1979, ascribed this painting to Andrea d’Assisi). The Louve tondo is one of the Florentine masterpieces of Perugino, probably painted just before his departure for Rome (1479). The identification of the figure of Mary of Magdala instead of the young Franciscan Tertiary. blessed Rosa da Viterbo (1233-1251), allows to hypothesize the original collocation of the Louvre tondo in the Florentine monastery of Saint Mary Magdalen of Cestello. An alternative hypothesis, is the chapel in the palace of the most important patron of this Cistercian monastery: the famous first Chancellor and Gonfalonier of Justice, Bartolomeo Scala (1430-1497).
Florentina elegantia: sul tondo di Pietro Vannucci nel Musée du Louvre
MARCELLI, FABIO
2017
Abstract
The tondo of the Musee du Louvre (inv. 719), titled Madonna and Child between Santa Rose and Saint Catherine, and Two Angels, is among the most beautiful and famous works of Pietro Vannucci (Federico Zeri, in 1979, ascribed this painting to Andrea d’Assisi). The Louve tondo is one of the Florentine masterpieces of Perugino, probably painted just before his departure for Rome (1479). The identification of the figure of Mary of Magdala instead of the young Franciscan Tertiary. blessed Rosa da Viterbo (1233-1251), allows to hypothesize the original collocation of the Louvre tondo in the Florentine monastery of Saint Mary Magdalen of Cestello. An alternative hypothesis, is the chapel in the palace of the most important patron of this Cistercian monastery: the famous first Chancellor and Gonfalonier of Justice, Bartolomeo Scala (1430-1497).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
