Until now, Vasari's contribution to the architectural renovation of the church of San Pietro in Perugia was unknown: this study reveals the role of the architect from Arezzo thanks to several letters he sent to his friend and adviser, Don Vincenzio Borghini, and by a planimetrical drawing of the Perugia Abbey. In early April 1566 Vasari was in Perugia to deliver three paintings for the refectory of San Pietro Abbey, requested by abbot Jacopo Dei. The correspondence between Vasari and Borghini clarifies that while the architect remained a guest of the Perugian Abbey he was asked for consultancy for some architectural works. A plan deposited in the historical archives of the same Abbey depicts a large part of the complex: architectural interventions to be carried out are represented on the plan. Several graphic marks in the presbytery area indicate the presence of the ancient rood screen and monastic choir, later moved in different position. On the drawing there are various graphic signs and two calligraphies: one of these can probably be assigned to the hand of Giorgio Vasari. Vasari's design contribution could be aimed to the architectural renovation of the church according to Tridentine dictates. Infact, in the same months, he was working on the renovation works of the Florentine churches of Santa Maria Novella and Santa Croce, with the demolition of the monumental choir screen, and of the Abbey of Saints Flora and Lucilla in Arezzo requested by the abbot, Placido da Poppi. In the weeks following the visit to San Pietro, Vasari undertook a journey to Northern Italy aimed at the second editing of the Lives. During part of the journey, the architect from Arezzo traveled in the company of the abbots Placido da Poppi and Jacopo Dei. The places visited by the three Tuscans and the composition of the traveling group suggest that architectural renovation of northern Italian churches may have been the focus of the interests of the artist and the Benedictine abbots of Arezzo and Perugia.
Un progetto di Giorgio Vasari per l’Abbazia di San Pietro a Perugia
Funis F.
2024
Abstract
Until now, Vasari's contribution to the architectural renovation of the church of San Pietro in Perugia was unknown: this study reveals the role of the architect from Arezzo thanks to several letters he sent to his friend and adviser, Don Vincenzio Borghini, and by a planimetrical drawing of the Perugia Abbey. In early April 1566 Vasari was in Perugia to deliver three paintings for the refectory of San Pietro Abbey, requested by abbot Jacopo Dei. The correspondence between Vasari and Borghini clarifies that while the architect remained a guest of the Perugian Abbey he was asked for consultancy for some architectural works. A plan deposited in the historical archives of the same Abbey depicts a large part of the complex: architectural interventions to be carried out are represented on the plan. Several graphic marks in the presbytery area indicate the presence of the ancient rood screen and monastic choir, later moved in different position. On the drawing there are various graphic signs and two calligraphies: one of these can probably be assigned to the hand of Giorgio Vasari. Vasari's design contribution could be aimed to the architectural renovation of the church according to Tridentine dictates. Infact, in the same months, he was working on the renovation works of the Florentine churches of Santa Maria Novella and Santa Croce, with the demolition of the monumental choir screen, and of the Abbey of Saints Flora and Lucilla in Arezzo requested by the abbot, Placido da Poppi. In the weeks following the visit to San Pietro, Vasari undertook a journey to Northern Italy aimed at the second editing of the Lives. During part of the journey, the architect from Arezzo traveled in the company of the abbots Placido da Poppi and Jacopo Dei. The places visited by the three Tuscans and the composition of the traveling group suggest that architectural renovation of northern Italian churches may have been the focus of the interests of the artist and the Benedictine abbots of Arezzo and Perugia.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
