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Newsletter n.1

Dear Friends,

It is with great pleasure that we publish our first quarterly newsletter. In it, you will find updates of our organization’s activities that, as noted, focus on the restoration significant churches in the Historic Center of Rome, as well as our intent to raise awareness of their cultural value through targeted education programs.

In this period we have also been notified by the IRS as having fulfilled all requirements for Ligamina to be legally registered and recognized as a U.S.-based 501(c) charitable organization.

The timing could not have been better as it coincides with the fruits of our intense preparations over the last several months, work that forms the foundation of our organization.

In May 2014, we organized a round table discussion with Italian and international experts on the young Bernini. The following month we inaugurated an exhibit on the demolished St. Ursula Oratory at St. Giovanni dei Fiorentini that also initiated the biannual fund raising campaign for the basilica. This year, we began an education program with Italian and foreign universities for young scholars of the arts whose participation will certainly enrich our studies.

As can be clearly seen in our first newsletter, Ligamina’s goal is not the “commercial” publication of our activities, but a useful necessity that we are sure will be of great interest to both scholars and lovers of Roman art.

Our first issue will include a contribution by Pope Benedict XVI on the beauty of art as it appeared in his address to artists in the Sistine Chapel on November 9, 2009 as well as paper by the young art scholar Simone Andreoni on a subject dear to us, the paintings attributed to Antonio Carracci in Rome. His essay looks to clarify several key elements in the attribution of the Flagellation of Christ in the Church of Santa Maria in Monticelli, whose restoration has been entrusted to Ligamina.

We are certain that our newsletter, thus conceived, will be appreciated and will serve as an important link with our friends and supporters.


 

Notes on the Flagellation of Christ in the Church of Santa Maria in Monticelli, Attributed to Antonio Carracci
by Simone Andreoni

The Flagellation of Christ in the Church of Santa Maria in Monticelli, attributed to Antonio Carracci, is a particularly problematic fresco.
Brought by Titi as a part of the broader cycle of the Passion, it was later covered for more than 100 years, beginning in 1715, during the continuous restoration of the church ordered by Clement XI and initiated by Matteo Sassi, until 1860 when the project was reopened by Pius IX under the care of Franceso Azzurri. Admired for the quality of its execution, it was soon removed, framed and placed in greater prominence above the altar in the Mandosi Chapel where it was again covered.

Its linear composition, particularly evident in the tormentors, together with the corrosion due to moisture, endemic to the whole church, lead to the traditional, but questionable, attribution to Titi, reinforced by its resemblance to the artist’s frescoes in the Church of San Bartolomeo all’Isola, whose compositions, however, reveal a Rhenish influence particularly visible in the brush strokes and in the composition of the scene.
 

While it is true that the two work sites fall within the same time frame – as some letters demonstrate – evidence of the moral intent of the composition and its reference to the Santa Prassede Flagellation (attributed to Giulio Romano or Penni), in the positioning of the tormentors’ legs, as well as the clear balance of symmetries and the juxtaposition of the figures (which signal a decorative concept of the painting surface) strongly suggest a new Mandosi commission, one of Antonio Carracci’s first individual works.

Entire essay in PDF

Santa Maria in Monticelli - Restauro pittorico

Date of publication: 
04/10/2015