Thanks to the discovery of a version of the first printed catalogue of the Pinacoteca Capitolina annotated by the critic and collector Alessandro Maggiori (BCM, ms. 163), the article reconstructs part of the display of the two rooms that formed the Galleria de’Quadri at the time of the return of the artworks from Paris and before the setting up of Guercino’s Santa Petronilla. After tracing the early 19th century directorship, which passed from Thomas Pye to Agostino Tofanelli in 1817, the study sheds light on the genesis and characteristics of the Catalogo delle sculture antiche e de’ quadri esistenti nel museo e galleria di Campidoglio, published in the same year, to concentrate at the end on the historical-critical analysis of the annotations expressing judgements on the paintings of the Bolognese school, a subject at the heart of Alessandro Maggiori’s reflections.
Le postille di Alessandro Maggiori al primo catalogo a stampa della Pinacoteca Capitolina di Agostino Tofanelli: precisazioni all’allestimento del 1817
vanda lisanti
Primo
2023-01-01
Abstract
Thanks to the discovery of a version of the first printed catalogue of the Pinacoteca Capitolina annotated by the critic and collector Alessandro Maggiori (BCM, ms. 163), the article reconstructs part of the display of the two rooms that formed the Galleria de’Quadri at the time of the return of the artworks from Paris and before the setting up of Guercino’s Santa Petronilla. After tracing the early 19th century directorship, which passed from Thomas Pye to Agostino Tofanelli in 1817, the study sheds light on the genesis and characteristics of the Catalogo delle sculture antiche e de’ quadri esistenti nel museo e galleria di Campidoglio, published in the same year, to concentrate at the end on the historical-critical analysis of the annotations expressing judgements on the paintings of the Bolognese school, a subject at the heart of Alessandro Maggiori’s reflections.File | Dimensione | Formato | |
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