Dall'unica prospettiva possibile, in quanto protetto da una cancellata, nelle fotografie si ammira l'altare con il Polittico del Perugino conservato nella Cappella di S.Michele Arcangelo, posta sul lato sinistro della navata della Certosa di Pavia.
In queste antiche copie si possono vedere il demonio ucciso dall'Arcangelo Michele, il sacco dove la Madonna appoggia il Baby Jesus and the dog that accompanies Tobias, in the original tables, are being cut. The only original piece of Perugino is one that depicts God the Father Blessing, supported by doctors of the church painted by Bergognone.
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| God the Father Blessing |
by the Province of Pavia February 18, 2011
The paintings and drawings that Perugino created for the Certosa di Pavia
CERTOSA. a Saturday afternoon away from the hustle and crowds of the city. Delve into the history of art, to learn the meaning of a picture, immersed in the rarefied landscapes and abstract beauty of the sweet and Perugino (1450 - 1523).
Tomorrow at 15 in the hall of the Carthusian Certosa di Pavia, as part of a series of meetings dedicated to the artistic heritage of Charterhouse and its museum, the art historian Furio coordinated by Letizia Rinaldi Lodi, director of the museum of the Monastery, will give a lecture entitled "An air et angelica very sweet. Perugino: paintings and drawings for the Certosa ". More than a lesson will be a conversation, by Perugino accessible even to those who know little or nothing, a fictionalized story that will capture the attention of the public. And finally, before the picture, anyone will be able to read something. Starting with the 'air et angelica very sweet "which is a peculiarity in the poetry of Pietro di Cristoforo Vannucci, aka Peurgino" Teacher Singles, her things are air et angelica very sweet, "so the artist was reported to the Moor by his agent in Florence, and for the same reason he was chosen to speak on the Certosa di Pavia. "The Moro - Furio says Rinaldi - was in fact looking for the best Florentine artists (Leonardo da Vinci was already in Milan) to assign two altarpieces for what was the main yard Renaissance of the dukedom, the Certosa. Together with Perugino had been reported Filippino Lippi, but the beauty and delicacy of the lines of the master of Raphael had no equal, Ludwig did not think twice, and the commission was entrusted in 1496 to Perugino. " The artist, who was then the height of his fame (in addition to the altarpiece was planning the blade of Cremona, and Bologna to the picture with lots of love and chastity executed for Isabella d'Este in Mantua), worked there until 1500, putting body and soul this project, and the result was "of such beauty and perfection - continuous Rinaldi - often in the past has been called into question the hand of his pupil, Raphael. But you know, the early works of Raphael did not come to such a quality. " The altarpiece is composed of two registers: the lower (three boards 126x58 cm) with the Madonna and Child with the Archangel Michael and the Archangel Raphael with Tobias, having been alienated nel periodo napoleonico e passato nella collezione Melzi d’Eril a Milano, fu venduto nel 1856 alla National Gallery di Londra, dove risiede tutt’ora, e da dove non è mai più uscito, negato a ogni prestito per mostra. Le tavole mancanti furono sostituite dalle copie attuali, realizzate tra il 1608 e il 1640 da un pittore lombardo, forse Giacomo Antonio Santagostino. La tavola superiore invece, con il Padre Eterno Benedicente, unica autografa del Perugino rimasta, è conservata ancora alla Certosa. Spiega Rinaldi: «Al momento delle soppressioni austriache-giuseppine del 1784 non venne riconosciuta come opera del maestro rinascimentale, ma assimilata al minore Mariotto Albertinelli, sfuggendo così the requisition. In addition to the history of the altarpiece, Rinaldi will also show some great preparatory drawings (autographs) that Perugino executed under construction.
- Chiara Argenteri
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