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Imago urbis: problemi iconografici e iconologici del battistero di Castiglione Olona fra Lombardia e Ungheria

Andrea Spiriti
Arte Lombarda
Nuova serie, No. 139 (3), Convegno internazionale: LOMBARDIA E UNGHERIA NELL'ETÀ DELL'UMANESIMO E DEL RINASCIMENTO—Rapporti culturali e artistici dall'età di Sigismondo all'invasione turca (1387-1526): 2-4 dicembre 2002 (2003), pp. 64-70
Stable URL: http://www.jstor.org/stable/43106382
Page Count: 7
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Imago urbis: problemi iconografici e iconologici del battistero di Castiglione Olona fra Lombardia e Ungheria
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Abstract

Recent restoration work has permitted a new reading of the frescoes on the inside wall of the façade of the so-called Baptistery in Castiglione Olona, in particular, the Visio Urbis Romae that occupies the central part. A careful analysis makes it possible to identify numerous buildings that were chosen with a preference for the monuments of Christian rather than classical Rome, contrary to most contemporary cartography. Instead, it has analogies with the lost cycle in the Palazzo Orsini in Montegiordano. This reading is supported by the identification of the viewpoint (the Mausoleum of Augustus) and by the perspective and spatial relationships. It is also worth noting that the image of the Vatican basilica is surmounted by a cupola, which leads to the presumption that there was already some concern for this theme twenty years earlier than the famous project of Nicholas V. On the basis of the connection between historical and eschatological time in this image and in the entire frescoed space, the author suggests a new reading for the Feast of Herod on the right wall, basing it on an accurate comparison with what was happening in the Visconti milieu from 1433-1435: the Feast thus becomes the manifesto of a precise religious and political decision by Cardinal Branda Castiglioni.

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