Progetto Euploos

Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi

Scheda Catalogo "129 A"

Apri Immagini Opera
Scheda aggiornata al 08-02-2019
Opera 129 A
  • inv.: 129 A
  • Bufalini Francesco Antonio (attivo dal 1680 ca. al 1716 ca.)
  • Prospetto della facciata della Basilica di San Pietro
  • Tecnica e materia: punta acroma, grafite (punta di piombo?), penna e inchiostro marrone, pennello e inchiostro diluito blu, ripassi a stilo, il verso del foglio trattato in maniera uniforme con pietra rossa su carta
  • Misure: 267 x 233 mm
  • Stemmi, emblemi, marchi: timbro a inchiostro di collezione: Reale Galleria degli Uffizi (Lugt 929) sul recto nell'angolo in basso a sinistra
  • Schede correlate: 3596 A , 3644 A , 3676 A , 3679 A , 3680 A , 3682 A , 3691 A , 101772 , 101773 , 101774

Notizie storiche e critiche

Inv. 129 A shows the façade of the Basilica of Saint Peter in Rome as completed according to Carlo Maderno’s design in 1612. Described in Pasquale Nerino Ferri’s card index first as Ludovico Cigoli and then as Carlo Maderno, the possibility that the drawing might be for a print was suggested in 1982 by Pierre and Catherine Provoyeur and on the same occasion dated towards c. 1645 . Close scrutiny through the employment of raking light allows us to relate the sheet to plate 3 of the 'Insignium Romae Templorum Prospectus' (1683 and 1684). This is a cartonetto used for direct transfer, as shown by the virtually identical dimensions to print, the indented outlines and its verso, which has been coated with red chalk. The latter expedient essentially turned the drawing into ‘carbon copy’ paper. On the basis of its use and function, the drawing can be solidly dated to c.1680-83 and attributed to Francesco Antonio Bufalini (active c.1680-c.1716), who signs the plate as a draughtsman, alongside the little known Giovanni Colin as an etcher . Information on Bufalini is scarce and scattered . A member of the Accademia dei Virtuosi al Pantheon, Bufalini moved in the circle of Carlo Fontana, and is mostly documented from 1688 to 1707 as a sottomaestro della strade, while working in Rome on architectural projects, including the monastery of the Church of Santa Maria della Concezione in Campo Marzio from 1695 to 1712, and on the restoration of the Roman residence of the prominent cardinal and refined art collector, Gaspare Carpegna. For the same cardinal he had completed works on his residence in Carpegna, following the death of Giovanni Antonio de’ Rossi in 1695. De’ Rossi’s 'Prospectus' carries a dedication to the clergyman – a testimony of the close network among patrons, artists and the Roman publisher. Worth mentioning in this context is Bufalini’s presence in 1703 in Urbino alongside Cavalier Francesco Fontana, son of Carlo, and Gaetano Piccini, surveying the city following an earthquake. Two plans for Urbino Cathedral, one of the choir and the other of the crypt beneath (Royal Collection, Windsor Castle) have been tentatively attributed to him . Bufalini signs as draughtsman and etcher a print depicting the triumphal arch for Maximilian of Bavaria of 1688 . However, no other prints by him have thus far been identified. Inv. 129 A is one of a highly finished group of drawings at the GDSU preparatory for the 'Prospectus' and executed by the same architect. Its rediscovery raises the difficult question of the use and authorship of GDSU inv. 3675 A, showing Saint Peter’s façade, which has been linked to the same plate . The sheet in fact shows no signs of transfer and it differs in dimension and details from the plate etched by Colin, strongly indicating that it was executed as an independent exercise. See inv. 101773 for further discussion of the series to which this drawing belongs. (Angelamaria Aceto 2017)

Bibliografia

  • Nice 1982
    Provoyeur P./ Provoyeur C., Le Temple. Répresentations de l'architecture sacrée, catalogo mostra Nice, Musée National Message Biblique Marc Chagall 1982, Parigi 1982, n. 79 (scheda a cura di Provoyeur P./ Provoyeur C.)
  • Aceto A. 2017
    Aceto A., From building to print: Giovanni Giacomo de’ Rossi and the making of architectural books, in The Burlington Magazine, CLIX, 2017, p.700

 

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