DOI Artikel:
Krasny, Piotr: Exempla viva: the prelates of the Roman Catholic Church as inspirers of Charles Borromeo’s instructions on shaping sacred srt
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.38234#0045
44
9. Chancel-screen in Verona Cathedral, Michele Sanmicheli architect, after 1531. Photo: M. Kurzej
intended works were being carried out.58 The prelate and
the painter decided that, in keeping with a practice wide-
spread in north Italy, the chancel would be modernised
mainly by means of fresco paintings59 depicting scenes
from the life of the Virgin Mary, that were to cover the
vaulting and walls of the choir, thus concealing its medi-
eval architecture (Fig. 8).60
Giulio is known to have designed paintings executed
by Francesco Torbido (1482-1562), but it is impossible to
determine his share in delineating the forms of the high
altar and a large tempietto-tabernacle, and the chancel-
screen erected in front of it (Fig. 9). Both these structures
were executed by Michele Sanmicheli (c. 1484-1559), the
screen in the form of an openwork peristyle with wide
intercolumnations61, which significantly differed from the
no. 11, pp. 75-161; C.L. Frommel, ‘Gian Matteo Giberi’, pp. 134-
-136 (as in note 55).
58 G. Vasari, Le Vite, p. 549 (as in note 56). See also M. Tafuri,
‘Giulio Romano’, p. 18 (as in note 55).
59 See in particular W Wolters, Architektur und Ornament. Venezia-
nischer Bauschmuck der Renaissance, Munich, 2000, pp. 171-180.
60 M. Laskin, ‘Giulio Romano and the Cathedral, pp. 111-113 (as in
note 57); A. Serafini, ‘Gian Matteo Giberti e il Duomo di Verona.
2: gli affreschi di Francesco Torbido’, Venezia Cinquecento, 6,1998,
no. 15, pp. 21-142; K. Oberhuber, ‘Gli affreschi nell’abside del Duo-
mo di Verona’, in Giulio Romano, pp. 434-437 (as in note 55); C.L.
Frommel, ‘Gian Matteo Giberi’, pp. 137-138 (as in note 55).
61 D. Moore, ‘Sanmicheli’s Tornacoro in Verona Cathedral. A New
Drawing and Problems of Interpretation, Journal of the Society of
early-modern so-called choir-walls, built in Lombardy
and the Most Serene Republic of Venice, that is decorated
walls with an arcade pierced on the axis, through which
the high altar could be seen.62 As noted by Paolo Piva,
the peristyle in Verona was modelled on the chancel-
-screen of Old St Peters, destroyed in 1513-1514.63 But Gi-
ulio was perfectly familiar with the forms of that struc-
ture, since, after the death of Raphael (1483-1520), it was
him who supervised the execution of the fresco paintings
in Sala di Costantino in the Vatican Apostolic Palace. In
the autumn of 1523 he painted there, in collaboration with
Giovan Francesco Penni (1488-1528), the scene of the Do-
nation of Constantine (Fig. 10), depicted as taking place
in the interior of Old St Peters, with its chancel-screen
rendered in minute detail.64 It is therefore highly probable
Architectural Historians, 44,1985, no. 3, pp. 221-232; C.L. Frommel,
‘Gian Matteo Giberi’, pp. 138-139 (as in note 55); L. Olivato, ‘Miche-
le Sanmicheli e il riassetto architectonico della cappella grande del
duomo di Verona’, in Gian Matteo Giberti, pp. 141-146 (as in note 25).
62 W. Wolters, Architektur und Ornament, p. 197, Fig. 188 (as in
note 59).
63 R Piva, L’altro Giulio Romano, p. 105 (as in note 26). See also
Moore, ‘Sanmicheli’s Tornacoro’, pp. 231-232.
64 G. CoRNiNi, A.M. De Strobel, M. Serlupi Crescenza ‘La Sala
di Costantino’, in Raffaello nell’Appartamento di Giulio II e Leone
X, Milan, 1993, pp. 185,188, fig. on p. 180; S. Ferino Pagden, Giu-
lio Romano pittore e disegnatore a Roma, in Giulio Romano, pp.
86, 88, fig. on p. 89 (as in note 55); I. Lavin, Footsteps on the Way
Redemption. The Pedestals of Bernini’s Baldacchino in St. Peter, in
9. Chancel-screen in Verona Cathedral, Michele Sanmicheli architect, after 1531. Photo: M. Kurzej
intended works were being carried out.58 The prelate and
the painter decided that, in keeping with a practice wide-
spread in north Italy, the chancel would be modernised
mainly by means of fresco paintings59 depicting scenes
from the life of the Virgin Mary, that were to cover the
vaulting and walls of the choir, thus concealing its medi-
eval architecture (Fig. 8).60
Giulio is known to have designed paintings executed
by Francesco Torbido (1482-1562), but it is impossible to
determine his share in delineating the forms of the high
altar and a large tempietto-tabernacle, and the chancel-
screen erected in front of it (Fig. 9). Both these structures
were executed by Michele Sanmicheli (c. 1484-1559), the
screen in the form of an openwork peristyle with wide
intercolumnations61, which significantly differed from the
no. 11, pp. 75-161; C.L. Frommel, ‘Gian Matteo Giberi’, pp. 134-
-136 (as in note 55).
58 G. Vasari, Le Vite, p. 549 (as in note 56). See also M. Tafuri,
‘Giulio Romano’, p. 18 (as in note 55).
59 See in particular W Wolters, Architektur und Ornament. Venezia-
nischer Bauschmuck der Renaissance, Munich, 2000, pp. 171-180.
60 M. Laskin, ‘Giulio Romano and the Cathedral, pp. 111-113 (as in
note 57); A. Serafini, ‘Gian Matteo Giberti e il Duomo di Verona.
2: gli affreschi di Francesco Torbido’, Venezia Cinquecento, 6,1998,
no. 15, pp. 21-142; K. Oberhuber, ‘Gli affreschi nell’abside del Duo-
mo di Verona’, in Giulio Romano, pp. 434-437 (as in note 55); C.L.
Frommel, ‘Gian Matteo Giberi’, pp. 137-138 (as in note 55).
61 D. Moore, ‘Sanmicheli’s Tornacoro in Verona Cathedral. A New
Drawing and Problems of Interpretation, Journal of the Society of
early-modern so-called choir-walls, built in Lombardy
and the Most Serene Republic of Venice, that is decorated
walls with an arcade pierced on the axis, through which
the high altar could be seen.62 As noted by Paolo Piva,
the peristyle in Verona was modelled on the chancel-
-screen of Old St Peters, destroyed in 1513-1514.63 But Gi-
ulio was perfectly familiar with the forms of that struc-
ture, since, after the death of Raphael (1483-1520), it was
him who supervised the execution of the fresco paintings
in Sala di Costantino in the Vatican Apostolic Palace. In
the autumn of 1523 he painted there, in collaboration with
Giovan Francesco Penni (1488-1528), the scene of the Do-
nation of Constantine (Fig. 10), depicted as taking place
in the interior of Old St Peters, with its chancel-screen
rendered in minute detail.64 It is therefore highly probable
Architectural Historians, 44,1985, no. 3, pp. 221-232; C.L. Frommel,
‘Gian Matteo Giberi’, pp. 138-139 (as in note 55); L. Olivato, ‘Miche-
le Sanmicheli e il riassetto architectonico della cappella grande del
duomo di Verona’, in Gian Matteo Giberti, pp. 141-146 (as in note 25).
62 W. Wolters, Architektur und Ornament, p. 197, Fig. 188 (as in
note 59).
63 R Piva, L’altro Giulio Romano, p. 105 (as in note 26). See also
Moore, ‘Sanmicheli’s Tornacoro’, pp. 231-232.
64 G. CoRNiNi, A.M. De Strobel, M. Serlupi Crescenza ‘La Sala
di Costantino’, in Raffaello nell’Appartamento di Giulio II e Leone
X, Milan, 1993, pp. 185,188, fig. on p. 180; S. Ferino Pagden, Giu-
lio Romano pittore e disegnatore a Roma, in Giulio Romano, pp.
86, 88, fig. on p. 89 (as in note 55); I. Lavin, Footsteps on the Way
Redemption. The Pedestals of Bernini’s Baldacchino in St. Peter, in