The contribution takes stock of the latest research on Filippo di Liagno’s Neapolitan beginnings, focusing on two unpublished payments made to the painter in 1613 by Montano Pierdominici on behalf of Cardinal Giovanni Evangelista Pallotta. If these documents confirm the testimony of Giovanni Baglione regarding the protection exercised by the prelate over the family of Filippo, in this encounter with Pierdominici, a member of an illustrious family of Norcia, it may be possible to identify the premiss for the commission of the altarpiece with Totila, King of the Ostrogoths, Visiting the Saint Benedict formerly in the Basilica of Norcia, the artist’s only known public work at present, unfortunately destroyed in the earthquake of 2016.
Una nota per Filippo Napoletano
porzio giuseppe
2021-01-01
Abstract
The contribution takes stock of the latest research on Filippo di Liagno’s Neapolitan beginnings, focusing on two unpublished payments made to the painter in 1613 by Montano Pierdominici on behalf of Cardinal Giovanni Evangelista Pallotta. If these documents confirm the testimony of Giovanni Baglione regarding the protection exercised by the prelate over the family of Filippo, in this encounter with Pierdominici, a member of an illustrious family of Norcia, it may be possible to identify the premiss for the commission of the altarpiece with Totila, King of the Ostrogoths, Visiting the Saint Benedict formerly in the Basilica of Norcia, the artist’s only known public work at present, unfortunately destroyed in the earthquake of 2016.| File | Dimensione | Formato | |
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