e paper investigates a valuable artwork, the processional cross preserved in the provostal church of San Martino in Bollate (Milan). It was made in silver, partially gilded, with a wo- oden core and enamel plaques at the edge of the limbs. e iconography is the traditional one with the Cruci xion of Jesus on the front together with the Passion protagonists and the Resurrection angel; on the back God the father and the Evangelists. e cross is re erred to the workshop of Francesco di Sangregorio from Gravedona, a great Lombard goldsmith do- cumented in the Como and Milan dioceses from the end of the XVth to the beginning of the XVIth centuries. Various processional crosses are attributed to this master. His activity took place in a complex political period of the Milanese State history which was characterized by the alternation of French government representatives and the Sforza dynasty. Francesco di Sangregorio’s patterns can be nd in the production of goldsmiths beyond the Alps. An inte- resting comparison can be noticed with the wellknown Castiglioni chalice preserved in the collegiate church of Castiglione Olona (1466-1487). e paper proposes also an outline of the possible patron of the cross: the provost Giuseppe Francesco Ghilini (1486-1497), who belonged to an important family from Alessandria. e precious art work has to be included in the fragmentary Milanese goldsmithing production between the end of XVth and the beginning of XVIth century. Historiography usually proposed the highest quality objects were produced in the last period of Ludovico il Moro’s government, but it must be considered the possibility some of these works had been delivered in the fol- lowing decades. e permanent state of political uncertainty could undoubtedly encourage the hoarding of precious objects. Considering also the comparison of the Bollate cross with Matthias Corvinus’s Calvary, which dated back to 1488-1490, is possible to specify its chrono- logy. is last art work remarks the important cultural relationships between Buda and Milan supported by marriage covenants and by the activity of Lombard Lake Artists.
La Croce di Bollate. Problemi di oreficeria e miniatura fra Stato di Milano e Regno d’Ungheria nell’età di Mattia Corvino
Andrea Spiriti
2018-01-01
Abstract
e paper investigates a valuable artwork, the processional cross preserved in the provostal church of San Martino in Bollate (Milan). It was made in silver, partially gilded, with a wo- oden core and enamel plaques at the edge of the limbs. e iconography is the traditional one with the Cruci xion of Jesus on the front together with the Passion protagonists and the Resurrection angel; on the back God the father and the Evangelists. e cross is re erred to the workshop of Francesco di Sangregorio from Gravedona, a great Lombard goldsmith do- cumented in the Como and Milan dioceses from the end of the XVth to the beginning of the XVIth centuries. Various processional crosses are attributed to this master. His activity took place in a complex political period of the Milanese State history which was characterized by the alternation of French government representatives and the Sforza dynasty. Francesco di Sangregorio’s patterns can be nd in the production of goldsmiths beyond the Alps. An inte- resting comparison can be noticed with the wellknown Castiglioni chalice preserved in the collegiate church of Castiglione Olona (1466-1487). e paper proposes also an outline of the possible patron of the cross: the provost Giuseppe Francesco Ghilini (1486-1497), who belonged to an important family from Alessandria. e precious art work has to be included in the fragmentary Milanese goldsmithing production between the end of XVth and the beginning of XVIth century. Historiography usually proposed the highest quality objects were produced in the last period of Ludovico il Moro’s government, but it must be considered the possibility some of these works had been delivered in the fol- lowing decades. e permanent state of political uncertainty could undoubtedly encourage the hoarding of precious objects. Considering also the comparison of the Bollate cross with Matthias Corvinus’s Calvary, which dated back to 1488-1490, is possible to specify its chrono- logy. is last art work remarks the important cultural relationships between Buda and Milan supported by marriage covenants and by the activity of Lombard Lake Artists.
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