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>EARLY RENAISSANCE SCULPTURE AND ARCHITECTURE AT CASTIGLIONE OLONA IN NORTHERN ITALY AND THE PATRONAGE OF A HUMANIST, CARDINAL BRANDA CASTIGLIONE (LOMBARDY, FRANCO-FLEMISH).
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EARLY RENAISSANCE SCULPTURE AND ARCHITECTURE AT CASTIGLIONE OLONA IN NORTHERN ITALY AND THE PATRONAGE OF A HUMANIST, CARDINAL BRANDA CASTIGLIONE (LOMBARDY, FRANCO-FLEMISH).
The early Renaissance art at Castiglione Olona presents northern Italian traditions influenced by styles from Italy and beyond the Alps. The biography of Cardinal Branda traces his extensive travels to northern and eastern Europe and his friendships with rulers and humanists. His commissions between about 1422 and 1442 transformed his town into a Renaissance city. This dissertation considers two interrelated themes: the patronage of the cardinal and the styles of the art.;The major sculptures at Castiglione Olona are closely related in style, displaying a clear structure and balance, natural drapery, and a calm monumental spirit. Previous studies confused Lombard, Venetian, and Florentine concepts without defining the sources of this style. This research shows the sculpture was developed from the tradition of the Ticino with insights from the style of Brabant. The sculptors are identified in this dissertation as Filippo and Andrea da Carona, named in the accounts of the Giovanni Borromeo tomb. Two damaged terracotta apostles apparently commissioned by Branda for the Collegiata have their closest cognates at Halle, near Brussels. Influenced by this source of the northern style, the Carona sculptors carved an altarpiece there, and the Chiesa di Villa pediment and putto frieze, the baptismal font, and the cardinal's tomb at Castiglione Olona. The Collegiata lunette depends on another Franco-Flemish style, from Tournai, seen especially in a relief over the gateway to La Ferte-Milon. Branda's choice of northern sculptural styles for prototypes and the interconnection among the commissions reflect this humanist's interest in the expression of Renaissance naturalism combined with the clarity of simplified forms.;The Collegiata revives an older Milanese type due to the Cardinal's admiration of bright European hall churches. The Chiesa di Villa, with its centralized plan representing the tomb of Christ, is a very contemporary Brunelleschian chapel. Branda's palace addition depends on Lombard traditions with ideas developed during his sojourn in Rome. While the different architectural styles express aspects of the patron's virtu in rebuilding his city, innovations in spatial relationships by the Florentine painter Masolino da Panicale help present the cardinal's religious and political statements.
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机译：Castiglione Olona的早期文艺复兴时期艺术展现了受意大利和阿尔卑斯山以外地区风格影响的意大利北部传统。红衣主教布兰达的传记追溯了他到北欧和东欧的广泛旅行以及与统治者和人道主义者的友谊。在大约1422年至1442年之间，他的委任使他的小镇变成了文艺复兴时期的城市。本论文考虑了两个相互关联的主题：红衣主教的光顾和艺术风格。Castiglione Olona的主要雕塑在风格上紧密相关，显示出清晰的结构和平衡感，自然的帷幕和沉稳的纪念性精神。先前的研究混淆了伦巴底，威尼斯和佛罗伦萨的概念，但没有定义这种风格的来源。这项研究表明，该雕塑是从提契诺州的传统发展而来，并具有布拉班特风格的见解。在本文中，雕刻家被命名为菲利波（Filippo）和安德里亚·达·卡罗纳（Andrea da Carona），他们是乔瓦尼·博罗梅欧（Giovanni Borromeo）墓中的名字。显然是由布兰达（Branda）为Collegiata委托的两个受损的陶土使徒，在布鲁塞尔附近的哈勒（Halle），有着最接近的认知。受这种北方风格的影响，卡罗纳（Carona）雕刻家在那里雕刻了一个祭坛画，基耶萨·迪维拉（Chiesa di Villa）山形墙饰和普托饰带，洗礼字体以及卡斯蒂廖内·奥洛纳（Cardiglione Olona）的红衣主教墓。 Collegiata lunette依赖于图尔奈的另一种佛兰德式佛兰芒风格，尤其是在通往La Ferte-Milon的通道上的浮雕中。布兰达选择北方雕塑风格进行原型设计，以及委员会之间的相互联系，反映出该人文主义者对文艺复兴自然主义表达的兴趣以及简化形式的清晰表现;科莱吉亚塔因红衣主教对明亮的欧洲大厅教堂的崇拜而复兴了一种较旧的米兰风格。 。基耶萨别墅（Chiesa di Villa）的中央计划代表了基督的坟墓，是一座非常现代的布鲁内莱斯基礼拜堂。布兰达（Branda）的宫殿增建取决于伦巴第（Lombard）的传统，他在罗马逗留期间提出了一些想法。虽然不同的建筑风格表达了赞助人重建城市的精髓，但佛罗伦萨画家Masolino da Panicale的空间关系创新有助于表达枢机主教的宗教和政治言论。
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