Colnaghi Collections_Vol 01 - Page 87



To which his companion replies: “Mars indeed! You have a way
of walking, a majestic gait, a presence before you, certain other
conceits such that even the great Gian da Nola would find himself
in difficulty portraying you from life!”6
It is significant that the bust comes from the collection of the
House of Cardona, descendants of the family that commissioned
from Giovanni da Nola the Funerary Monument of Ramon de Cardona
at Bellpuig.7 This was executed between 1524 and 1528, more
than a decade earlier than the date proposed for the present
bust, however, it is certainly plausible that the artist maintained a
relationship with the family after the completion of the monument,
which established him as one of the principal sculptors of his time.
We are grateful to Professor Riccardo Naldi whose research forms
the basis of this entry.
Fig. 9.4 Giovanni da Nola, Helmet detail of the Funerary Monument of Pedro de
Toledo and Maria Osorio Pimentel, Naples, San Giacomo degli Spagnoli.
1.
2.
3.
4.
5.
6.
Fig. 9.5 Filippo Francesco Negroli, Lion-shaped helmet
of Charles V, ca. 1541, blued, embossed iron with gilded
ornament, 40 x 20 x 38 cm, Vienna, Ruestkammer,
Kunsthistorisches Museum.
86
7.
Riccardo Naldi, Andrea Ferrucci (Milan: Electa, 2002), pp. 215-217.
Bernardo De Dominici, Vite de’ pittori, scultori ed architetti napoletani (1742), eds.
Fiorella Sricchia Santoro and Andrea Zezza, 4 vols. (Naples: Paparo Edizioni,
2003-2014), I, pp. 451-501; Georg Weise, Studi sulla scultura napoletana del primo
Cinquecento. Revisioni critiche, confronti ed attribuzioni (Naples: Edizioni scientifiche
italiane, 1977); Francesco Abbate, La scultura napoletana del Cinquecento (Rome:
Donzelli Editore, 1992); Francesca Amirante and Riccardo Naldi, “Con Paolo
Giovio al servizio di don Gonzalo II de Córdoba, duca di Sessa,” in Giovanni da
Nola, Annibale Caccavello, Giovan Domenico D’Auria. Sculture ‘ritrovate’ tra Napoli e Terra di
Lavoro, 1545-1565, ed. Riccardo Naldi (Naples: Electa Naples, 2007), pp. 61-94.
Fernando Loffredo, “Sulle origini e la sistemazione del monumento di Pedro
de Toledo in San Giacomo degli Spagnoli a Napoli,” Bollettino d’arte 100 (2015):
pp. 33-52; Riccardo Naldi, “Giovanni da Nola, Pedro de Toledo e il sepolcro di
San Giacomo degli Spagnoli: qualche osservazione preliminare,” in Rinascimento
meridionale: Napoli e il viceré Pedro de Toledo (1532-1553), conference proceedings, Naples
25-27 October 2014, ed. Encarnacion Sánchez García (Naples: Tullio Pironti
editore, 2016), pp. 479-521.
Amirante and Naldi, “Con Paolo Giovio,” pp. 63-70.
Robert W. Gaston and Andrew M. Gáldy, “The Stranded Tomb: Cultural Allusions
in the Funeral Monument of Don Pedro Álvarez de Toledo, San Giacomo degli
Spagnoli, Naples,” in The Spanish Presence in Sixteenth-Century Italy, eds. Piers BakerBates and Miles Pattenden (New York and London: Routledge, 2014), p. 162.
“E un certo che di fiero m’accompagna in tutti i gesti miei che mi fa terribile
com’un dio Marte, n’è vero,” and “Che Marte! che voi avete un passo, un
trapasso, un incontro dinnanzi, certe altre fierezze sì fatte che non sapria che si
pescar Gian da Nola a ritrarvi dal naturale,” Anton Francesco Ranieri, L’Altilia
(Mantua: Venturino Ruffinelli, 1550), p. 24, Act 3, Scene 1; noted in Don
Fastidio (Benedetto Croce), “Ricordo di Giovanni da Nola in una commedia del
Cinquecento,” Napoli Nobilissima 5/10 (1896): p. 196.
See Joan Yeguas i Gassó, El Mausoleu de Bellpuig. Història i art del Renaixement entre
Nàpols i Catalunya (Bellpuig: Saladrigues S.L., 2009).
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