This article focuses on the Cichero Chapel in the Church of Saint John the Baptist in Recco (Genoa). The wood statue of the Christ was traditionally attributed to the Genoese sculptor Anton Maria Maragliano (1664-1739), but the author of the Virgin Mary and Saint Mary Magdalene was unknow. Thanks to some unpublished documents (from the State Archive of Genoa and the parish archive of Recco) it was possible to retrieve the total sum total spent on the Chapel by Nicolò Cichero and his heir, the brother Giuseppe. Noteworthy is also the identification of both the artists involved in the sculptural decoration, adding marble statues to the catalog of the Giovanni Baratta (1670-1747), a sculptor from Carrara. The testament committee dated 1730, so this important post quem focuses the attention on the specific moment of Baratta’s workshop. His bothers Francesco (1663-1729) and Pietro (1668-1729) were already died and marble decoration was probably made in collaboration with pupils and collaborators such as his nephew Isidoro the Younger.
Sculture di bottega. Baratta e Maragliano nella Cappella Cichero in San Giovanni Battista a Recco
Garaventa Sara
2020-01-01
Abstract
This article focuses on the Cichero Chapel in the Church of Saint John the Baptist in Recco (Genoa). The wood statue of the Christ was traditionally attributed to the Genoese sculptor Anton Maria Maragliano (1664-1739), but the author of the Virgin Mary and Saint Mary Magdalene was unknow. Thanks to some unpublished documents (from the State Archive of Genoa and the parish archive of Recco) it was possible to retrieve the total sum total spent on the Chapel by Nicolò Cichero and his heir, the brother Giuseppe. Noteworthy is also the identification of both the artists involved in the sculptural decoration, adding marble statues to the catalog of the Giovanni Baratta (1670-1747), a sculptor from Carrara. The testament committee dated 1730, so this important post quem focuses the attention on the specific moment of Baratta’s workshop. His bothers Francesco (1663-1729) and Pietro (1668-1729) were already died and marble decoration was probably made in collaboration with pupils and collaborators such as his nephew Isidoro the Younger.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.