Filippo Parodi (1630-1702), the greatest sculptor of the Genoese Seicento, and his son Domenico (1672-1742), a leading painter and sculptor, worked for Giovanni Andrea III Doria; Domenico also worked for his heir, Giovanni Andrea IV. A wealth of previously unknown documents in the Doria Pamphilj archive - mainly account books, but also bills and letters - offer data relating to both surviving and lost works of arts, helping to clarify the correct date of sculptures and paintings in the Palazzo del Principe, the main palace of the Doria family in Genoa, and of a large altarpiece in the family church of San Benedetto in the same city. The data thus gathered also rectify the chronology of Domenico’s early career, and help explain the hitherto obscure reasons of his involvement in the late 17th-century phase of the decoration of Santa Maria in Vallicella, in Rome
L'attività di Filippo e Domenico Parodi per i Doria principi di Melfi
STAGNO, LAURA
2012-01-01
Abstract
Filippo Parodi (1630-1702), the greatest sculptor of the Genoese Seicento, and his son Domenico (1672-1742), a leading painter and sculptor, worked for Giovanni Andrea III Doria; Domenico also worked for his heir, Giovanni Andrea IV. A wealth of previously unknown documents in the Doria Pamphilj archive - mainly account books, but also bills and letters - offer data relating to both surviving and lost works of arts, helping to clarify the correct date of sculptures and paintings in the Palazzo del Principe, the main palace of the Doria family in Genoa, and of a large altarpiece in the family church of San Benedetto in the same city. The data thus gathered also rectify the chronology of Domenico’s early career, and help explain the hitherto obscure reasons of his involvement in the late 17th-century phase of the decoration of Santa Maria in Vallicella, in Rome
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