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Battaglia di Costantino contro Massenzio

Battaglia di Costantino contro Massenzio
AutoreScuola di Raffaello Sanzio (Giulio Romano)
Data1520-1524
Tecnicaaffresco
Dimensioni373×851 cm
UbicazioneMusei Vaticani, Città del Vaticano
Cartone dell'affresco, Louvre
Dettaglio

La Battaglia di Costantino contro Massenzio è un affresco (376x851 cm) della scuola di Raffaello Sanzio, databile al 1520-1524 e situato nella Sala di Costantino, una delle Stanze Vaticane.

Storia

La decorazione della Sala di Costantino, l'ultima delle Stanze, venne commissionata da Leone X nel 1517. Il Sanzio, preso da mille impegni, fece appena in tempo a disegnare i cartoni e avviare una sorta di arriccio per la prima parete, prima di morire improvvisamente il 6 aprile 1520. L'opera venne allora continuata dai suoi allievi, tra cui spiccavano soprattutto Giulio Romano e Giovan Francesco Penni.

Nel 1524, all'epoca di Clemente VII, la decorazione doveva essere già terminata, quando Giulio Romano partì per Mantova. Sviluppando i temi della Stanza di Eliodoro e di quella dell'Incendio di Borgo, la Sala di Costantino è dedicata alla vittoria del cristianesimo sul paganesimo e all'affermazione e al primato della Chiesa romana, con evidenti richiami alla delicata situazione contemporanea. Durante la Repubblica Romana instaurata dai giacobini e successivamente nel periodo napoleonico, i francesi elaborarono alcuni progetti per staccare gli affreschi delle Stanze Vaticane e condurli a Parigi, al Musée Napoleon, nell'ambito delle spoliazioni napoleoniche[1]. Fortunatamente non se ne fece nulla, grazie alle difficoltà tecniche e agli analoghi tentativi falliti presso la Chiesa di San Luigi dei Francesi a Roma[2]. Vasari assegnò la Battaglia di Costantino contro Massenzio a Giulio Romano, autore anche del cartone oggi al Louvre, che altri assegnano però a Giovan Francesco Penni, ferma restando l'impostazione iniziale di Raffaello.

Descrizione e stile

Il soggetto del dipinto è la battaglia di Ponte Milvio, quando Costantino sconfisse Massenzio. La convulsa scena di battaglia è ispirata ai rilievi sui sarcofagi romani e su altri monumenti, con l'imperatore che ad esempio è plasmato su quello del fregio traianeo nell'Arco di Costantino.

Al centro incede trionfante Costantino su un cavallo bianco, che macina i nemici sotto gli zoccoli. Gli si parano davanti le truppe avversarie, che si piegano però alla sua inarrestabile avanzata. A destra si vede il ponte Milvio, strapieno di soldati; nel fiume le barche dell'esercito di Massenzio vengono colpite e fatte rovesciare dagli arcieri, mentre altri soldati vi cadono per la spinta della zuffa; tra questi, in basso a sinistra, si trova anche Massenzio a cavallo, riconoscibile per la corona in testa, che è ormai inevitabilmente destinato alla sconfitta. In alto tre apparizioni angeliche confermano l'esito divino della battaglia.

Nello sfondo, in alto a sinistra, un edificio rappresenta probabilmente villa Madama, allora in costruzione secondo i progetti del Sanzio.

Note

  1. ^ Steinmann, E., “Die Plünderung Roms durch Bonaparte”, Internationale Monatsschrift für Wissenschaft, Kunst und Technik, 11/6-7, Leipzig ca. 1917, p. 1-46, p. 29..
  2. ^ (FR) Cathleen Hoeniger, The Art Requisitions by the French under Napoléon and the Detachment of Frescoes in Rome, with an Emphasis on Raphael, in CeROArt. Conservation, exposition, Restauration d’Objets d’Art, HS, 11 aprile 2012, DOI:10.4000/ceroart.2367. URL consultato il 23 giugno 2020.

Bibliografia

  • Pierluigi De Vecchi, Raffaello, Rizzoli, Milano 1975.
  • G. Becatti, Raffaello e l'Antico, (in Raffaello. L'Opera, le Fonti, la Forma, Ist. Agostini, Novara 1968).

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