コルソ・ディ・ブオーノの十字架形板絵をめぐって

概要

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Corso di Buono, a Florentine painter documented in 1295, left two Crucifixes. One is in the Museo di Santa Verdiana in Castelfiorentino and another in a private collection in Turin. The former is dated from last years of the 13th century and the latter before his frescoes at Montelupo Fiorentino, signed and dated 1284. Both works represent the Virgin and St John the Evangelist on aprons. Christ of the Turin work is dead. His body is arched slightly that it seems as if he is rather standing on the cross. He slightly bends both arms at elbows, twisting legs under knees, and his both feet are fastend together to the cross with one nail. It is pointed out that Corso's Christ is influenced from Cimabue's Crucifix of the Church of Santa Croce in Florence. However, Cimabue's Christ fully stretehs his arms and arches his body strongly that it nearly occupies the left apron. His each foot is fastened to the cross respectively with two nails. We can find a Christ's pose closer to Turin's one, in the Crucifixion relief of the pulpit of Pisan Baptistery by Nicola Pisano in 1260. Influences of Pisan pulpit on the paintings of central Italy are already pointed out The influence of Pisan painting, especially of Giunta Pisano, on Florentine painting is also said. And Corso di Buono worked at the lower stream of Arno, Montelupo Fiorentino, etc., the field close to Pisa. These facts seem to lead to a hypothesis that at least the Christ of the Turin work was more influenced by older Nicola Pisano than modern Cimabue. Not only the style but the simple type of Crucifix by Cimabue, that may root in Giunta Pisano, representing no iconography in aprons, vastly spreaded in Florentine region in the last quarter of the 13th century. But both of Corso's two Crucifixes represent the Virgin and St John on aprons as said above. This is an older type. And in Florentine region, there survive further examples of this type from the same period, works by the so called "Magdalen Master" and by the "Varlungo Master", and of the Church of San Miniato al Monte at Florence, related to the former. Both these two masters left works at the upper stream of Arno. And Corso di Buono worked not only at the lower stream as said, but at the upper also, San Jacopo al Girone and Remole. This seems to suggest that in the last quater of the century, behind the prospery of Cimabuesque type, there existed a tendency producing Crucifixes of old type, among masters who worked at the upper stream of Arno outside the city wall of Florence. But Corso di Buono, still adhereing to the old type, depicted a different type of Christ in Castelfiorentino, who, also dead, bends knees with the weight of his body, under the influence of the new Crucifix of the Church of Santa Maria Novella in Florence. And not only Corso but Lucchese Deodato Orlandi, having produced a Cimabuesque Crucifix in 1288, was also influenced by this new one in his another Crucifix in 1301. These two examples seem to reveal that after the Crucifix of Santa Maria Novella, at least about the pose of Christ, this new type sweeped both Cimabuesque and the antiquated tendencies together.
東海大学の論文
2006-03-30

コルソ・ディ・ブオーノの十字架形板絵をめぐって

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概要

東海大学 | 論文

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