Littérature scientifique sur le sujet « Storia di Pordenone »

Il lavoro intende prendere in esame la nascita, lo sviluppo e il funzionamento dei Musei e degli spazi espositivi della città di Pordenone. Verranno analizzati il Museo Civico d’Arte, la Galleria Harry Bertoia, la Galleria Armando Pizzinato, il Museo di Storia Naturale, il Museo Archeologico di Torre e il Museo Diocesano d’Arte Sacra, dei quali saranno delineati i tratti fondamentali, illustrate le collezioni e raccontate la loro formazione ed evoluzione, esposte le proposte formative e la programmazione futura. Questi istituti verranno messi a confronto con i recenti standard museali imposti, al fine di valutarne la funzionalità e l’accessibilità e di evidenziarne le lacune, in modo da suggerire una o più proposte volte a migliorarne il funzionamento e la fruizione, oltre che ad ampliarne la visibilità.

From family archive to aristocratic collection. The Montereale Mantica collection The history of the Montereale Mantica family starts at the beginning of the Seventeenth century from the union of two dynasties with different background and origin, but both significantly present in the XV-XVII centuries in the social and political life of Pordenone. An important role built also thanks to the network of parental ties woven over time with members of the Friulian aristocracy, including the Fontana and Ricchieri. It is no coincidence, therefore, that two fundamental works to the city's history - the Diplomatarium Portusnaonense by Giuseppe Valentinelli (1865) and the Storia di Pordenone by Andrea Benedetti (1964) - have largely drawn on the papers kept in the Montereale Mantica house to document both facts and institutional and cultural contexts of this community. The aim of this work is to traces the history of the family's archive, highlighting settings and ways in which the documents where created or transferred, stored and ordered. In particular, the work analyses the impact of the personal interests and activities of Pietro Montereale Mantica (1793-1861) on the constructed nature of the collection. The investigation of the archival material has interwoven three directives. Firstly the comparison with the timeline, represented by the story of the family and of the groups, persons and institutions that, for various reasons, had participated in its events; secondly the attention to extrinsic aspects and marks that could explain the development of practices and strategies on the archive's processing; thirdly the analysis of the incidence of professional and cultural relations of Pietro Montereale Mantica on the internal structure of the fond. And it is precisely his passion for collecting and his cooperation with the Nineteenth-century world of local historiography that makes the structure of his family archive, as documented by this work, peculiar. It is, in fact, a collection that differs in various aspects from the "azienda famiglia" archive, the model of Italian's aristocratic archive in the pre-unification period, of which there are also examples in Friuli. Certainly, we find in Peter a "genealogical ganze", which is the basis of the vision of the archive as a heritage to be handed down on to future generations. But in addition to this, there is particular attention to identify in the papers of his family, and other private and public corporate bodies, the documents useful to shed light on the events and personalities of the Pordenone's history. In this context, the introduction to the inventory, exclusively based on a topographical criterion, presents an interpretation of the general structure of the collection. Besides, it identifies the archive’s parts and the interrelations between them, how the documents were acquired, the choices made by the authors of the archival process and the modifications due to the early Twentieth century's researchers. Forgotten for over fifty years, the Montereale Mantica archive is now available again to researchers. It forms the basis for the analysis and deepening of the history of this family and of the parental groups linked to it. Moreover, the comparison between the documents of this archive and other local archives will shed light on aspects of the community's history that are still unexplored.

This work aims to study the architectural and artistic patronage of the small Signoria of the Pallavicino of Cortemaggiore, a city founded by a collateral branch of the lombard family in 1479. The case study was known but little studied in critical way. The first part of the research was dedicated to the reconstruction of the familiar history, made possible by the documents found in the archives. The testament of the Marquis Rolando II Pallavicino (died in 1509) provided useful information to understand the social, political and cultural background of the family. Thanks to the documents, was possible to reconstruct the original urban layout and the residences of the Pallavicino, the fortress and the marquis palace built by the architect and master builder from Cremona Bernardino de Lera. It has also proposed a reconstruction of the palace’s interiors. The last part of the research is dedicated to the study of the Pallavicino funerary chapel in the Santissima Annunziata church of Cortemaggiore, annexed to the convent of the Friars Minor Observant, which the Pallavicino started in 1486. In the chapel were placed two marble monuments maybe made by the lombard sculptor Giovan Pietro da Rho (1464 c.-1513c.) and his workshop, active in Cremona between the late fifteenth and early sixteenth century. The last investigated topic was the painted decoration of the chapel by the Friulian artist Giovanni Antonio da Pordenone (1483-1539), with a new interpretation about this patronage and the artistic evolution of the painter during the third decade of the XVI century.
La ricerca si propone di studiare le committenze architettoniche ed artistiche di una piccola signoria padana del Rinascimento, quella di Cortemaggiore, città fondata da un ramo collaterale della famiglia Pallavicino nel 1479. Il caso di studio era noto ma, per molti aspetti, poco indagato in sede critica. La prima parte del lavoro è stato dedicato alla ricostruzione delle vicende familiari dei Pallavicino attraverso lo spoglio dei documenti reperiti in archivio. Di particolare interesse si è rivelato il testamento del marchese Rolando II Pallavicino (morto nel 1509), che ha fornito molte informazioni utili per comprendere l’ambiente sociale, politico e culturale entro cui si inseriva la famiglia. Grazie ai documenti è stato possibile ricostruire l’impianto urbano originario e le residenze dei Pallavicino, la rocca e il palazzo marchionale, che nel corso dei secoli hanno subito importanti manomissioni. Di quest’ultimo, edificato dall’architetto e capomastro cremonese Bernardino de Lera, si è inoltre proposta una ricostruzione anche dell’assetto interno. L’ultima parte della ricerca è dedicata allo studio della cappella funeraria che i Pallavicino fecero allestire nella chiesa della Santissima Annunziata di Cortemaggiore, annessa al convento dei frati minori Osservanti, da loro fatto edificare a partire dal 1486. Nella cappella furono sistemati due monumenti funebri marmorei di cui si propone una attribuzione allo scultore milanese Giovan Pietro da Rho (1464 c.-1513c.) e alla sua bottega, attiva a Cremona tra la fine del XV e l’inizio del XVI secolo. L’ultima iniziativa artistica indagata è stata la decorazione pittorica della cappella condotta dal pittore friulano Giovanni Antonio da Pordenone (1483-1539), con una rilettura nuova dal punto di vista della committenza e dell’evoluzione artistica del pittore nel corso del terzo decennio del XVI secolo.