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L’educazione grafica di uno scultore di età romanica
L’esempio di Biduino
Abstract The display of inscriptions dealing with the artists turns to be a common practice in late medieval cities of Northern Tuscany. From this viewpoint the sculptor Biduino, who was active in the second half of the twelfth century in pisan and lucchese areas, is an outstanding case of study. His name is preserved by four signatures. They are engraved into the tomb of the judge Giratto (by 1176) now in the Camposanto in Pisa, the lintel of the main portal of the parish church dedicated to the saints Ippolito and Cassiano in San Casciano a Settimo (Cascina), a lintel formerly belonging to a portal and now in a private collection in Lucca, and into another lintel of the portal on the right side of the church of San Salvatore in Lucca.
Following a paleographic approach, those signatures and the other types of inscription attached to the works by Biduino display the same patterns of the letters. This clue evidences the coincidence of the material responsible of the design and carving of the inscriptions with the artist, and his skill of combining figurative and writing features in his artifacts. However, the rhetoric and linguistic gaps between the inscriptions in San Casciano a Settimo and the other ones in San Salvatore in Lucca suggest that the texts were provided by several learned men. The frequency in different works of the latin verb ago and of its compound perago in the place of more common facio hints at the possibility that some of those texts were created by a single author.
Keywords Biduinus; Signatures; Paleography; Writing Skill
