In 1234 the community of nuns assumed the Cistercian rule. I refer to such panels as the dispersed polyptych from the church of the Carmine in Siena, dated 1329, in which the laterals (representing full-length figures of saints) were each surmounted by an image of a pair of saints, or polyptych no. The painting represents the martyr saint of Alexandria according to the usual iconographicIconography, or Iconology Terms that refer broadly to the study of subjects and themes in works of art. The painting is on a single-plank wooden support with the grain running vertically. After the Council of Trent ended in 1563, Archbishop Charles Borromeo encouraged new orders to… Firenze e Siena, Vatican City, 1987: 23, 24, 40; Francesco Rossi, Catalogo della Pinacoteca Vaticana. The Presentation of the Child Jesus in the Temple Philippe de Champaigne (1602-1674). 1] Reconstruction of the San Cerbone Altarpiece by Bartolomeo Bulgarini (color images are NGA objects): a. Saint Catherine of Alexandria; b. Saint Bartholomew (fig. Moreover, her observation, however subtle, that Bulgarini in the San Cerbone polyptych (and more precisely in the figures of Saint John and Saint Catherine) adopted “attributes [of the saints] as podia for their books” (Steinhoff-Morrison, “Bulgarini, Bartolomeo,” 192) cannot lead to the conclusion that the motif derived from Pietro Lorenzetti. [3] In 1706 Antonio de Brandeglio described the paintings in question, together with the panel now in the National Gallery of Art, as extant in the chapel of the Madonna in the church of San Cerbone Bartolomeo Bulgarini Italian, c. 1300 - 1378 Saint Catherine of Alexandria c. 1335/1340 tempera on panel See Millard Meiss, “Ugolino Lorenzetti,” The Art Bulletin 13 (1931): 376 – 397; Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XIII–XV Century (London, 1966), 54; Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols. The panel by Niccolò di Segna dated 1336 formerly in the Pieve of Montesiepi must have been of similar type. —Victor M. Schmidt, Grove Art © Oxford University Press, more particularly a five-part altarpieceAltarpiece An image-bearing structure set on the rear part of the altar, abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. La Pinacoteca Capitolina è la più antica collezione pubblica di dipinti. Vol. See Enrico Lombardi, San Cerbone nella leggenda, nel culto e nell’arte, Massa Marittima, n.d. [c. 1970-1975]: 34-35. Image: Adolfo Venturi, La Galleria Sterbini in Roma: Saggio illustrativo (Rome, 1906), 35 show it with the vertical split clearly visible and some small paint losses along the edges. 477. Deze pagina is voor het laatst bewerkt op 25 sep 2020 om 16:58. Miklós Boskovits (1935–2011), “Bartolomeo Bulgarini/Saint Catherine of Alexandria/c. This original and lasting function influenced the many forms taken by the altarpiece throughout its history. Orario: martedì/domenica 9.00/20.00. Laureani is known for having acquired a large number of “primitives” for what is now the Pinacoteca Vaticana. Umbria, Marche, Italia del Nord, Vatican City, 1994: 139, 142. The present paper takes the cue from an anonymous letter sent in 1844 to the camerlengo Tommaso Riario Sforza to denounce the poor conservative conditions in which Veronese's Rape of Europe, in the Pinacoteca Capitolina in Rome, was placed.Considered one of the gems of the Roman collections, as the contemporary sources attest, especially due to the scarcity of works by Venetian masters in . Mondadori Electa (collana Musei in Comune. [1] [1]Photographs made during Pichetto’s treatment (in NGA conservation files) show the painting still in its rectangular shape, but with the top edge cut down. Andrea Péter, “Ugolino Lorenzetti e il Maestro di Ovile,” Rivista d’arte 13 (1931): 22–33; Millard Meiss, “Ugolino Lorenzetti,” The Art Bulletin 13 (1931): 380–384, 393, 397. also Rudolf Hiller von Gaertringen. this was later lost or removed, making inpaintingInpainting Application of restoration paint to areas of lost original paint to visually integrate an area of loss with the color and pattern of the original, without covering any original paint. Localizam-se, salvo um prédio anexo, no topo da colina do Capitólio, em torno da praça redesenhada por Michelangelo em 1536, e reconstruída ao longo . Rome. Other paintings associated with this stylistic phase, as already observed in the past, include the fragment of a polyptych with a provenance from Radicondoli (no. )overall: 73.5 × 42 × 1 cm (28 15/16 × 16 9/16 × 3/8 in. 1340” (both, 192), is open to question. See, respectively, Miklós Boskovits, ed., Frühe italienische Malerei: Gemäldegalerie Berlin, Katalog der Gemälde, trans. 4] [fig. It seems plausible to assume, therefore, that the panel now in the National Gallery of Art reached Rome through the intermediary of Carlo Lasinio (who in addition to being an engraver, is known to have been an art dealer as well as a collector) or his son Giovanni Paolo Lasinio (see Christopher Lloyd, “A note on Carlo Lasinio and Giovanni Paolo Lasinio,” The Bodleian Library Record 10 [1978-1982]: 51-57; Donata Levi, "Carlo Lasinio, curator, collector and dealer," The Burlington Magazine 135 [1993]: 133-148). Il Gesù Jacopo Vignola & Giacomo della Porta 1571-1584 The primary church of the Jesuit order, Il Gesù, is an important building in the onset of the Baroque period. Il 27 ottobre del 1932 veniva inaugurata la nuova Pinacoteca Vaticana nell'edificio espressamente costruito dall'architetto Luca Beltrami per volere e . Luciano Cateni, “Un polittico ‘too remote from Ambrogio’ firmato da Ambrogio Lorenzetti,” Prospettiva 40 (1985): 62 – 67. Large gold plaque on breast. Find popular and cheap hotels near Pinacoteca of the State in Natal with real guest reviews and ratings. See Adolfo Venturi, “La quadreria Sterbini in Roma,” L’Arte 8 (1905): 427, 428 fig. Probably this prelate also collected paintings for himself and, following his death, his collection passed into that of Sterbini. Cf. . In-depth. Michelangelo Merisi da Caravaggio 364.5 x 249.5 cm Kunsthistorisches Museum Vienna Austria Madonna del Rosario . Ango is a largely forgotten French artist who made a living in eighteenth-century Rome by producing chalk copies for patrons. (Princeton, 1979), 2: fig. . no. Cf. The green underpaintingUnderpainting An initial layer of paint applied to a ground that begins to define shapes and values. Porcellane europee e orientali. . Estimate. In his first attempt to reconstruct the chronology of the artist’s catalog, Millard Meiss (1931) placed the San Cerbone polyptych among the master’s earliest works, close to 1330. Se sei già in possesso di un'identità digitale, accedi con le credenziali del tuo gestore. Emozioni in Pittura: come decifrare un'opera d'arte *visita guidata della Pinacoteca Capitolina con biglietto d'ingresso "ridotto a €2" prima domenica del mese (max 25 partecipanti) Letture: 1198 - Escursioni a Roma - RM (Milan, 1986), 1:254; Judith De Botton, in L’Art gothique siennois: Enluminure, peinture, orfèvrerie, sculpture (Florence, 1983), 242; Miklós Boskovits and Serena Padovani, The Thyssen-Bornemisza Collection: Early Italian Painting 1290 – 1470 (London, 1990), 36, 37 n.13; Judith Steinhoff-Morrison, Bartolomeo Bulgarini and Sienese Painting of the Mid-Fourteenth Century, 2 vols. Since in May 1351 a carpenter received payments for “fattura civori e cercini e colonine di legname per la tavola di Santo Vittorio” (making awnings, curtains, and wooden columns for the altarpiece of San Vittorio), that is, for the embellishments to the polyptych’s wooden frame, it may be assumed that the work had already been completed by this date. See Antonino Caleca, “Tre polittici di Lippo Memmi, un’ipotesi sul Barna e la bottega di Simone e Lippo, 1,” Critica d’arte 41 (1976): 49 – 50. [12] [12]Raimond van Marle, Le scuole della pittura italiana, vol. 3); e. Saint Mary Magdalene (fig. [2] David Farabulini (La pittura antica e moderna e la Galleria del cav. Red cloak. It is the work of Bartolomeo Bulgarini, one of the most renowned painters in mid-14th century Siena, less than one hundred miles from Lucca, where other panels from this altarpiece survive. "Trionfo di Bacco (Pinacoteca Capitolina)" è un dipinto autografo di Pietro da Cortona, realizzato con tecnica a olio su tela intorno al 1625, misura 144 x 205 cm. 1625) Portrait of Urban VIII (1627) The Rape of the Sabine Women (1629) The Triumph of Bacchus (approx.1625) The Sacrifice of Polyxena . 1077 and 1077A of the Gemäldegalerie in Berlin) as a fully autograph work by Pietro Lorenzetti, Boskovits’s argument (1988) placing its date c. 1330 – 1335 has not so far been repudiated. ed è custodito nella Pinacoteca Capitolina a Roma. Sale Ends in: 5 days, 20h. Enrico Castelnuovo, 2 vols. note 6 above. 1, Italian Paintings (New York, 1987), 16 – 17. In seguito il patrimonio del museo si è notevolmente accresciuto: va segnalato in particolare il lascito del conte Francesco Cini, che nel 1881 fece dono alla Pinacoteca di una splendida raccolta di porcellane. 2, Sienese School of the Fourteenth Century; Florentine School of the Fifteenth Century, ed. [8] [8]Adolfo Venturi, “La quadreria Sterbini in Roma,” L’Arte 8 (1905): 427, 428 fig. [20] [20]Piero Torriti, La Pinacoteca Nazionale di Siena, vol. Unique events in some of the most extraordinary places in the world. Meiss thought that the altarpiece belonged to a relatively early phase in the master’s output, dating it to c. 1330 – 1340. By 1930-1931, however, Ringling’s collecting had come to a rather abrupt halt as a consequence of the economic crisis (Peter Tomory, Catalogue of the Italian Paintings before 1800. 1, I dipinti dal XII al XV secolo (Genoa, 1977), 134–135 (without inventory number). 22780 Roma, tintoretto, battesimo di cristo (pinacoteca capitolina), unused real photo postcard Condition: very good. no. Il Trecento. Il Trecento. Make Offer . $4.99. Guido Reni (Italian pronunciation: [ˌɡwiːdo ˈrɛːni]; 4 November 1575 - 18 August 1642) was an Italian painter of the Baroque period, although his works showed a classical manner, similar to Simon Vouet, Nicholas Poussin, and Philippe de Champaigne.He painted primarily religious works, but also mythological and allegorical subjects. Historia de la Pinacoteca Capitolina (en italiano) La colección Castellani en los Museos Capitolinos Archivado el 14 de octubre de 2007 en Wayback Machine. Cf. Sergio Guarino, Curatore storico dell'arte presso la Pinacoteca Capitolina La Pinacoteca Capitolina viene fondata sul Campidoglio romano nel 1749, per volontà del pontefice Benedetto XIV Lambertini. Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 82, box 227, folders 26–28, and reel 115, box 260, folder 24 (copies in NGA curatorial files). Ambiguität, Ellipsen und Inversionen in Caravaggios Johannes der Täufer aus der Pinacoteca Capitolina. Laura Martini, ed., Museo diocesano di Pienza, Musei senesi (Siena, 1998), 23–31. [3] Adolfo Venturi (“La quadreria Sterbini,” L’Arte 8 (1905): 422-440; La Galleria Sterbini in Roma, Rome, 1906: no. Frances Alexander and Sidney Alexander, Edizioni Beatrice d’Este (Milan, 1964), xvii; and Laura Martini, ed., Museo diocesano di Pienza, Musei senesi (Siena, 1998), 29 – 31. Open Access. Postcard Old Pinacoteca Capitolina Roma Guercino S Petronilla. S. Guarino, P. Masini, Pinacoteca capitolina - Catalogo generale, Editore Mondadori Electa, Collana "Musei in Comune", Roma, 2006, ISBN 9788837022143. [13] [13]See Millard Meiss, “Bartolommeo Bulgarini altrimenti detto ‘Ugolino Lorenzetti?,’” Rivista d’arte 18 (1936): 113 – 136; and Elisabeth H. Beatson, Norman E. Muller, and Judith B. Steinhoff, “The St. Victor Altarpiece in Siena Cathedral: A Reconstruction,” The Art Bulletin 68 (1986): 610 – 631, where for the first time a painting attributed to both “Ugolini Lorenzetti” and to the Ovile Master — the Nativity in the Fogg Art Museum in Cambridge, Massachusetts — was identified as a documented work by Bartolomeo Bulgarini. Pinacoteca Capitolina. and probably thinned it (the present thickness is 1.2 cm). Tel. Related Papers. La Pinacoteca Capitolina è la più antica collezione pubblica di dipinti. Leggi Tutto. Book now. [6] [6]Bulgarini, in his triptych representing the Crucifixion at the center and half-length figures of female saints in the laterals (no. Pinacoteca Capitolina, Rome. Credit Line: The Frederick and Helen Serger Collection, Bequest of Helen Serger, in honor of William S . The panel was prepared with a layer of gessoGesso A mixture of finely ground plaster and glue applied to wood panels to create a smooth painting surface. In particular, her claim that “the earliest known instance of this device is in the altarpiece of the Beata Umiltà in the Uffizi,” which was executed “by a pupil of Pietro Lorenzetti . John Pope-Hennessy and Laurence B. Kanter, The Robert Lehman Collection, vol. Lasciò numerosi disegni, conservati nella pinacoteca Capitolina, nella Galleria d'arte moderna di Roma, agli Uffizi, nella . The Capitoline Picture Gallery is the oldest public collection of paintings. Palazzo Sacchetti (formerly Palazzo Ricci) is a palazzo in Rome, important for historical and artistic reasons.. Erich Schleier (Berlin, 1988), 87 – 89. The panel of Saint Bartholomew (inv. La Pinacoteca capitolina, proveniente inizialmente dalla collezione della famiglia dei marchesi Sacchetti e dei principi Pio di Savoia. Piero Torriti, La Pinacoteca Nazionale di Siena, vol. The second floor of the Palazzo dei Conservatori houses an important collection of paintings, which also includes many works of decorative and applied art. E – 3562 of the Istituto Centrale per il Catalogo e la Documentazione in Rome. The term denotes both the object itself and its compositional form. It is also sometimes called a retable, following the medieval term retrotabulum. Edward Hutton (London and New York, 1909), 90 n. 7; Ernest T. DeWald, “Pietro Lorenzetti,” Art Studies 7 (1929): 160 n. 2. La Pinacoteca Capitolina è la più antica collezione pubblica di dipinti. . A similar image of the latter saint is also found in the polyptych of the Berenson Library at the Villa I Tatti near Florence,[19] [19]Cf. (Princeton, 1979), 2: fig. 5; Adolfo Venturi, La Galleria Sterbini in Roma: Saggio illustrativo (Rome, 1906) 33 – 34, 35 repro. 54 in the Pinacoteca of Siena), surmounted the panels of the main register (with a pointed arch defining the painted area and ornamental decoration in the spandrels) with triangular-shaped gable panels filled with half-length figures of saints. Neither these paintings nor comparable examples by Ambrogio Lorenzetti (e.g., the Madonna no. We cannot be absolutely sure this picture is an original Caravaggio. Add to Cart View in Cart. 3) Although in principle every object with two panels or more may be called a polyptych, the word is normally used as a general term for anything larger than a triptych. (en italiano) Datos: Q333906; Multimedia: Esta página se editó por última vez el 27 nov 2020 a las 16:58. 2, La scuola senese del XIV secolo (The Hague, 1934), 155, 160. Traces of silver were found in all but one spectra (analysis completed March 3, 2014, report forthcoming). The Presentation in the Temple Francesco Franciabigio (1482-1525). Musée des Beaux-Arts, Palais Rohan. From inside the book . The biccherna panels are difficult to compare with the static figures of far larger dimensions in the polyptychs, and among these the only secure point of reference is the dating to c. 1350 of the San Vittore altarpiece formerly in Siena Cathedral. Edward Hutton (London and New York, 1909), 90 n. 7; Ernest T. DeWald, “Pietro Lorenzetti,” Art Studies 7 (1929): 160 n. 2. Maria Teresa Filieri (Livorno, 1998), 45. The altarpiece was never officially prescribed by the Church, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the altar was dedicated. The greater linearity and expansive volume of the figure in the panel now in the Pinacoteca Capitolina suggest an earlier date for the Berenson Magdalene. Its authenticity has recently been based on two arguments. Another document, of 1140, also records the Benedictine monastery annexed to the church. Piero Torriti. Jane Turner, 34 vols. This latter was probably made in the same year. He painted a number of works for Del Monte, including the Head of Medusa in the Galleria degli Uffizi, and the Fortune Teller in the Pinacoteca Capitolina. Il suo successore, Benedetto XIV, dopo aver acquisito le collezioni private dei marchesi Sacchetti e dei principi Pio di Savoia, inaugurò invece la Pinacoteca Capitolina. Gold background. 3. 1340” (both, 192), is open to question. 1077 and 1077A of the Gemäldegalerie in Berlin) as a fully autograph work by Pietro Lorenzetti, Boskovits’s argument (1988) placing its date c. 1330 – 1335 has not so far been repudiated. For this reason it is considered the first museum in the world, created to show people the works of Roman antiquity, found and collected over the centuries by nobles, bishops and popes of the capital, as well as the extraordinary paintings from the Pinacoteca Capitolina (masterpieces by Caravaggio, Guido Reni , Carracci, Guercino, Domenichino . Pinacoteca Capitolina - work in progress! Old Master & Early British Paintings / Lot 49. The proposal met acceptance from F. Mason Perkins (1905 and 1931), Raimond van Marle (1924), Emilio Cecchi (1930), and George Harold Edgell (1932), and in the volume Duveen Pictures (1941) and various catalogs of the Gallery (NGA 1941, Shoolman and Slatkin 1942, Kress 1945). Judith De Botton (1983) proposed 1340 – 1350, Miklós Boskovits (1990) c. 1340, Judith Steinhoff-Morrison (1990, 1993, 1996) the mid-1340s, Erling Skaug (1994) c. 1339 – 1348, and Angelo Tartuferi (1998) c. 1340. 1, I dipinti dal XII al XV secolo (Genoa, 1977), 136. 477. Pinacoteca. 2] [fig. Scribd is the world's largest social reading and publishing site. 37 / 66 {107X146} The Incredulity of St Thomas [1602] Shiftung Schlosser Und Garten Sanssouci Potsdam. In the Museum of Rome there are civic documents, from the Middle Ages to the present day. Eventi unici in alcuni dei luoghi più straordinari al mondo. Subject: Art note 6 above. Millard Meiss, “Ugolino Lorenzetti,” The Art Bulletin 13 (1931): figs. 346) 73 x 41 cm. Afterwards the collection of the museum has greatly increased: in . Clara Baracchini (Lucca, 1983), 199; Antonio Caleca, “Pittura del Duecento e del Trecento a Pisa e a Lucca,” in La Pittura in Italia: Il Duecento e il Trecento, ed. For the paintings in the Biblioteca Vaticana with a provenance from the collection of Lasinio or his son through that of Laureani, see Wolfgang Fritz Volbach, Catalogo della Pinacoteca Vaticana. no. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1812. Museus Capitolinos. 50 in the Pinacoteca Nazionale of Siena, probably dating to c. 1335 – 1340, in which the saints of the main register are represented half-length, though again with paired saints in the upper tier. Fu costruito sul colle Capitolino tra il 1748 e il 1750, con l'acquisto di dipinti del XVI e XVII secolo - tra cui capolavori di Tiziano, Caravaggio e Rubens - provenienti dalle collezioni Sacchetti e Pio di Savoia. 1. GND : 1214261-X. Lapidacion de San Esteban (Pinacoteca Nacional de Bolonia) Escenas de la Vida de Jacob (1606-14, Santa Maria della Pietà, Bolonia) Virgen con el Niño con Santa Cecilia y San Alberto (1610, Pinacoteca Capitolina, Roma) 6th St and Constitution Ave NW A complex very similar to the San Cerbone polyptych, apart from that now in the Berenson Library at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, Florence, must have been that of which only the centerpiece now survives, namely the Madonna and Child in the Museo Diocesano at Pienza. Apart from the fact that various reputable scholars recognize this important though unfortunately dismembered altarpiece (nos. Ca. 28), dated 1352 – 1353. The NGA scientific research department analyzed the spokes using x-ray fluorescence spectrometry (XRF). Licia Bertolini Campetti and Silvia Meloni Trkulja, eds., Museo di Villa Guinigi, Lucca: La villa e le collezioni (Lucca, 1968), 141 – 142. For a reproduction, see Pierluigi Leone De Castris, Simone Martini (Milan, 2003), fig. 7th St and Constitution Ave NW 5). Pinacoteca Capitolina . Subsequently, Pietro took this tendency one step further in such works as the Madonna formerly in the Serristori collection in Florence or that in the Museo d’arte sacra in Buonconvento where the child, in embracing his mother, even turns his back on the spectator. For this reason it is considered the first museum in the world, created to show people the works of Roman antiquity, found and collected over the centuries by nobles, bishops and popes of the capital, as well as the extraordinary paintings from the Pinacoteca Capitolina (masterpieces by Caravaggio, Guido Reni , Carracci, Guercino, Domenichino . and 346 in the Pinacoteca Capitolina in Rome. But when Michele Ridolfi visited the church in 1845, he found only the central image of the Madonna in the chapel and that of Saint John in the sacristy, while all trace of the other panels had already been lost. Seller: cpaphil . ROMA, TINTORETTO, BATTESIMO DI CRISTO (PINACOTECA CAPITOLINA), unused real photo. Michele Ridolfi (“Sopra i tre più antichi dipintori lucchesi dei quali si conoscono le opere: cenni storici e critici,” Atti dell'Accademia lucchese di scienze, lettere ed arti 13 [1845]: 349-393) does not find the NGA painting; it was probably dispersed after the 1806 Napleonic suppression of religious orders. [18] [18]Andrea Péter, “Ugolino Lorenzetti e il Maestro di Ovile,” Rivista d’arte 13 (1931): 32; and Piero Torriti, La Pinacoteca Nazionale di Siena, vol. [9] [9]F. Mason Perkins, “Arte senese nella Quadreria Sterbini a Roma,” Rassegna d’arte senese 1, no. on 176. 346) 73 x 41 cm. On the altarpiece, apart from the publication cited in note 12 above, cf. 5; Adolfo Venturi, La Galleria Sterbini in Roma: Saggio illustrativo (Rome, 1906), 33–35; Adolfo Venturi, Storia dell’arte italiana, vol. just to cite components of altarpieces. Fern Rusk Shapley (1966, 1979) proposed a slightly later date of c. 1335, a dating that Antonio Caleca accepted (1981, 1986). Download. Evento in programma a Roma domenica 07 febbraio 2016 1470, Städelsches Kunstinstitut, Frankfurt) probably implies the dependence of both paintings on a lost model of Pietro; cf. 18, 19; Andrea Péter, “Ugolino Lorenzetti e il Maestro di Ovile,” Rivista d’arte 13 (1931): fig. Frances Alexander and Sidney Alexander, Edizioni Beatrice d’Este (Milan, 1964), xvii; and Laura Martini, ed., Museo diocesano di Pienza, Musei senesi (Siena, 1998), 29 – 31. 4 (1905): 148 – 149; F. Mason Perkins, “Pitture senesi poco conosciute,” La Diana 6 (1931): 28; Raimond van Marle, The Development of the Italian Schools of Painting, vol. Since in May 1351 a carpenter received payments for “fattura civori e cercini e colonine di legname per la tavola di Santo Vittorio” (making awnings, curtains, and wooden columns for the altarpiece of San Vittorio), that is, for the embellishments to the polyptych’s wooden frame, it may be assumed that the work had already been completed by this date. 7; Edward Hutton, in Joseph Archer Crowe and Giovan Battista Cavalcaselle, A New History of Painting in Italy from the Second to the Sixteenth Century, vol. Judith De Botton (1983) proposed 1340 – 1350, Miklós Boskovits (1990) c. 1340, Judith Steinhoff-Morrison (1990, 1993, 1996) the mid-1340s, Erling Skaug (1994) c. 1339 – 1348, and Angelo Tartuferi (1998) c. 1340.
Internet A Casa Senza Linea Fissa, Maurizio Guerci Uomini E Donne, Sentiero Dell'arte Campertogno, Ricetta Gulash All'italiana, Testo E Accordi Malibu Sangiovanni,