It cannot be often that a romantic novel provides the clue for the rediscovery of an important series of works of art, but this is the case with the group of late sixteenth-century Florentine paintings which is here published for the first time. The book in question, by Monsignor Giovanni Maria Vignolo, has the unpromising title La regina e il re della fava, ossia Teodolinda ed Accaccio, and appeared in Turin in 1867. Its plot- the peripatetic adventures of a pair of betrothed lovers through the Val di Susa in the company of their parish priest - is little more than a pretext for an artistic and historical guide to an area of Piedmont particularly rich in rnonuments and works of art. At one point the art-loving priest, Don Vignolo, recounts a visit to Reano, a feudal possession of the Dal Pozzo family, and describes the fine new neo-gothic parish church recently erected by Don Carlo Emanuele Dal Pozzo, Principe della Cisterna, in which, he states, there are valuable old paintings, brought there from Pisa.l This is a somewhat surprising claim, but it proves not to be unfounded, for the paintings remain there to this day (Figs.28-38).
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