Architecture Médiévale

di Roma Sapienza. Presso lo stesso Ateneo insegna Archeologia Medievale presso la Scuola di Specializzazione in Beni Archeologici; è presidente del corso di laurea in Beni Archeologici e coordinatore del curriculum di Archeologia e Antichità post-classiche della Scuola dottorale in Archeologia. E' membro della giunta della Consulta Universitaria per le Archeologia post-classiche. Titoli di studio: laurea in Lettere presso l'Università degli Studi di Roma La Sapienza; specializzazione in Archeologia Medievale presso la Scuola Nazionale di Archeologia di Roma; Baccalaureato presso il Pontificio Istituto di Archeologia Cristiana; Dottore di Ricerca in Archeologia e Antichità post-classiche dell'Università di Roma Sapienza. Ha lavorato come redattore per la parte medievale ed islamica presso l'Istituto dell'Enciclopedia Italiana per la realizzazione dell'Enciclopedia Archeologica Il mondo dell'Archeologia. Ha prestato servizio come Archeologo Direttore presso l'Istituto Centrale per il Catalogo e la Documentazione; è stata Direttore del Servizio Beni Archeologici dell'Istituto stesso. E' stata ricercatore presso il Dipartimento di Scienze Storiche, Archeologiche ed Antropologiche dell'Università degli Studi di Roma Sapienza, raggruppamento disciplinare L-ANT/08. Verne"); Layers. Archeologia Territorio Contesti (Università di Cagliari). Svolge azione di peer review per riviste nazionali ed internazionali e per progetti. Svolge attività regolare di referaggio per riviste e collane italiane e straniere.

Los ábsides son la parte de la iglesia cristiana que acoge, a modo de tabernáculo, el altar donde se realizan las celebraciones litúrgicas. El presente trabajo clasifica tipológicamente los ábsides construidos en las iglesias de los diferentes territorios de la Corona de Aragón durante los siglos XIV y XV. La comparación de los tipos señala un mismo episodio arquitectónico más allá de la diversidad de los materiales empleados en su construcción y en la decoración aplicada. Por otra parte, el análisis de determinados tabernáculos, microarquitecturas y proyectos arquitectónicos permite descubrir otras intenciones artísticas más allá de las que llegaron a convertirse en realidades tangibles. Por último, se analizan las consecuencias de la recuperación de la Antigüedad bíblica –y el Salomonismo arquitectónico–en la construcción de los ábsides en la Corona de Aragón.

Apses are the part of the Christian church which contains, as a tabernacle, the altar, where the liturgical celebrations are performed. This paper organizes from a typological point of view the apses which were built in the different territories of the Crown of Aragon during the 14th and 15th centuries. The comparison between the types reveals the same architectural reality in spite of the variety of the materials used in their construction and in spite of their decoration. On the other hand, the analysis of some tabernacles, micro-architectures and architectural projects allows us to discover other artistic intentions besides the ones which materialized in buildings. Finally, we analyse the consequences of the recovery of the Biblical Antiquity –and the architectural Solomonism– on the construction of apses in the Crown of Aragon.

La città medievale è la città dei frati? | Is the medieval town the
city of the friars?
A cura di Silvia Beltramo, Gianmario Guidarelli

Contributi di: Catarina Almeida Marado, Silvia Beltramo, Anna Boato, Corrado Bozzoni, Caroline Bruzelius, Gianmario Guidarelli, Grado G. Merlo, Stefano Piazza, Nicolas Reveyron, Giovanna Valenzano, Guglielmo Villa.

Fin dalla metà del XIII secolo la presenza degli Ordini mendicanti diventa elemento caratterizzante della città medievale. Questo fenomeno sempre più esteso, che si consolida progressivamente nei decenni seguenti, raggiugendo l’apice nel corso del Trecento, provoca un acceso dibattito all’interno delle comunità conventuali sull’opportunità o meno di erigere complessi duraturi e monumentali nei contesti urbani.
La successiva costruzione di una rilevante moltitudine di conventi nella penisola italiana incide profondamente sulle scelte artistiche e architettoniche con soluzioni innovative che verranno replicate, con opportune declinazioni locali, in un ampio contesto territoriale. La crescita della città europea tra XIII e XIV secolo risentirà profondamente della presenza dei conventi mendicanti, determinando l’espansione di alcune aree, l’incremento residenziale e demografico in altre, la
trasformazione del tessuto storico prossimo ai principali poli urbani, religiosi e politici.
Questo volume, esito del progetto di ricerca interdisciplinare e internazionale, La città medievale. La città dei frati | Medieval city. City of the friars, sostenuto da diversi enti e istituzioni, prospetta
molteplici approcci e competenze utili a far luce sulla complessità e la ricchezza di una delle più significative esperienze religiose dell’età medievale e della prima età moderna.

ARCHItettura MEDievale, Collana editoriale, volume n.1
Direttori della collana: Silvia Beltramo e Carlo Tosco

VOLUME OPEN ACCESS  scaricabile: https://www.insegnadelgiglio.it/prodotto/la-citta-medievale-e-la-citta-dei-frati/

Info: http://www.friarscity.eu/en/; [email protected]

Year: 2017
Publisher: L'ERMA di BRETSCHNEIDER
Series: Bibliotheca Archaeologica, 56
ISBN: 978-88-913-1253-2
ISBN: 978-88-913-1228-0 (PDF)
Binding: Hardback
Pages: 130, 8 ill. B/N, 150 ill. Col.
Size: 21,5 x 28 cm
At the beginning of the eleventh century in northwestern Italy builders created a comprehensive system of architecture, integrating the square edges of stacked bricks on the exterior with arches, vaults, and niches inside the wall. They used the continuous verticality of bands to plan and demarcate at ground level the placement and spacing of these dynamic structures intended to provide crucial support higher up the elevation. Throughout southern Europe builders copied this system, combining brick-based construction, dynamic and static support, and an endless aesthetic based on continuous square-edged reveals. Experienced Lombard workers, at least initially, would have been needed to explain and implement this complex and holistic approach to architecture.
In major abbeys in Catalonia builders carefully followed the original Lombard system and also imaginatively enriched it, creating a new type of interior, different from the early Christian model (with a wooden ceiling, tall intermediate wall, and flat elevation) perpetuated in the central vessel of contemporary Italian churches. They coupled bands directly to transverse arches beneath barrel vaults and expanded the shape of bands from narrow strips to wide planes as part of a series of projecting wall layers. They also raised the arcade and compressed the intermediate wall, producing a spacious and luminous nave with narrow, high and open side aisles. In major churches in southern France successive generations incorporated many of these changes to the brick-based model and added significantly to them. Seen in this new light, early eleventh-century architecture in Lombardy and Catalonia belies its longstanding reputation as a superficially decorated, pendulously massive, unprogressively folkloric, and largely irrelevant First Romanesque prelude to High Romanesque architecture.

C. Edson Armi is a research professor at the University of California, Santa Barbara. He has written books on Cluniac architecture and sculpture, design and construction in Romanesque architecture, Gothic sculpture, and American car design. He received the Society of Architectural Historians Founders' Award, the C.I.N.O.A. International Art History Prize, and a Guggenheim Fellowship.

Textos sobre Teoría e Historia de las Construcciones Colección dirigida por Santiago Huerta A. Buchanan et al. (Eds.). Robert Willis. Science, Technology and Architecture in the Nineteenth Century A. Choisy. El arte de construir en Roma A. Choisy. El arte de construir en Bizancio A. Choisy. El arte de construir en Egipto A. Choisy. Historia de la arquitectura (en preparación) P. Fuentes e I. Wouters (Eds.). Brick vaults and Beyond. Transformation of a historical structural Proyecto I+D "Los diseños de arquitectura de tradición gótica en la Península Ibérica entre los siglos XVII y XVIII. Inventario y catalogación" (HAR2017-85523-P).

Reservados todos los derechos. Ni la totalidad ni parte de este libro puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico, incluyendo fotocopia, grabación magnética o cualquier almacenamiento de información y sistema de recuperación, sin permiso escrito de la Editorial Universidad de Sevilla.

Depuis les années 1980, une approche nouvelle s’est imposée autour de la construction en reprenant le principe archéologique de la stratigraphie des unités et des faits. Plusieurs rencontres depuis 2001 ont pu témoigner de ces avancées et il devenait nécessaire de confronter tous les acteurs concernés dans un colloque international. Cette archéologie dépasse les études architecturales traditionnelles qui reposaient essentiellement sur les formes et les grandes étapes de changement visibles à l’œil depuis le sol. Le bâti apparaît aujourd’hui non comme uniquement un ensemble de formes inscrites dans l’histoire mais comme une structure complexe toujours en renouvellement. La construction n’est plus celle d’un type entrant dans des cases mais celle d’un lieu aux fonctions et aux usages ayant évolué avec le temps. Sa permanence comme sa disparition nous interroge.

Luca Creti
Le chiese di Corneto nel XII e XIII secolo
Tra autonomia innesti e scambi di culture architettoniche
L'ErmArte, 29
2021, 114 pp., 100 ill. b/n
Brossura, 21,5 x 28,5 cm
ISBN: 9788891321954
ISSN: 2612-4718
In the twelfth and thirteenth century the churches of Corneto, the present Tarquinia, are characterized by a strong spiritualism and by a remarkable autonomy: this is due to the presence of a social fabric extraordinarily open to the outside and to the numerous economic and political ties of the city, which, favored by its proximity to important roadways and, above all, by the presence of a flourishing seaport, generate intense contacts with geographical areas even very distant.
These relations, to which we owe the independence and the economic prosperity of Corneto in the Middle Ages, provoked continuous exchanges of experiences, which in turn led to the development of an extremely original religious architecture, rich in grafts and contaminations and in which there is a perfect synthesis of design themes and operative practices that are also very different from each other, in which we recognize, among others, Lombard, French, Pisan and Arab influences.

The Linking Evidence website aims to be an innovative research tool on medieval and early Renaissance Rome. The idea of this project stems from the collaboration between two scholars with long-term projects on Rome, Dr Claudia Bolgia and Dr Maurizio Campanelli. They are working together to set up a hyper-textual online multiple database linking different 'evidences' or sources: descriptions of the city from the Mirabilia Romae (1140-42) to the De Varietate Fortunae of Poggio Bracciolini (1431), surviving or lost (but recorded) inscriptions from the same period associated with monuments and works of art, and images of these monuments, including both photographs of their current state and historical visual evidence (drawings, frescoes, prints, engravings etc.) reproducing the appearance of these monuments and artworks in the earlier centuries.

Starting from the pioneering collection of texts about Rome compiled by Valentini and Zucchetti (1940-54), from subsequent critical editions (e.g. Cavallini's, Master Gregory's and Petrarch's) and from the monumental, but outdated, collection of inscriptions by Forcella (1869-1884), all texts have been revised, digitalized and rendered searchable.

One of the strengths of this website is that it offers an 'intelligent' search by monuments, which means that if you search for a monument, the results will include all the relative references even if the sources refer to it by different names, i.e. if you search for Porta Sancti Pauli, you will find all passages referring to this gate, including those calling it Porta de Santo Pavolo, Porta Tigrelia, Porta Capena, Porta S. Paolo, Porta Trigemina, Porta Frumentaria, and Porta Cavina.

In addition to an intelligent search, the project aims to offer a new digital edition of the texts, a hyper-textual database with interactive links between texts and images, and virtual reconstructions of the City based on the textual descriptions, visualized through maps of the 'Romes' of the different medieval and early renaissance writers, where each site/building is linked to related images and texts.

The website addresses all types of hyper-textual searches, such as queries about people's names (ancient, medieval, historical and fictional), sites and toponyms, typologies of buildings, and works of art. It also provides the user with every possible type of cross-referencing between texts and images by means of hyperlinks to highlight their interconnections, similarities and differences.

Linking images to texts and texts to images in a new way, the project plans not only to bridge the gap between philology and art history, but also to create tools that will serve the study of history, archaeology, architectural history, classics, and palaeography.

Note: The first stage (available from November 2014) has focused on the major descriptions from the Mirabilia (1140-42) to the Tractatus de rebus antiquis Urbis Romae (1411) and on the inscriptions from the eleventh century to 1430. Some images (for instance those of the Castrum Sancti Angeli and the inscription of Porta S. Sebastiano) have been included to provide an example of what the website will offer when extended to stage 2, which will also include English translations of the texts.

Nicholaus, founder of one of the higher level atelier in north Italy, was a sculptor in the Romanesque period, working in the first half of the twelfth century. His production is especially investigated as far as the iconographic aspect is concerned. However, among the components that distinguish his sculpture, there is certainly a singular focus on the provision of different types of stone to create studied effects of polychromies. This specific theme, rarely investigated by scholars, is analyzed in the followings contributions, especially in reference to the later production of this workshop of sculptors, operating in the second quarter of the twelfth century.