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"Inexpugnabile est". Pierre D'Agincourt, il presidio di Ripa di Corno e la città di Leonessa
No full textThanks to the documents of the Angevin chancellery, dated from 1270 to 1284, it is possible to retrace the architectural history of the stronghold of Ripa di Corno that still today surmounts the center of Leonessa (Rieti) and to reconstruct the genesis of this city. Similar to what happens in the same years in Southern France, in fact, the Angevins established a series of universitates along the border of the Kingdom in order to guarantee the control and the loyalty of people to the royal authority and, at the same time, they enhanced the castles existing in that area since the Norman and Swabian period, as is the case of Ripa. Today remains visible only the polygonal tower of the fortress, that is due to the initiative of the French architect Pierre d’Agincourt, man of confidence of King Charles II of Anjou and respon- sible for several other operations in Southern Italy. A survey of the surrounding terrain, however, has allowed to detect some traces of other buildings cited in detail in the king’s letters and to reconstruct the features of the castle, which was connected with two walls of the city below Gonexa/Leonessa in a triangular plan recorded in the views of the city from the 16 th century
Congregato populo in palatio comunis. Il palazzo pubblico nel Medioevo: il caso del Lazio meridionale
No full textÈ solo nel XII secolo che i comuni cominciarono a dotarsi di un edificio apposito dove svolgere le funzioni civiche, un palazzo che ne rappresentasse anche visivamente l'autorità e il potere. Al Nord si diffuse un modello tipologico uniforme, il broletto, costituito da un loggiato aperto al pianterreno e da un'ampia aula rettangolare al primo piano. Nelle regioni centrali, invece, dove con l'eccezione della Toscana i cantieri pubblici furono avviati con un certo ritardo rispetto all'area padana, il palazzo pubblico assunse di volta in volta forme architettoniche e schemi differenti. Partendo da questo fenomeno il libro ripercorre le vicende costruttive delle maggiori fabbriche comunali in area padana e nelle attuali regioni dell'Italia centrale (Toscana, Umbria, Marche e Lazio), ma dedica particolare attenzione all'area del Lazio meridionale che comprende le regioni storiche della Marittima e della Campagna, coincidenti con le attuali province di Latina e Frosinone e con una parte della provincia di Roma. La ricerca presenta un'ampia lettura complessiva, indagando sulle vicende costruttive e sulla collocazione urbanistica: dalle fabbriche più significative, come i palazzi comunali di Segni, Priverno, Anagni e Ferentino, agli episodi più problematici, come Sezze e Terracina, fino ai palazzi perduti, come la Casa della Ragione di Velletri
The Refectory of the Sacro Speco at Subiaco: Architecture and Decoration of a Monastic Space in the Middle Ages
No full textThe refectory is located on the first level of the impressive building on the east side of the Sacro Speco in Subiaco, the sanctuary built around the cave where St. Benedict of Nursia lived in hermitage between the fifth and sixth century. By its nature, the monastery was reserved for the monks and thus interdict to the pilgrims directed to the sacred grotto, nevertheless the story of the two spaces are closely intertwined, starting from the creation of a priory at the Sacro Speco during the pontificate of Innocent III (1198-1216).
At that time, in fact, it dates the erection of a first settlement for the monks, although the present monastery is the result of the constructive campaign undertaken by abbot Enricus (1245-1275) and of the raising of the monastic structure by abbot Bartholomeus II (1318-1343). During the latter, the great hall at the first floor was intended as a refectory causing some structural changes and a completely new decoration with frescoes depicting the Crucifixion and the Last Supper, two commons scenes for this type of monastic spaces in the following centuries and here grouped together prematurely.
The paintings, recently restored, have been virtually ignored by the specialized critics. Today, however, a new analysis of the cycle allows to date the frescoes to the second half of the fourteenth century and to attribute them to painters coming from the Umbrian region, an area where the Subiaco monasteries had very close relations since the beginning of the centur
Hic studet atque legit monachorum cetus et orat. Forma e funzione del chiostro nello spazio del monastero dalle origini a Cluny
Full text linkThe presence of the cloister in medieval monasteries is relatively late and, until the central Middle Ages, geographically limited to Central Europe. The analysis of material evidences attested until the 8th century the prevalence of settlement with multiple chapels scattered inside the enclosure alongside the more “orderly” type of monastery with the church and one or two residential wings arranged around a courtyard. From the 8th century begin to appear the first cloisters, but only in Central Europe, while the Mediterranean Europe delays even a few centuries. Starting from the 9th century the cloister spreads in the territories of the Empire, even in conjunction with the dissemination of the regula Benedicti,followed the reform of Benedict of Aniane. The cloister allowed a more rational layout of the buildings necessary for community life and ensured the total isolation of the monks. From the year 1000 and from the Cluny of Odilone's time, the monastery organized around the cloister lived a phase of strong experimentation, particularly with regard to the distribution of residential areas around the galleries. From the time of Cluny, the consecration of this type of setting can be reconstructed even through the different versions of the Consuetudines cluniacenses, that place in the cloister a multitude of activities and moments typical of the regular life
Il rinnovamento dei monasteri benedettini a Roma tra la fine del XII e l'inizio del XIII secolo: un'indagine preliminare
Full text linkITALIANO: Il generale ridimensionamento subito dai benedettini a favore dei cistercensi in seguito allo
scisma anacletista si registrò anche nell’Urbe dove, se negli anni ’40 del XII secolo si ricorda il primo insediamento romano dell’ordine di Cîteaux ad aquas salvias, in ambito benedettino non si ritrovano iniziative di rilievo fino alla seconda metà del secolo, almeno stando a quanto
si conosce finora. C’è da premettere, infatti, che il tema dell’architettura monastica a Roma rimane ancora da indagare a fondo, in particolare per quanto concerne l’area della clausura che, certo anche a causa dei rimaneggiamenti subiti, rimane spesso poco nota, mentre sugli edifici
di culto le nostre conoscenze sono decisamente più approfondite. Il primo cantiere rilevante in questi anni, e anche quello più precisamente databile, è quello di San Lorenzo fuori le Mura che vide l’organizzazione delle fabbriche residenziali attorno a un chiostro, un elemento fino ad allora poco usato nel contesto non solo romano, ma in generale centroitaliano. Proprio l’adozione dell’impianto claustrale segna i maggiori cantieri della prima metà del secolo successivo, quando sotto gli auspici di Innocenzo III cominciò una fase di rinnovamento dei monasteri più importanti, come i Santi Quattro Coronati, San Saba e soprattutto San Paolo fuori le Mura, ma anche Santa Scolastica a Subiaco, da considerarsi nell’ambito romano sia per la provenienza delle maestranze utilizzate nella realizzazione del chiostro, sia per il suo legame politico e culturale con la Roma pontificia. In questi cantieri, non tutti sondabili nelle strutture residenziali oggi troppo rimaneggiate per ricavarne elementi significativi, si viene a elaborare un tipo di struttura claustrale, che a San Paolo raggiungerà la sua massima espressione, che possiamo
definire come tipicamente romana per il gusto antichizzante dei rivestimenti marmorei e dei corredi plastici e per l’uso della scriptura exposta a esibire il significato simbolico del luogo e a ricordarne il patronato. / ENGLISH: After the defeat of the schismatic pope Anacletus II, even in Rome there was a decline of the Benedictines in favor of the Cistercians. In the 40’s of the 12th century, is indeed recorded the first Cistercian settlement – ad Aquas salvias –, while the Benedictine abbeys didn’t experienced
significant building interventions until the second half of the century, at least at the current state of knowledge. The monastic architecture in Rome, in fact, is yet to be investigated in detail, in particular with regard to the cloistered area where little remains because of the
copious restorations. In those years, however, the first important construction site is that of San Lorenzo fuori le Mura, precisely dating at 1189, where the residential structures for the monks were organized around a cloister, an element hitherto very rare in Rome and generally in Central-Southern Italy. Only later, during the first half of the next century and under the auspices of pope Innocent III, the cloistered plan will characterize the renovation of all the main abbeys, such as Santi Quattro Coronati, San Saba and especially San Paolo fuori le Mura and Santa Scolastica in Subiaco, that must be considered within the Roman context both for the origin of the artists, both for its political and cultural ties with the papal Rome. In all these monuments, it is developed a particular kind of cloister which can be defined as typically Roman and that will reach its highest expression in San Paolo. It is a structure characterized by a strong reference to the antique in the marble panelling, in the sculptures and in the use of the scriptura exposta that remembers the symbolic meaning of the place and its patronage
Un committente catalano nel monastero di Santa Scolastica a Subiaco : Lluís de Prades e la cappella degli Angeli
Full text linkLa cappella degli Angeli in Santa Scolastica a Subiaco costituisce una testimonianza artistica assai significativa, sia per la presenza del ciclo dipinto a tema angelico, un tema iconografico raro nel contesto peninsulare di quegli anni, sia per il carattere del luogo, che ingloba una grotta alla base della fabbrica abbaziale. L'importanza dell'oratorio è legata però soprattutto alla figura del committente, il vescovo di Mallorca Lluís de Prades, che si rifugiò a Subiaco nel terzo decennio del Quattrocento, dopo aver abbandonato la fazione avignonese dello scisma, e che qui fu sepolto dopo la morte a Roma nel 1429. Studi recenti hanno già proposto significativi collegamenti tra la cappella sublacense e il mondo aragonese, ma in questa sede un rinnovato sguardo alla figura del prelato e al suo retaggio culturale rende possibile comprendere la natura di questo luogo e il significato delle pitture. Il presente studio, dunque, si concentrerà dapprima sulla vicenda biografica del vescovo tra Spagna e Italia, quindi sulla ricostruzione del tessuto delle sue relazioni politiche e culturali. Si passerà quindi ad analizzare la peculiare architettura della cappella e il ciclo dipinto dal punto di vista formale e soprattutto iconografico, e si presenteranno alcune ipotesi di lettura dei dipinti, e del luogo che li accoglie, in relazione alla figura del loro committente.The Chapel of the Angels at the monastery of Santa Scolastica in Subiaco is an important artistic legacy, both for the presence of a pictorial cycle dedicated to the angels - a rare iconographic subject in the context of the period - and for the nature of its location, in a cave at the base of the monastic complex. The importance of the chapel is further enhanced by the figure of its patron, the bishop of Mallorca Llu s de Prades, who took refuge in Subiaco in the third decade of the fifteenth century, after abandoning the Avignonese faction of the Great Schism, and who was buried here after his death in Rome in 1429. Recent studies have already provided significant insight into links between the chapel and the Aragonese context of the time; this analysis of the historical figure of the prelate and his cultural background throws light on the nature of the site and the meaning of its decorations. The article analyses the life of the bishop in Spain and Italy, using documents found recently in the monastic archive of Subiaco, and his network of political and cultural relationships. It then analyses the architecture of the chapel and its paintings, from both a formal and iconographic point of view, and offers some hypotheses on the meaning of the cycle in relation to the themes that marked Llu s de Prades' life and worship
Picturing the Founder. A New Reading of the Stories of St. Benedict in the Lower Church of Sacro Speco at Subiaco
No full textThe frescoes in the lower church of the Sacro Speco at Subiaco closed the complex architectural history that during the 13th century, from the time of Pope Innocent III (1198-1216), saw the growth of the sanctuary created around the cave where St. Benedict of Norcia retired in the early 6th century.
The cycle with stories of the saint, signed by Magister Conxolus, has so far been considered by the critics only for its stylistic and formal characters in connection with the paintings in Rome and Assisi during the second half of the 13th century. Starting from these acquisitions, the paper will analyse the selection and the display of the stories - one of the first cycle about the life of Benedict on such a large scale by the middle years of the Middle Ages -, their iconography and their reading direction in relation to the holy stairs leading to the cave and in the broader context of the debate on new religious orders after the Council of Lyons (1274).
From this perspective, it seems once again significant the parallel with the friars and, in particular, with the Franciscans who, just few years before, have glorified their founder in the famous basilica of Assisi. The similarities with the pictorial cycle of the upper church of San Francesco, in fact, seem to go beyond the stylistic point of contact already identified by the critics to include broader issues. The foundation of two churches also in Subiaco and the decoration of the lower with the celebration of the founder at a time shortly after the frescoes in Assisi, can not fail to take account of a comparison - and perhaps of an antagonism - that existed between two types of common life entirely different: the traditional monasticism and the new orders
Abati committenti e patronato laico: il rinnovamento dei monasteri benedettini di Subiaco alla fine del Medioevo
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