Modern Period
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    Emanuele Gallotta
    L'architettura come spazio per la liturgia: l'interno di Santa Maria Maggiore a Ferentino alla fine del Duecento

    This essay deals with the interior of Santa Maria Maggiore in Ferentino (in the modern province of Frosinone), one of the most important buildings erected in southern Lazio in the Middle Ages. In particular, the set-up of the liturgical space dates back to the last years of the thirteenth century on the basis of the phases of building construction. In spite of the small number of documents, especially medieval ones, their critical interpretation made it possible to understand that Santa Maria Maggiore was a collegiate church entrusted to a secular college of canons (neither monks nor friars), which had nothing to do with the Cistercian Order. Starting from this evaluation, the comparison of archaeological data coming from surveys and direct analysis of the masonry walls with those obtained from documentary and iconographic sources allowed me to formulate reliable hypotheses on the design of the interior space and the arrangement of liturgical furnishings. As in almost all medieval churches, the original appearance of Santa Maria Maggiore was altered after the Council of Trent in the sixteenth century and then by the restorations between the eighteenth and the twentieth centuries.

    Stefano Cecamore
    Insediamenti fortificati nella Marsica. Il Castellum Sancti Angeli a Carsoli

    The research is carried out on the historic centre of Carsoli (AQ) and in particular on the Castellum Sancti Angeli, a fortress
    in defence of the Marsican Region. The old town portrays an enriched urban structure, resulting in spiritual and residential
    buildings as well as of defence. The restoration project aims at designing and planning the preservation of the "remaining
    structures" by arresting the decay of the existing facilities and securing safety management. The highly historic and abandoned
    context does not allow any room for hypothetical reconstruction of the missing parts or inserts of new manufactured products,
    however, it invites to discover areas of the surrounding landscapes through routes, crossings and breaks in green equipped areas
    leading and suggesting the visitor to see the possibly unseen.

    Iacopo Benincampi
    Bernini e San Giovanni in Fonte: considerazioni a margine dell'architettura del battistero

    In recent years the complex of buildings that set up the Baptistery of San Giovanni in Laterano was the subject of several
    researches, which reviewed the chronology of these artefacts on the basis of new stratigraphical investigations. In addition,
    archival studies clarified the role of the modernisations drawn up in modern times. And that's because it was precisely such
    transformations that determined the current appearance of the baptistery.
    On several occasions - between the sixteenth and seventeenth centuries - these interventions mainly concerned the image of the
    paleochristian octagonal building, primarily from the inerior perspective. Particularly the wooden ceilings seem to be interesting, especially
    because they were renewed at the time of Pope Urban VIII Barberini (1623-1644): Domenico Castelli (1582ca-1657) adjusted
    the lacunar structure over the annular peribulum; Gian Lorenzo Bernini (1598-1680) re-appointed the dome over the baptismal font.

    Aloisio Antinori
    Bernini, Borromini, il cantiere di San Pietro e l'altare Filomarino di Napoli: una fonte ignorata e un riesame della questione della rottura tra i due artisti

    The article stems from the examination of a letter belonging to the correspondence, today preserved at the Archives diplomatiques
    du Ministère des Affaires étrangères in Paris-La Courneuve, between Cardinal Jules Mazarin and Elpidio Benedetti, his
    agent in Rome. In the letter, dated August 1660, Benedetti refers to the Filomarino altar in the Church of the Holy Apostles
    of Naples, indicating Gian Lorenzo Bernini as its author instead of Francesco Borromini. This significant document is not unpublished;
    however, it appeared in a mere footnote in a volume of historical studies on Mazarin, published in 1981. It therefore
    went almost unnoticed, and art and architecture historians have never taken it into consideration.
    In this article, Aloisio Antinori discusses the credibility and the various implications of the surprising attribution of Benedetti,
    who certainly witnessed the process during which the altar was designed in Rome to be then constructed in Naples, and perhaps
    took part in it directly as a collaborator of Ascanio Filomarino. The interpretation of the document also offers the author the
    opportunity to re-examine, through a study of all the available sources, the question of the end of the professional collaboration
    between Bernini and Borromini, an event that has never been entirely clarified.

    Maria Clara Ghia
    In occasione di un centenario. Leonardo Ricci, dai primi progetti del dopoguerra all'exploit di casa Balmain

    To mark the centenary of Leonardo Ricci's birth, the article retraces a section of the life and works of the architect of the
    Florentine school. From the projects developed with his colleagues, especially Leonardo Savioli, in the fruitful yet difficult
    climate of the years immediately after the Second World War, when the personality of the master Giovanni Michelucci influences
    and directs the design choices of the young Ricci, to his first autonomous works, the community centre of Agàpe
    in Prali and, above all, the significant adventure of the village of Monterinaldi. Then there are the exceptional commissions
    for the villas built between the Fifties and Sixties, in particular those for Elisabeth Mann, Bruno Rossi, Massimo Severo
    Giannini, Countess Pleydell Bouverie and Pierre Balmain, up to the last community experience in Riesi and the Sorgane
    experiment, with which Ricci inaugurates a new stage in his research oriented, from then onwards, towards the theme of
    macrostructures.

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