![]() Indeed, in his Chronicle Leo Marsicano proudly describes the various different materials and techniques which Desiderius used and where, in addition to marble and precious metals, wood seems to have played an important role. Romanesque Woodcarvers and Plasterers in the Abruzzi: The Mediterranean Connection In the twelfth century, wooden doors, iconostasis screens, altars, thrones and chests were carved and painted in Lazio, Campania and Abruzzi, following a tradition that had probably first developed in the previous century at Monte Cassino under Desiderius. An updated summary about the results of the studies that are dedicated to the Romanesque one in Italy is. A number of interesting projects 1 With regard to the Romanesque period I refer in particular to. ![]() With regard to Romanesque architecture, recent international and Italian historiography has displayed an attentive consideration and a renewed interest in Romanesque issues, particularly in its origins, between the 10 th and the 11 th centuries 2. This particular teamwork is the most important aspect of the historical-architectural research and what makes it as such. We are dealing with a very complex work of research and analysis, which often requires the partnership of other professionals, such as archaeologists, architects, and restorers. The technical aspects related to the building methods such as materials used, strategies and building site management, training, and organisation of the craftsmen are also very important. Besides the aesthetical value, it involves the recontruction of the history of the building, the commissioners, the planning stages, its functions, the organization of the liturgical areas which encompass its religious and political-cultural significance. The contribution of architecture helps to make a building known in all of its expressive potential, as a whole organism. What interests me is the methodology to apply and its results. ![]() I am not interested in a competition between art historians and architects, and which of these two categories are better related to the history of architecture. ![]() Nevertheless, despite the brevity of my contribution, I wish to discuss how an art historian should nowadays approach an architectural work, or better a historian of architecture, including one with a historical-artistic background (therefore not just necessarily an architect). Therefore, as an art-object, it requires classification and cognitive approach which relies on specific, always updated tools. We know well that from Renaissance times, and from studies on architectural aesthetics, a work of architecture can be regarded as a work of art in large. Despite that, in the Middle Ages, architecture was listed among the mechanical arts and despite the role of medieval architects (both are very debated issues 1), it cannot be doubted that a medieval church can be judged as equal to a work of art. Is what passes for the past in Romanesque Ireland or Hungary very different from the past as viewed from southern Italy?Īs you can see from the title of my contribution, I give as granted that architecture-for example, a Romanesque church-is to be considered as an art-object. ![]() The manner and reasons whereby particular forms are selected can throw light on how a local sense of Romanitas intersects with a sense of Romanitas elsewhere. On a more mundane level Roman and early medieval forms, particularly ornamental and geometric forms, were used in new combinations in the 11th and 12th centuries. For certain institutions the past was the future in more than a theological or universal sense - it was a concern for immediate and local reasons. The papers at the conference are therefore concerned with the revival of classical or earlier medieval forms, spolia, selective quotation, archaism, and the construction of histories. This took many forms, from the casual, even careless, reuse of Antique material, to a specific desire to re-present or emulate earlier objects or buildings. The aim was to examine how and why a concern for the past manifested itself in the art and architecture of the Latin Church during the Romanesque period. The first in the British Archaeological Association’s international Romanesque conference series was entitled Romanesque and the Past: Retrospection in the Art and Architecture of Romanesque Europe, and was held in London from 9-11 April, 2010. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |