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... En el nombre del baño: De Balneis Puteolanis. Autores: Giulia Orofino; Localización: FMR: revista de arte y cultura de la imagen, ISSN 0214-9400, Nº. 31, 2009 , págs. 129-137. Fundación Dialnet. Acceso de usuarios registrados. ...
L’abate Desiderio committente di libri: manoscritti miniati a Montecassino , in Il libro miniato e il suo committente. Per la ricostruzione delle biblioteche ecclesiastiche del Medioevo italiano (secoli XI-XIV), a cura di T. D’Urso, A. Perriccioli Saggese, G. Z. Zanichelli, Padova 2016, pp. 25- 44more
Research Interests:
Research Interests:
Research Interests:
Giulia OROFINO, Miscelánea de astronomía. Biblioteca Nacional, Madrid, Ms. 19MCG, in El románico y el Mediterráneo, Cataluña, Toulouse y Pisa. 1120-1180. Museu Nacional d’Art de Catalunya 29 febrero-18 mayo 2008, Catalogo della mostra a cura di M.Castineiras-J. Camps, Barcelona, MNAC, 2008, 442-443.more
The Romanesque decoration of the church of San Tommaso in Acquanegra sul Chiese (Mantua, Lombardy), formerly a Benedictine abbey church and now a parish church, is the result of a single project that can be attributed to the long-lived... more
The Romanesque decoration of the church of San Tommaso in Acquanegra sul Chiese (Mantua, Lombardy), formerly a Benedictine abbey church and now a parish church, is the result of a single project that can be attributed to the long-lived and enigmatic Abbot Peter (chronicled in 1101, 1119 and 1130). According to its architectural features (Piva in this volume, Architecture) and the archaeological evidence (Gallina, Breda in this volume), the church was built around the middle of the eleventh century, or slightly later, as an aisled basilica with a transept, a deep presbytery raised on a crypt-oratory, and three apses. It was done in brickwork and covered with a wooden roof.
At the beginning of the twelfth century Abbot Peter had the nave and the presbytery raised (by 2.20 metres) and the clerestory windows enlarged, in order to considerably increase the brightness as well as the surface area on which an impressive painted cycle would unfold, modestly preserved today and split by late Renaissance vaults. The decoration was executed in two stages (first the presbytery, then the nave) by different painters, who may have been hired by a single workshop, and was completed soon after by a figurative mosaic pavement (Vaccaro in this volume). The paintings and mosaics were so closely connected to the architecture as to allow us speak of a visual device, involved in the dynamics of the monastic liturgical space.
At the beginning of the twelfth century Abbot Peter had the nave and the presbytery raised (by 2.20 metres) and the clerestory windows enlarged, in order to considerably increase the brightness as well as the surface area on which an impressive painted cycle would unfold, modestly preserved today and split by late Renaissance vaults. The decoration was executed in two stages (first the presbytery, then the nave) by different painters, who may have been hired by a single workshop, and was completed soon after by a figurative mosaic pavement (Vaccaro in this volume). The paintings and mosaics were so closely connected to the architecture as to allow us speak of a visual device, involved in the dynamics of the monastic liturgical space.