The church built between the end of the 13th and the beginning of the 14th century in southern Italy according to the patronage of the Angevins are a result of the interaction between the culture of transalpine Europe and local tradition. The architectural production, especially in Naples and inland, reached its peak in realizations characterized by a clear simplification of the decoration and structure in favor of an adaptation to the existing construction methods: for example, the absence of large windows reduced to single or double lancet windows open between the buttresses and on the smooth surfaces of the perimeter walls. The contribution aims to investigate how much the absence of large glass surfaces is attributable to a static need or rather whether this peculiar solution responds to a precise aesthetic will. It has already been hypothesized in more than one circumstance that the impossibility of proceeding with larger openings was visually compensated by the predisposition of frescoes depicting open-air landscapes in order to guarantee a real or drawn “lux continua”.

Il ruolo della luce nell’architettura ecclesiastica di committenza angioina in Italia meridionale / Carannante, Arianna. - In: HORTUS ARTIUM MEDIEVALIUM. - ISSN 1330-7274. - STAMPA. - 26:(2020), pp. 223-230.

Il ruolo della luce nell’architettura ecclesiastica di committenza angioina in Italia meridionale

Arianna CARANNANTE
2020

Abstract

The church built between the end of the 13th and the beginning of the 14th century in southern Italy according to the patronage of the Angevins are a result of the interaction between the culture of transalpine Europe and local tradition. The architectural production, especially in Naples and inland, reached its peak in realizations characterized by a clear simplification of the decoration and structure in favor of an adaptation to the existing construction methods: for example, the absence of large windows reduced to single or double lancet windows open between the buttresses and on the smooth surfaces of the perimeter walls. The contribution aims to investigate how much the absence of large glass surfaces is attributable to a static need or rather whether this peculiar solution responds to a precise aesthetic will. It has already been hypothesized in more than one circumstance that the impossibility of proceeding with larger openings was visually compensated by the predisposition of frescoes depicting open-air landscapes in order to guarantee a real or drawn “lux continua”.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11583/2892627