Medieval Wooden Sculpture Research Papers (original) (raw)

Il contributo propone una rilettura della scultura lignea d'età medievale in costiera amalfitana, esaminata sulla base di dati statistci e analizzata a seconda delle diverse tipologie funzionali: crocifissi, statue mariane, gruppi. Ci si sofferma poi sul caso-studio della Deposizione del duomo di San Lorenzo a Scala, unico gruppo ligneo medievale quasi integralmente superstite in Campania, di cui si ricostruiscono vicende storiche e funzione cultuale, avanzando nuove ipotesi circa la provenienza originaria dell'opera e il suo allestimento in antico.

- by Stefano D'Ovidio
- •
- Sacred Art, Sacred Space, Medieval Wooden Sculpture, Amalfi
- by Jos Koldeweij and +1
- •
- Art History, Arts and Crafts, Choir Stalls, Medieval Wooden Sculpture
- by Luca Mor
- •
- Heritage Conservation, Gothic Art, Medieval Wooden Sculpture, Scultura Lignea Medievale

A heavily repainted wooden Crucifix in the parish church of Ussita (near Visso, Macerata) is here published and attributed to a 14th-century Umbrian sculptor, known as the Maestro della Madonna del Duomo di Spoleto (Master of the Spoleto Cathedral Madonna). The three figures painted on the wooden cross are assigned to a painter also from Spoleto, the Fossa Master.

- by Matteo Mazzalupi
- •
- Umbria, Trecento Painting, Medieval woodcarving, Medieval Wooden Sculpture
- by Luca Mor
- •
- Iconography, Art History, Medieval Drama, History of Art

The Metropolitan Museum of Art, New York, and
the Louvre, Paris, respectively possess a torso and head of a
Romanesque sculpture of Christ made in Auvergne. Whether these two fragments belong to the same statue has been the subject of much discussion.The in-depth study of the structure and, above all, of the polychromy of the two fragments (both the original polychromy and numerous repainted areas) seems to have finally lifted all doubts and conclusively determined that they are from the same work.

- by Lucretia Kargere and +1
- •
- Romanesque Sculpture, Medieval Wooden Sculpture, Polychrome

In een beschrijving van de Sint-Janskerk, die omstreeks 1540 aan het papier werd toevertrouwd, lezen we-vrij vertaald uit het latijn-het volgende over de koorbanken: ... ik geloofniet dat we het hoogkoor [in deze beschrijving van het interieur van de kerk] buiten beschouwing mogen laten. Het hoogkoor staat uitsluitend ter beschikking van de eerwaarde priesters. Hier heeft, ik weet niet welke kunstvaardige houtbewerker, een gestoelte gebouwd dat het grootste gedeelte van het koor bezet, en dat aan alle kanten is versierd met lachwekkende mensenfiguren. Tussen de vele balken zijn helemaal geen naden zichtbaar en al het hout is werkelijk zo kunstig tot een geheel samengevoegd dat je gelooft dat het werk uit een stuk is gemaakt: want zoals een stuk textiel dat met vaardigheid is geweven, toch uit afzonderlijke draden bestaat, zo lijkt ook dit gestoelte dat uit talloze bewerkte balken is samengesteld, een geheel. leder heeft hier-zoals gepast is-de beschikking over zijn eigen vaste plaats: de kanunniken bezetten immers het hogere gedeelte, de overige priesters het onderste.' De kanunnikenbanken in het koor van de Sint-Jan waren toen deze beschrijving werd gemaakt, zo n honderd jaar oud; aangenomen wordt dat het gestoelte in de periode 1430-1460, wellicht te 's-Hertogenbosch, tot stand kwam. 2 Kennelijk was in het tweede kwart van de zestiende eeuw niet meer bekend wie de beeldhouwers en de timmerlieden waren geweest die de koorbanken hadden vervaardigd, en evenmin werd er in de geciteerde beschrijving over de leeftijd van de zetels gerept, dus ook dit zal men niet meer geweten hebben. Opmerkelijk is dat het koorgestoelte toen als een zeer uitzonderlijk werkstuk werd beschouwd en om dit te illustreren gebruikte de anonieme beschrijver een bekend beeld: het uit ontelbare onderdelen samengestelde gestoelte was zijns inziens zo hecht dat het kon warden vergeleken met een uit losse draden geweven stof. Helaas geeft de beschrijver geen details, die we nu natuurlijk graag zouden kennen, over de exacte opbouw van de banken, de nauwkeurige plaatsing in het koor, de aantallen zetels van de verschillende stukken en hun ordening, de sculptuur en vooral ook de betekenis die daaraan werd gegeven, enzovoorts. Toch is de weergegeven passage in de beschrijving van groot belang. Het is immers de enige bekende tekst met informatie, hoe summier ook, over de koorbanken van voor het derde kwart van de negentiende eeuw, toen ze ingrijpend werden gewijzigd en gerestaureerd. De woorden van ca. 1540 vertellen ons, zoals we al zagen, dat de gotische banken toen, dus ongeveer een eeuw nadat ze tot stand kwamen, nog hoog werden gewaardeerd en kennelijk nog in een uitnemende conditie verkeerden. Intngerend is de uitspraak dat het gestoelte een groot gedeelte van het koor in beslag nam: de vraag speelt immers of de banken tegenwoordig, zo ver mogelijk teruggeschoven tussen de koorpijlers, wel op hun oorspronkelijke plaats staan. En in verband daarmee, wat zag Pieter Saenredam precies m 1632 toen hij nog voor de onderste bankenrij een daar nogal ongebruikelijk en verder volstrekt ongedocumenteerd doorlopend voorschot met 1. De kanunnikenbanken aan de noordzijde van het koor

- by Jos Koldeweij
- •
- Art History, Architecture, Medieval Art, Arts and Crafts
- by Luca Mor
- •
- Croatian History, History of Art, Romanesque Art, Medieval Art
- by Luca Mor
- •
- Art History, Medieval History, Medieval Studies, Croatian History

This paper deals with the scientific identification of species utilised for the
production of wooden sculptures in the exhibition, Il Teatro del Sacro (Asti, 2009), of statues dating back to 17th and 18th centuries. All the statues came from the diocese of Asti (Northwest Italy). Problems in the sample drawing are analysed, together with the results, described by period and author, on the basis of the identified species. Almost all the statues were made of poplar or willow wood, except two, made of walnut wood. The paper describes also the principal technological characteristics of the identified woods, considering specifically their utilisation for carving works.

- by Nicola Macchioni
- •
- Medieval Wooden Sculpture

File PDF 1: Copertina versione inglese. File PDF 2: Testo versione italiana della pubblicazione originale in lingua inglese: Sedes Sapientiae. A study of a thirteenth century Umbro-Abruzzese wooden sculpture, Eventi & Progetti Editore, Biella 2013. File PDF 3: Immagini confronto versione inglese -
A quasi ottant’anni dalla sua prima segnalazione critica presso una collezione privata, la ‘ricomparsa’ di questa celebre Madonna col Bambino di cui si erano perse le tracce è una grande opportunità per approfondirne il legame con la scultura lignea del XIII secolo nell’Appennino ‘umbro-abruzzese’. In un contesto culturale e artistico così omogeneo, introdotto dall’autore anche attraverso il ruolo di maestranze attive in quelli che furono gli antichi territori del ducato di Spoleto, la colta concezione figurativa dell’opera viene messa in luce attraverso un importante raggruppamento di Madonne superstiti databili tra il quarto e l’ottavo decennio circa del Duecento, in particolare con la Madonna in Sant’Antimo a Montalcino. Questi intagli risultano essere oltretutto l’esito di maestranze fedeli a un preciso ductus stilistico e tecnico che si intreccia direttamente con i monumentali gruppi lignei di Deposizione.

- by Luca Mor
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- Art History, History of Art, Medieval Art History, Umbria

The St Bonaventure’s Lignum Vitae Treatise and the Dominican Tree-of-Life Crucifix in Toruń
The paper concerns the analysis of iconography and artistic form of the Tree-of-Life Crucifix from the Dominican church in Toruń (presently in St James’ church) in direct relation to its literary source: the ascetic and mystical treatise Lignum Vitae by St Bonaventure. This Toruń historic artwork is a unique in European art example of transferring the symbolic narration of that literary work, based on associating the image of a tree with the history of Salvation, into the third dimension. The authors – for the first time in the studies on this artwork – focus on original pictorial solutions that make the Toruń artwork – the only preserved sculpted version of the theme – different from the iconographic tradition of St Bonaventure’s Tree of Life. They analyse the relation of the Tree-of-Life Crucifix with the mystic’s text and various aspects of its artistic impact. The study aims at accentuating the connexions between the pictorial edition and the function of the crucifix that – as one may assume – had served both the friars’ devotion and private devotion of the faithful (indulgencies). It probably had been used in preaching but above all it had made a suggestive symbol of Salvation, most probably located on top of the rood screen, on the axis of liturgical space of the church.

- by Juliusz Raczkowski
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- Art History, Media Studies, Medieval Literature, Medieval History

Osmanlı konaklarında kullanılan ahşap iskelet sisteminin Hacılar, Çatalhöyük ve Boğazkale arkeolojik araştırmalarında gördüğümüz üzere çok uzun bir zamana yayılı teknolojik evrimi söz konusudur. Günümüze ulaşan Osmanlı konaklarının hemen tamamı 19. yüzyılda yapılmıştır. Anadolu'da 18. yüzyıldan kalan yalnızca 10 kadar ahşap konak bulunmaktadır, bunların da hemen tamamı yanlış restorasyonlarla kaybedilmiş bulunmaktadır. Osmanlı konakları üzerine yapılan araştırmalar elde kalmış çok kısıtlı sayıda örnek üzerinden yapılabilmektedir. Öte yandan, restorasyon etkinlikleri tüm hızıyla sürüyor olmakla birlikte, Osmanlı konakları ile ilgili araştırmalar 21. yüzyılda akademik gündemden düşmüş bulunmaktadır. Bildiride, arkeolojik araştırmaların bulguları ışığında ahşap iskelet sistemin nasıl geliştiği anlatılacak, Osmanlı kadı içtihatlarına dayanarak ahşap elemanların nasıl standartlaştırıldığı ve 18. yüzyılın sonlarında yürürlüğü giren Ebniye Nizamnamesi ile de yapı boyutlarının nasıl şekillendiğini tartışacağım. Küçük Kıyamet olarak isimlendirilen 10 Eylül 1509 depremi ile yine en büyük depremlerden biri olarak kaydedilen 10 Temmuz 1894 depremleri arasında Osmanlı yapı stokunun depreme dayanıklı hale getirilmesi çok önemli bir deneyimdir. Bu tartışmayı Osmanlının sosyo-ekonomik çevresinden bağımsız götürmek yanlış olur. Sonuçta Anadolu'dan Balkanlar'a uzanan bir kuşak üzerinde ortaya çıkan Osmanlı konaklarının arkitektoniğinin tanımladığım etkiler (impacts) altında nasıl oluştuğu konusunda savlarımı ortaya koyacağım. Bu araştırma Osmanlı sivil mimarisinin, geleneksel Mimarlık Tarihi izleği dışında bir okumadır.

আমাদের এই ভারত-ভূখণ্ডে কাঠের তৈরী শিল্পকাজের ইতিহাস যে বহু প্রাচীন, সেকথা আজ অনেকেরই জানা। কিন্তু ঠিক কবে থেকে এর শুরুয়াত হ’য়েছিল, তা কেউ নিশ্চিত ক’রে ব’লতে পারেন না। শুধু এ’টুকু বলা যায় যে সভ্যতার সেই আদিযুগ থেকেই এখানকার অধিবাসীদের রোজকার জীবনে কাঠের ব্যবহার ছিল। মাধ্যম হিসেবে কাঠের সহজলভ্যতা আর চারিত্রিক-নমনীয়তা তাঁরা আবিষ্কার ক’রেছিলেন গাছপালার সঙ্গে প্রতিদিনের বেঁচে-থাকার নিবিড় সম্পর্কের ম’ধ্যে দিয়ে। প্রাণের অন্যতম শক্তি হিসেবে গাছের ভূমিকা তাঁরা বুঝেছিলেন, আর তার চামড়া-হাড়-মাংস-মজ্জাসমেত সবটাই সাদরে গ্রহণ ক’রেছিলেন নিজেদের ব্যবহারিক প্রয়োজনের জগতে। এইভাবে গাছ আর মানুষের এই যৌথ-যাপনকে কেন্দ্র ক’রে ক্রমে-ক্রমে জন্ম নিয়েছে একটা আদর্শের বোধ – যার প্রাসঙ্গিকতা আজও এদেশের নানান জনগোষ্ঠীর দর্শন, সংস্কৃতি আর ধর্মাচরণের মধ্যে সমানভাবে ক্রিয়াশীল।
এদেশের সুপ্রাচীন সংস্কৃতি বরাবরই প্রকৃতি আর তার নানা উপাদানের সাথে ঘনিষ্ঠ সম্পর্ক গড়ে তোলা আর জীবজগতের ভারসাম্য রক্ষা ক’রে চলায় বিশ্বাসী। সেই সিন্ধু সভ্যতার সময় থেকে এখানকার মানুষ সবসময় জোর দিয়েছেন পরিবেশতান্ত্রিক নৈতিকতার ওপর – যার সমস্তটাই প্রতিফলিত হ’য়েছে তাঁদের আদিম লোকাচারগুলোর মধ্যে। তাঁদের রোজকার জীবনে ব্যবহার্য বেশীর-ভাগ জিনিসই ছিল, এখনকার মতে, ‘ইকো-ফ্রেন্ড্‌লি’ – মাটি, কাঠ ইত্যাদি দিয়ে তৈরী। তাঁরা বিশ্বাস ক’রতেন যে একটা ফলন্ত গাছ সন্তানহীন-মহিলার গর্ভসঞ্চারে সক্ষম – আর একজন সন্তানবতী মহিলা শুকনো-গাছেও প্রাণ-সঞ্চার ক’রতে পারেন। একদিকে যেমন জনপদের বিশেষ-বিশেষ জায়গাগুলোকে চিহ্নিত করা হ’তো বিশেষ-বিশেষ গাছের সাহায্যে, তেমনই আবার একটা ফলন্ত গাছ একাই একটা জনপদকে বিশেষিত ক’রে তুলতে সাহায্য ক’রতো। নানারকম ওষধি-গাছকে চিহ্নিত করা আর তাদের সাথে বিভিন্ন দেব-দেবীর যোগসূত্র রচনা করা ছিল বৈদিক-যুগের এক প্রচলিত রীতি। সেই উত্তরাধিকারের সূত্র ধ’রেই কল্পবৃক্ষ আর চৈত্যবৃক্ষের ধারণা লিপিবদ্ধ হয় বৌদ্ধ পুঁথিতে। আর এইভাবে উদ্ভিদজগৎ ক্রমশ একটা গুরুত্বপূর্ণ জায়গা ক’রে নেয় সমগ্র ভারত-সংস্কৃতির দার্শনিক, ধার্মিক, প্রায়োগিক আর শৈল্পিক আকাঙ্খার মধ্যে।

- by Sanjay Sen Gupta
- •
- Art History, History of Sculpture, Sculpture, History of Art

This paper intends to provide an initial draft and a methodological framework for further investigations about the use of the statues of the crucified and dead Christ during the representations of the Passion from the XIV to the XV century. In particular, I will discuss four different types of artifact: crucifixes with movable arms; so-called ‘talking’ crucifixes that have unmovable limbs but a movable tongue; jointed sculptures of the suffering Christ and artifacts made with several materials, coated with leather and totally jointed; carved statues of the dead Christ lying in a wooden sarcophagus covered with paintings. My proposal is to distinguish them according to those features that link to different performative actions and, therefore, to different rites celebrated in different spiritual contexts. I consider each of these artworks as a ‘performative image’, that was probably used for a specific performance, playing a certain scene on a very clear ‘stage’ in front of a particular audience.

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● un text bine documentat de autori specialiști în istoria artei medievale și restaurare;
● peste 700 imagini inedite – aeriene, ansambluri din interior și din exterior, detalii ale picturii murale realizate de la nivelul schelei, în timpul restaurării;
● harta monumentelor și propuneri de trasee
● planuri de monumente și ansambluri
15 dintre cele mai reprezentative repere culturale medievale ale zonei sunt prezentate: biserica reformată (calvină) din satul Alma, bisericile evanghelice (lutherane) din satele Aţel, Băgaciu, Biertan, Brateiu, Curciu, Dârlos, Ighişu Nou, Mălâncrav, Moşna, Nemşa, Richiş şi Şmig, precum şi principalele exemple de arhitectură religioasă şi civilă din oraşele Mediaş şi Sighişoara.
Alături de arhitectură şi sculptură sunt prezentate şi picturile murale medievale care – de multe ori – înfrumuseţează aceste clădiri, precum şi obiectele cu valoare artistică şi istorică (altare poliptice, piese de mobilier, inventar liturgic etc.) adăpostite înăuntru.
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- by Dragos Gh. Nastasoiu and +1
- •
- Iconography, Medieval Art, Medieval Art History, Science for Conservation and Restoration of Cultural Heritage
- by Gaetano Curzi
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- Medieval Art, Medieval Wooden Sculpture
- by Victor M . Schmidt
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- Horace, Medieval Art, Gregory the Great, Altar

The article presents a polychrome wooden statue of the Madonna and Child in a private Belgian collection. The piece is attributed to the so-called Master of the enthroned St. Peter of Aufkirchen, active around 1330/40 in centres spread across Salzburg and the Eastern Alps. A consistent group of wooden sculptures in the same area outlines the Master’s artistic personality, influenced by works from High Rhine, southern Germany and central Europe highly indebted to French prototypes and executed between the last decades of the 13th century and the beginning of the 14th century. The relationship with Moravian wooden sculpture is emblematic; yet, our Master’s more conventional Gothic inclination is reliable with the artistic trend of Salzburg. Indeed, its archdiocese fostered contacts with the centres of the Empire and the nearby Tyrolean alpine valleys.

- by Luca Mor
- •
- Medieval Sculpture (XIII-XVth Century), Gothic Art, Gothic Sculpture, Tirol

Almost ignored by the researchers, the imposing sculpture of the Christ from the church of Sant'Andrea in Bigonzo (Vittorio Veneto) represents one of the major examples of the XIVth century wooden sculpture in the territory that we call, today, Triveneto. This piece translates for us a heterogeneous figurative heritage, shaped by a refined artist of venetian culture, as confirmed also by the stylistic parallelism with the tomb of Rizzardo VI da Camino in the church of Santa Giustina, in Serravalle (Vittorio Veneto). The typological pattern is inspired by the so-called «Crocifisso gotico doloroso» that derives from the area north from the Alps, particularly influenced by the expressive models adopted during the first decades of the XIVth century in the Imperial centres of Eastern Europe. The critical analysis involves also the XIIIth century Crucifix in the church of Araceli nuova in Vicenza, and continues by identifying, in the territories of the Julian Alps and Veneto, some Crucifixes that haven't been studied before or have been subject to chronological misinterpretation, but which - in the light of the new data – allow us to trace back the group of a Friulian atelier, active around 1350–1380.

- by Luca Mor
- •
- Art History, Medieval Art, Alps, Romanesque Sculpture
- by Gaetano Curzi
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- Medieval Art, Medieval Wooden Sculpture
- by Gaetano Curzi
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- Medieval Art, Abruzzo, Medieval Wooden Sculpture
- by Gaetano Curzi
- •
- Medieval Art, Medieval Wooden Sculpture
- by Iole Carlettini
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- Abruzzo, Medieval Wooden Sculpture
- by Tilo Schoefbeck
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- Art History, Dendrochronology, Kunstgeschichte, Medieval Wooden Sculpture

Entdecke das Tal der Großen Kokel und seine mittelalterlichen Denkmäler in Begleitung dieses Reiseführers, der sowohl deine Schritte zu den Gesamtensembles leiten als auch deine Augen und Gedanken auf die Einzelheiten lenken wird! Bereichere deinen Geist mit der Schönheit von Denkmälern, die dem Land Bekanntheit und Würdigung einbringen! Mittelalterliche Denkmäler im Tal der Großen Kokel-wir setzen die in der Bukowina und in der Kleinen Walachei (Oltenien) begonnene Reise fort! • ein fundierter Text, verfasst von Experten auf den Gebieten der Kunstgeschichte des Mittelalters und der Restaurierung; • über 700 erstmalig publizierte Bilder-Luftaufnahmen, Innen-und Außenaufnahmen, von den Baugerüsten während der Restaurierung aufgenommene Details mittelalterlicher Wandmalerei; • die Landkarte der Denkmäler und Vorschläge für Reiserouten • Grund-und Aufrisse von Denkmälern und Ensembles 15 der repräsentativsten mittelalterlichen Kulturstätten der Gegend werden vorgestellt: die reformierte (calvinistische) Kirche in Almaschken (Alma), die evangelischen (lutherischen) Kirchen der Landgemeinden Birthälm (Biertan), Bogeschdorf (Băgaciu), Durles (Dârlos), Eibesdorf (Ighișu Nou), Hetzeldorf (Ațel), Kirtsch (Curciu), Malmkrog (Mălâncrav), Meschen (Moșna), Nimesch (Nemșa), Pretai (Brateiu), Reichesdorf (Richiș) und Schmiegen (Șmig) sowie die bedeutendsten Beispiele sakraler und profaner Architektur in den Städten Mediasch (Mediaș) und Schäßburg (Sighișoara). Neben Architektur und Skulptur werden auch die mittelalterlichen Wandbilder vorgestellt, die-oftmals-diese Bauten schmücken, sowie die Gegenstände mit künstlerischer oder historischer Bedeutung (Flügelaltäre, Möbelstücke, liturgische Objekte usw.), die in ihrem Inneren bewahrt werden. Der Verein Art Conservation Support verwendet den Erlös aus dem Verkauf dieses Reiseführers für die Durchführung von Publikations-und Konservierungsprojekten sowie von Projekten zur Wiedergewinnung des Kulturerbes Rumäniens.

- by Gaetano Curzi
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- Medieval Art History, Medieval Wooden Sculpture
- by Luca Mor
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- Art History, Galician Studies, Pilgrimage, Romanesque Art
- by Gaetano Curzi
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- Medieval Art, Medieval Wooden Sculpture

This paper investigates various aspects of the polychromy of the Landsberg Madonna by Hans Multscher. First, partially polychromed ivory and marble sculptures are taken into consideration as possible models for the Landsberg Madonna’s specific polychromy. This study demonstrates that the material of these sculptures is meaningful in terms of both iconography and medieval color theory. It argues that the Landsberg Madonna imitates these materials by transforming their different white hues into polychromy, and that by doing so, white receives qualities of color. Finally, it shows that the 1961 – 1967 restoration of this sculpture followed an idealistic concept of unpainted pure substrate material, which disguises more than reveals the special status of the work’s original polychromy.

- by Gaetano Curzi
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- Medieval Art, Medieval Wooden Sculpture

La imagen titular del retablo mayor de la iglesia parroquial de Santa María Magdalena de Mozota (Zaragoza) es una obra representativa de la introducción de los modelos del estilo internacional en Aragón. En origen presidió un retablo gótico del que también formaría parte una talla de santa Lucía conservada en el mismo templo. Dicho mueble fue realizado bajo el patrocinio de la familia Coscó, que ostentó el señorío de Mozota desde finales del siglo XIV. En el presente artículo se plantea su atribución a Pierre de Saint Jean, o Pere de Santjoan, escultor oriundo de la región francesa de Picardía, quien trabajó en diferentes lugares de la Corona de Aragón entre la última década del siglo XIV y el primer tercio del XV.
The wooden sculpture of the main altarpiece in the parish church of Santa María Magdalena of Mozota (Zaragoza) is a representative work of the introduction of the international style models in Aragon. Originally it presided over a Gothic altarpiece of which a carving of Saint Lucia preserved in the same temple would also be part. This altarpiece was made under the patronage of the Coscó family, which held the lordship of Mozota from the late 14th century. In this article we propose its attribution to Pierre de Saint Jean, or Pere de Santjoan, sculptor native of the French region of Picardy, who worked in different places of the Crown of Aragon between the end of the 14th century and the first third of the 15th.

"Recentemente mi sono soffermata sulle possibili ragioni e sui materiali pretesti dai quali ebbe origine il mito della fondazione dell’Aquila sulla pianta di Gerusalemme, così come venne codificato nei circoli antiquari aquilani nei primi decenni del Seicento.
La fortuna della tradizione fu tale da venir registrata ancora nel 1954 da un sia pur scettico Mario Chini nel suo famoso libro su Silvestro aquilano. Né incredulità né tanto meno imbarazzo lascia invece trapelare lo storico Angelo Leosini nel tramandare la stessa leggenda di fondazione nelle prime pagine dei "Monumenti storici artistici della città di Aquila e suoi contorni colle notizie de’ pittori, scultori, architetti ed altri artefici che vi fiorirono" pubblicati nel 1848 per i tipi di Francesco Perchiazzi. L’opera, che per citare le parole del suo autore, fu pubblicata «nella mia assenza dal Regno, e perciò incorse in parecchie mende per negligenza dell’Editore», rappresenta la prima guida alle chiese e ai palazzi dell’Aquila concepita con il precipuo scopo di tracciare una storia dell’arte e degli artisti locali. Una finalità, sia ben chiaro, spesso disattesa principalmente a causa della modesta autonomia critica palesata dal Leosini proprio verso i fatti d’arte che egli intendeva «ritogliere all’oblio» e portare all’attenzione dei suoi lettori.
Nondimeno, i "Monumenti" restano un ineludibile punto di partenza per lo storico dell’arte che volesse intraprendere ricerche sul territorio aquilano, non fosse altro che per il lavoro di selezione effettuato sulla copiosa letteratura erudita locale fra XVI e XVIII secolo, con particolare riferimento all’immenso corpus manoscritto del settecentesco Anton Ludovico Antinori. Immeritatamente accusata di plagio, l’operazione si è concretizzata in un agile prodotto editoriale, indispensabile per saggiare la consistenza del patrimonio monumentale aquilano alla vigilia della prima guerra d’indipendenza, nonché significativo del riflesso suscitato a livello locale dal movimento di riscoperta dei “primitivi” alimentato da studiosi, collezionisti e artisti neoclassici, romantici e puristi presenti in Italia, che fu non poco condizionante per gli orientamenti post-unitari nel campo della tutela e del restauro anche in Abruzzo. Si può anzi presumere che uno dei motivi che indussero il Leosini a strutturare i Monumenti in forma di guida – sia pur prescindendo dalla dimensione urbanistica in cui chiese e palazzi sono inseriti – fosse proprio l’arrivo dei primi viaggiatori e studiosi nord-europei nella regione, tant’è vero che dalle illustrazioni dell’inglese Edward Lear lo storico aquilano trasse le sole tre tavole a corredo della sua opera.
Infine i "Monumenti" rappresentano oggi un fondamentale strumento di verifica delle condizioni del patrimonio storico-artistico locale drasticamente prosciugato dalla frequenza dei devastanti terremoti continuamente evocati dal Leosini. "

Estonia's most outstanding collection of ecclesiastical art from the Medieval and Early Modern periods is exhibited at the Niguliste Museum, a branch of the Art Museum of Estonia. With rich pictorial material, this over 100-page book introduces medieval altarpieces, wooden sculptures and Bernt Notke's famous painting Dance of Death. The book also focuses on ecclesiastical art from the Early Modern period. Readers will find information about coat-of-arms epitaphs, epitaphs, tombstones and chandeliers. A history of St Nicholas' Church and the story of its construction are included in the book, along with an introduction to the Silver Chamber.

- by Merike Kurisoo
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- Medieval Art, Museums, Gravestones, Early Modern Art and Visual Culture
- by Magdalena Cerdà Garriga
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- Medieval Art, Mallorca, Gothic Sculpture, Medieval Wooden Sculpture
- by Stefano D'Ovidio
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- Liturgy, Liturgical History, Storiografia, Tradizioni Popolari

In questo intervento s'indaga la storia post-medievale di alcune sculture lignee di XIII-XIV secolo esistenti a Napoli e in Campania, per ricostruire le tappe attraverso cui da «oggetti figurativi», destinati a specifiche funzioni nell’allestimento visivo della chiesa, acquisiscono una propria autonomia cultuale, diventando il «referente sacro» delle comunità che le hanno preservate per secoli. Dopo un’introduzione di carattere generale, ci si sofferma in particolare sul crocifisso di Santa Maria a Piazza a Napoli, la cui storia devozionale è ancora poco nota, e sulle statue della Madonna di Pugliano e del san Giovanni di Angri, tuttora oggetto di devozione.

- by Cristiana Pasqualetti
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- Sulmona, Medieval Wooden Sculpture, L'Aquila, Nicola Da Guardiagrele
- by Fabio Betti
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- Medieval Bestiaries, Medieval Bestiary, Gothic Sculpture, Lazio