Papers by Giuliana Massimo
Hortus Artium Medievalium, 2023
THE USE OF PINK BRECCIA IN FREDERICK II’S BUILDING SITES: AESTHETIC OR POLITICAL CHOICE?
The pap... more THE USE OF PINK BRECCIA IN FREDERICK II’S BUILDING SITES: AESTHETIC OR POLITICAL CHOICE?
The paper focuses on the use of pink breccia from Gargano (in Apulia) in monuments directly commissioned by Frederick II as a precise programmatic choice, in its reference to porphyry.
Quarries of a material, with petrological characteristics similar to the coral breccia, can be identified in a locality in the western Gargano from which the breccia, used both in the architectural plastic of Castel del Monte and in many building sites connected to the so-called "school of Foggia", comes. The use of this material, after the brief Late Antique period, is resumed in Capitanata not before the second quarter of the thirteenth century and also marks the "Gothic" turn of the skilled workers in the service of the emperor (acute arch, crochet, and so on). The analysis of some buildings explains the steps that lead from Foggia to Castel del Monte, a manifesto of the mature aesthetics of Frederick II, passing through Pantano, San Severo, Lucera, Lagopesole.
The ideological value of the pink breccia seems to be confirmed by its presence in the tomb, containing Frederick II’s entrails, which had been erected in the cathedral of Foggia.
La chiesa di Santa Maria Maggiore a Monte Sant'Angelo
Estratto dalla rivista Arte Medievale anno IV-(2005), 1-pagine 71-90
Papa Zaccaria e i lavori di rinnovamento del Patriarchio Lateranense (741-752)
Pope Zacharias played a role of great relief in the history of the Patriarchio: I tried, in this ... more Pope Zacharias played a role of great relief in the history of the Patriarchio: I tried, in this work, to highlight his importance in being one of the first to recognize the leading role Rome played in the veneration of the images and in the vindication of Pope’s autonomy from the Byzantine Imperator. The great works of restoration, decoration and construction of new buildings at the Lateran are manifesto of this, as well as, in my opinions, the present re-reading of the documentary, archaeological and historiographical evidences testify even more clearly. We know from the Liber Pontificalis, that the work of Zacharias interested two different porchs: the first one, already existing, near St. Sylvester oratory, that he decorated with sacred images; the other in front of the scrinium lateranensis, built from the foundations. The fact that Zacharias delivered a synod, in 745, in the Theodore basilica seems to suggest a term post quem for the conclusion of his works. As it’s known, most of scholars bring back the surviving vestiges near the Sancta Sanctorum base to Zacharias: recognizing in the columns the rests of his famous porch and in the room preserving the so-called St. Augustine fresco the scrinium/library; some, moreover, postulate a relation between the tower-formed ruin –that would seem, rather, the base of a bell tower, probably annexed to St. Lorenzo chapel – and the tower of Zacharias. In my opinion, it is not possible to locate with certainty the scrinium in the immediate vicinities of the Sancta Sanctorum, because none of the notes sources attests, in the specific case of the Lateran, that the archive and the library are the same thing (they are always cited separately): at the most the fresco could belong to the library cited in the life of Gregory IInd. Anyway, according to what we know, for certain, today, it is impossible to establish where the scrinium was situated, and I think that the scrinium and library weren’t the same room. I’ve remembered that it is already attested at the half of the IVth century, it is reasonable, therefore, that it rose near the Baptistry, where the more ancient nucleus of the Patriarchio was. I think, instead, than the aforesaid columns belonged to the justice administration connected porch, than in its turn, in all probability, it was already used for the papal alms instituted by Adrian Ist. The still visible pillared room, therefore, would seem to be, in all or part, the place where the triclinium ante basilicam papae Theodori rose, otherwise the so-called “basilica of Zacharias”, and, in particular, it is reasonable that it was the introitus, used to receive the Pope in occasion of some solemn rituals. It seems that the area used for the private residence of the popes, rich also of representation rooms, developed in the oriental zone of the palace. It is reasonable to think that the Vigilio basilica rose in this area, and was later obliterated from the triclinium maius of Leo IIIrd, not far away from the Theodore basilica. St. Sebastian oratory, probably, was dislocated near this one, too: location that had to generate confusion between Theodore basilica, St. Sebastian oratory and St. Sylvester oratory (prescinding from the room visible near the base of the Sancta Sanctorum and known with a dedication to St. Sebastian, in connection of wich it is said that there are no sufficient reasons to identify it as the oratory founded by Theodore). The decoration of the oratory of St. Sylvester is included in the program of restoration and renewal promoted by Zacharias, too. The circumstance that the Liber Pontificalis contextually cites the oratory and a porch (sacris imaginibus tam oratorium beati Silvestri quamque et porticum decoravit), would carry to identify this porch as a part of the macrona, in the immediate vicinities of St. Silvester oratory. On the basis of the re-examination of the sources I made, I can say that probably the porch with the tower and the triclinium rose in the place where later Leo IIIrd built the Aula Concilii. In the central Middle Ages, the denomination palatium Zachariae, in fact, was still conserved for the zone where you approached by the stairs linking the Savior basilica with the papal palace. The configuration of the porch with the tower had certain analogies with the Chalkè of Constantinople and it seems to have played an important role in the genesis of the architectonic typology of the house-tower and more generally for the fortune of the tower as monumental and representation structure in Carolingian age (I reminded both the tower built by Adrian Ist in the Patriarchio, and the original aspect of the towered-entrance of the SS. Quattro Coronati Abbey and of the Tre Fontane Abbey). The dialogue instituted by Zacharias with the Great Palace of Constantinople, beyond to a clear emulating attempt, shades also a comparison and controversy will with imperial politics, in spite of the destruction of the Christ of the Chalkè, the roman…
Il rupestre e l'acqua nel Medioevo. Religiosità, quotidianità, produttività, 2020
Archivio Storico Pugliese LXXI , 2018
Giuseppe Mazzarino Registrazione del Tribunale di Bari n. 19 del 22-12-1948 Stampato da Tipografi... more Giuseppe Mazzarino Registrazione del Tribunale di Bari n. 19 del 22-12-1948 Stampato da Tipografia Pavone s.r.l.s. -Bari 5 I N D I C E GIULIANA MASSIMO, Uso e abuso delle fonti letterarie: Flodoardo di Reims e il Gargano 7 ANNA CONSIGLIO, «Verterens intuitu pietatis»: un esempio di marginalità ed inclusione ai tempi di Carlo II d'Angiò 29 LUIGI MARSEGLIA, Qualche nota sulla cronologia e sulla storia della chiesa di S. Giovanni Battista Penitente fuori le mura a Maruggio 41 MARCO IMPERIO, Il duca Carlo Ungaro: amministratore ed economista 59 MARCELLO ARIANO, Michele Innella, ingegnere. La storia sull'uscio di casa 79 GIUSEPPE TRINCUCCI, La formazione di una "coscienza sportiva" a Lucera tra Ottocento e primo Novecento 115 ANTONELLA POMPILIO, Editoria e cultura in Terra di Bari tra Otto e Novecento: Croce da Vecchi a Laterza 127 GIUSEPPE CLEMENTE, "Alla sagra dei morti in guerra". Una lunga giornata di cortei, sfilate, rassegne e retorica. L'inaugurazione del monumento ai Caduti di San Severo 167 GLORIA CHIARA CIUFFREDA, "In questa terra abominio delle Puglie". La controversa esperienza di profughi e sfollati della Grande Guerra nel Subappennino dauno 189 PASQUALE CORSI, Manfredonia e il Gargano nella medievistica della seconda metà del Novecento. Problemi e prospettive 219 GIOVANNI PAPARELLA, Annotazioni di storia e cultura in Puglia nella seconda metà del Novecento (1973-1977): personaggi ed eventi 237 GIACOMO CARITO, Itinerari ebraici fra XIX e XX secolo. Attraverso Brindisi verso una nuova speranza 261 Indice 6 Note MARIA STELLA CALÒ MARIANI, Una nota sull'altarolo eburneo del Museo Diocesano di Trani (La fonte tradita) 291 VINCENZA MUSARDO TALÒ, Nuove tracce storiche sulla traslazione della Santa Casa di Loreto. L'ultima statio del sacello di Nazareth: da Taranto-Brindisi a Loreto 299 GIUSEPPE BRESCIA, Ettore Tesorieri e Torquato Accetto 311 ROBERTA DURANTE, André Jacob (1933-2019). Profilo bio-bibliografico 317 Atti della Società, Assemblea generale dei Soci (09.06.2018); Soci scomparsi Cariche sociali; Elenco dei Soci; Situazione patrimoniale al 31.12.2017; Bilancio consuntivo 2017 e di previsione 2018; Verbale dei Revisori dei Conti. 329
Atti 40° Convegno Nazionale Daunia, 2020
Federico II fece costruire un palazzo a Foggia con il progetto politico di rendere quest'ultima s... more Federico II fece costruire un palazzo a Foggia con il progetto politico di rendere quest'ultima sede imperiale, una sorta di capitale continentale, rispetto alla lontana Palermo (Cuozzo-Martin 1995, pp. 39-40); vi risiedeva il giustiziere e l'insediamento si sviluppò notevolmente, richiamando genti dalle campagne circostanti ma, soprattutto nel caso di artigiani specializzati, anche da fuori regione (Favia 2010). In Capitanata, del resto, si registra (soprattutto sulla base del c.d. Statutum de reparatione castrorum 1 ) la più alta concentrazione di castra e domus rispetto alle altre regioni del regno, senza considerare la predilezione accordata a questo territorio, che all'epoca era ricco di boschi e specchi d'acqua e favoriva la pratica della attività venatoria, prediletta dall'imperatore 2 . Federico II ereditò una serie di castelli dai suoi 1 Si tratta di un elenco di castelli regi la cui manutenzione era a carico dei sudditi; trattandosi della maggior parte di essi, per approssimazione, costituisce un osservatorio privilegiato: i dati raccolti furono redatti in forma organica tra 1241 e 1245. Cfr. Houben 2005a.
Letteratura erudita, fonti e documenti d’archivio. Per una storia di San Giovanni in Venere e del Mezzogiorno adriatico, 2020
Arte medievale, 2003
Pope Zacharias played a role of great relief in the history of the Patriarchio: I tried, in this ... more Pope Zacharias played a role of great relief in the history of the Patriarchio: I tried, in this work, to highlight his importance in being one of the first to recognize the leading role Rome played in the veneration of the images and in the vindication of Pope’s autonomy from the Byzantine Imperator. The great works of restoration, decoration and construction of new buildings at the Lateran are manifesto of this, as well as, in my opinions, the present re-reading of the documentary, archaeological and historiographical evidences testify even more clearly. We know from the Liber Pontificalis, that the work of Zacharias interested two different porchs: the first one, already existing, near St. Sylvester oratory, that he decorated with sacred images; the other in front of the scrinium lateranensis, built from the foundations. The fact that Zacharias delivered a synod, in 745, in the Theodore basilica seems to suggest a term post quem for the conclusion of his works. As it’s known, most of scholars bring back the surviving vestiges near the Sancta Sanctorum base to Zacharias: recognizing in the columns the rests of his famous porch and in the room preserving the so-called St. Augustine fresco the scrinium/library; some, moreover, postulate a relation between the tower-formed ruin –that would seem, rather, the base of a bell tower, probably annexed to St. Lorenzo chapel – and the tower of Zacharias. In my opinion, it is not possible to locate with certainty the scrinium in the immediate vicinities of the Sancta Sanctorum, because none of the notes sources attests, in the specific case of the Lateran, that the archive and the library are the same thing (they are always cited separately): at the most the fresco could belong to the library cited in the life of Gregory IInd. Anyway, according to what we know, for certain, today, it is impossible to establish where the scrinium was situated, and I think that the scrinium and library weren’t the same room. I’ve remembered that it is already attested at the half of the IVth century, it is reasonable, therefore, that it rose near the Baptistry, where the more ancient nucleus of the Patriarchio was. I think, instead, than the aforesaid columns belonged to the justice administration connected porch, than in its turn, in all probability, it was already used for the papal alms instituted by Adrian Ist. The still visible pillared room, therefore, would seem to be, in all or part, the place where the triclinium ante basilicam papae Theodori rose, otherwise the so-called “basilica of Zacharias”, and, in particular, it is reasonable that it was the introitus, used to receive the Pope in occasion of some solemn rituals.
It seems that the area used for the private residence of the popes, rich also of representation rooms, developed in the oriental zone of the palace. It is reasonable to think that the Vigilio basilica rose in this area, and was later obliterated from the triclinium maius of Leo IIIrd, not far away from the Theodore basilica. St. Sebastian oratory, probably, was dislocated near this one, too: location that had to generate confusion between Theodore basilica, St. Sebastian oratory and St. Sylvester oratory (prescinding from the room visible near the base of the Sancta Sanctorum and known with a dedication to St. Sebastian, in connection of wich it is said that there are no sufficient reasons to identify it as the oratory founded by Theodore). The decoration of the oratory of St. Sylvester is included in the program of restoration and renewal promoted by Zacharias, too. The circumstance that the Liber Pontificalis contextually cites the oratory and a porch (sacris imaginibus tam oratorium beati Silvestri quamque et porticum decoravit), would carry to identify this porch as a part of the macrona, in the immediate vicinities of St. Silvester oratory.
On the basis of the re-examination of the sources I made, I can say that probably the porch with the tower and the triclinium rose in the place where later Leo IIIrd built the Aula Concilii. In the central Middle Ages, the denomination palatium Zachariae, in fact, was still conserved for the zone where you approached by the stairs linking the Savior basilica with the papal palace. The configuration of the porch with the tower had certain analogies with the Chalkè of Constantinople and it seems to have played an important role in the genesis of the architectonic typology of the house-tower and more generally for the fortune of the tower as monumental and representation structure in Carolingian age (I reminded both the tower built by Adrian Ist in the Patriarchio, and the original aspect of the towered-entrance of the SS. Quattro Coronati Abbey and of the Tre Fontane Abbey). The dialogue instituted by Zacharias with the Great Palace of Constantinople, beyond to a clear emulating attempt, shades also a comparison and controversy will with imperial politics, in spite of the destruction of the Christ of the Chalkè, the roman pope, in fact, adorned the door of his porch/tower with one image of the Savior.
Atti 26° Con. Naz. Daunia, 2016
Atti 39 °Conv. Naz. St. Daunia, 2019
La ricerca di effetti cromatici nella decorazione dei paramenti esterni degli edifici monumentali... more La ricerca di effetti cromatici nella decorazione dei paramenti esterni degli edifici monumentali, mediante l'accostamento di materiali diversi (pietre, marmi, laterizio) e l'impiego della tarsia policroma, affonda le radici in epoca romana e ha avuto vitalità durante l'epoca tardoantica e altomedievale (kalby 1970, pp. 9-27), ma conosce un particolare impulso nel periodo compreso tra la fine dell'XI e il XIII secolo 1 . Volendo richiamare in modo schematico le varie tipologie, presenti nelle regioni meridionali della penisola italiana, si notano diversi gradi di cromatismo: 1) la semplice bicromia ottenuta inserendo alcuni elementi colorati che spiccano rispetto al tono neutro della pietra calcarea di largo impiego nei paramenti esterni (ghiere di portali e finestre, cornici, etc.); una sua variante è l'uso di pietra calcarea bianca in contrasto con le murature in laterizio (come, per fare solo pochi esempi, a Santa Maria del Lago a Moscufo e Santa Maria Maggiore a Pianella); 1 La letteratura critica che affronta il problema dell'origine delle tarsie murarie e del rapporto con il partito di archi intrecciati è ampia, giudicandone di volta in volta il luogo di nascita Amalfi insieme a Salerno o la Sicilia normanna, così come molteplici sono le opinioni sulle influenze culturali che ne costituiscono gli antefatti (tradizione romana, bizantina, modelli arabi): se ne trova una rassegna in kalby 1971; cfr., altresì, cadei 1994. Il tema del colore nell'arte medievale è stato oggetto di altri studi (si pensi alla collana curata dall'Istituto Storico Lucchese), ma negli ultimi anni è mancato un focus sulla decorazione esterna degli edifici meridionali.
Storia e archeologia globale dei paesaggi rurali in Italia fra Tardoantico e Medioevo, 2018
Sono presentati i primi dati delle ricerche svolte nella Puglia settentrionale nell'ambito del pr... more Sono presentati i primi dati delle ricerche svolte nella Puglia settentrionale nell'ambito del progetto CARE (Corpus Architetturae religiosae Europeae), con una revisione e sintesi di dati noti e nuovi studi su vari contesti (Volturara, Montecorvino, S. Giovanni Rotondo, Lucera, Siponto, S. Marco in Lamis).
La cattedrale di Foggia le sue forme nel tempo, 2014
Atti 37° Convegno Nazionale Daunia, 2017
Medioevo: la Chiesa e il palazzo. Atti del Convegno Internazionale di Studi, Parma (2005), 2007
La nascita dell'insediamento di Monte Sant'Angelo è solitamente considerata una conseguenza dell'... more La nascita dell'insediamento di Monte Sant'Angelo è solitamente considerata una conseguenza dell'introduzione del culto dell'arcangelo Michele, presumibilmente dall'Oriente, nel V secolo 1 e viene citata come esempio di centro abitato generato da un santuario, insieme ai casi di Mont-Saint-Michel, Chatres, Santiago di Compostella 2 . Di recente, tuttavia, sulla base di un riesame delle aree cimiteriali presenti nel suo comprensorio -da inserire nell'ambito dell'articolato quadro degli ipogei funerari del Gargano -è stata ribadita l'ipotesi che il sito fosse abitato già nel secolo precedente 3 . La serie di monete romane, rinvenuta nell'area della basilica micaelica, di cui le più antiche risalgono alla prima metà del IV secolo, se non è sufficiente a dimostrare che il sito fosse già un luogo di culto, risulta comunque prova della sua frequentazione 4 . In questa ottica, a mio avviso, potrebbe essere riconsiderato anche il gruppo di capitelli tardoantichi rinvenuti nell'area della chiesa di San Pietro (ascritti al III-IV secolo) e per i quali è stata ipotizzata la provenienza da Siponto 5 : fermo restando che si tratta di elementi erratici, non si può escludere che fossero pertinenti a un edificio di Monte Sant'Angelo. A ogni modo è indubbio come la fortuna di questo centro sia legata alla grande fama che ben presto proprio il santuario conobbe: i primi pellegrinaggi extra-peninsulari sono documentati (da una serie di iscrizioni graffite, alcune delle quali runiche) già nel VII-VIII secolo 6 .
Percorsi di conoscenza e tutela. Studi in onore di Michele D’Elia, 2008
Il 35° Convegno nazionale sulla Preistoria, Protostoria, Storia della daunia è stato realizzato c... more Il 35° Convegno nazionale sulla Preistoria, Protostoria, Storia della daunia è stato realizzato con il contributo di: Ministero per i Beni e le Attività Culturali -Direzione Generale per i Beni Librari e gli Istituti Culturali -Sez. III; Regione Puglia; Fondazione Banca del Monte "D. Siniscalco-Ceci" di Foggia © Archeoclub San Severo · COd. ISBn: 978-88-96545-57-7 Finito di stampare nel mese di settembre 2015 presso Centro Grafico S.r.l. -Foggia -www.centrograficofoggia.it ISBn-978-88-96545-57-7 Atti -35° Convegno nazionale sulla Preistoria, Protostoria, Storia della daunia. San Severo 2014.
33°C onveGno naZIonaLe a cura di Armando Gravina a T T I ISBN-978-88-96545-47-8 Atti -33° Convegn... more 33°C onveGno naZIonaLe a cura di Armando Gravina a T T I ISBN-978-88-96545-47-8 Atti -33° Convegno Nazionale sulla Preistoria, Protostoria, Storia della Daunia. San Severo 2012.
Estratto dalla rivista Arte Medievale anno IV-(2005), 1-pagine 71-90
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Papers by Giuliana Massimo
The paper focuses on the use of pink breccia from Gargano (in Apulia) in monuments directly commissioned by Frederick II as a precise programmatic choice, in its reference to porphyry.
Quarries of a material, with petrological characteristics similar to the coral breccia, can be identified in a locality in the western Gargano from which the breccia, used both in the architectural plastic of Castel del Monte and in many building sites connected to the so-called "school of Foggia", comes. The use of this material, after the brief Late Antique period, is resumed in Capitanata not before the second quarter of the thirteenth century and also marks the "Gothic" turn of the skilled workers in the service of the emperor (acute arch, crochet, and so on). The analysis of some buildings explains the steps that lead from Foggia to Castel del Monte, a manifesto of the mature aesthetics of Frederick II, passing through Pantano, San Severo, Lucera, Lagopesole.
The ideological value of the pink breccia seems to be confirmed by its presence in the tomb, containing Frederick II’s entrails, which had been erected in the cathedral of Foggia.
It seems that the area used for the private residence of the popes, rich also of representation rooms, developed in the oriental zone of the palace. It is reasonable to think that the Vigilio basilica rose in this area, and was later obliterated from the triclinium maius of Leo IIIrd, not far away from the Theodore basilica. St. Sebastian oratory, probably, was dislocated near this one, too: location that had to generate confusion between Theodore basilica, St. Sebastian oratory and St. Sylvester oratory (prescinding from the room visible near the base of the Sancta Sanctorum and known with a dedication to St. Sebastian, in connection of wich it is said that there are no sufficient reasons to identify it as the oratory founded by Theodore). The decoration of the oratory of St. Sylvester is included in the program of restoration and renewal promoted by Zacharias, too. The circumstance that the Liber Pontificalis contextually cites the oratory and a porch (sacris imaginibus tam oratorium beati Silvestri quamque et porticum decoravit), would carry to identify this porch as a part of the macrona, in the immediate vicinities of St. Silvester oratory.
On the basis of the re-examination of the sources I made, I can say that probably the porch with the tower and the triclinium rose in the place where later Leo IIIrd built the Aula Concilii. In the central Middle Ages, the denomination palatium Zachariae, in fact, was still conserved for the zone where you approached by the stairs linking the Savior basilica with the papal palace. The configuration of the porch with the tower had certain analogies with the Chalkè of Constantinople and it seems to have played an important role in the genesis of the architectonic typology of the house-tower and more generally for the fortune of the tower as monumental and representation structure in Carolingian age (I reminded both the tower built by Adrian Ist in the Patriarchio, and the original aspect of the towered-entrance of the SS. Quattro Coronati Abbey and of the Tre Fontane Abbey). The dialogue instituted by Zacharias with the Great Palace of Constantinople, beyond to a clear emulating attempt, shades also a comparison and controversy will with imperial politics, in spite of the destruction of the Christ of the Chalkè, the roman pope, in fact, adorned the door of his porch/tower with one image of the Savior.