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class="profile--tab_heading_container js-section-heading" data-section="Conference Presentations" id="Conference Presentations"><h3 class="profile--tab_heading_container">Conference Presentations by Michele Lacerenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="36416832"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36416832/IV_CICLO_DI_STUDI_MEDIEVALI_Firenze_4_5_Giugno_2018"><img alt="Research paper thumbnail of IV CICLO DI STUDI MEDIEVALI, Firenze 4-5 Giugno 2018" class="work-thumbnail" src="https://attachments.academia-assets.com/56329429/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36416832/IV_CICLO_DI_STUDI_MEDIEVALI_Firenze_4_5_Giugno_2018">IV CICLO DI STUDI MEDIEVALI, Firenze 4-5 Giugno 2018</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/NUMEGruppodiRicercasulMedioevoLatino">NUME Gruppo di Ricerca sul Medioevo Latino</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://polito.academia.edu/silviabeltramo">Silvia Beltramo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/PaolaNovara">Paola Novara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/leonardomarchetti">leonardo marchetti</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ucy.academia.edu/AngeloPassuello">Angelo Passuello</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://infomus.academia.edu/DavidePenna">Davide Penna</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/ChiaraBaldestein">Chiara Baldestein</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MassimilianoDavid">Massimiliano David</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://wwwuniroma1.academia.edu/AlessandroMelega">Alessandro Melega</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/StefanoDeTogni">Stefano De Togni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://piac.academia.edu/DinoLombardo">Dino Lombardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/ChiaraRibolla">Chiara Ribolla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-heidelberg.academia.edu/FedericaCosenza">Federica Cosenza</a>, <a 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href="https://independent.academia.edu/ElisaOrlando8">Elisa Orlando</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://salerno.academia.edu/AntonioTagliente">Antonio Tagliente</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/FrancescoBarbarulo">Francesco Barbarulo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://cambridge.academia.edu/GabrielePassab%C3%AC">Gabriele Passabì</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mondodomani.academia.edu/StefanoSantarelli">Stefano Santarelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/RobertaNapoletano">Roberta Napoletano</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-duesseldorf.academia.edu/IrenaBerovic">Irena Berovic</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jagiellonian.academia.edu/AlicjaBa%C5%84czyk">Alicja Bańczyk</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ceu.academia.edu/ZsuzsannaPappReed">Zsuzsanna Papp Reed</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AngelaZaccara">Angela Zaccara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://vu-lt.academia.edu/R%C5%ABtaZukien%C4%97">Rūta Šileikytė Zukienė</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MauroFerrante">Mauro Ferrante</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://bham.academia.edu/LucreziaCampagna">Lucrezia Campagna</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/BeatriceBrancazi">Beatrice Brancazi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/ChiaraSantini">Chiara Santini</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/MariaPaolaBulla">Maria Paola Bulla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unich-it.academia.edu/AntonelloVilella">Antonello Vilella</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://centrostudisantarosa.academia.edu/LucaSalvatelli">Luca Salvatelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/AndreaPergola">Andrea Pergola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica.academia.edu/AndreaPala">Andrea Pala</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniba-it.academia.edu/MicheleLacerenza">Michele Lacerenza</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/EloyBermejoMalumbres">Eloy Bermejo Malumbres</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/NicolettaUsai">Nicoletta Usai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unito.academia.edu/FilippoDiara">Filippo Diara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://columbia.academia.edu/AriannaCarannante">Arianna Carannante</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/RobertoDelMonte">Roberto Del Monte</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f3b0e90ad38909a5314d39b240890279" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56329429,"asset_id":36416832,"asset_type":"Work","button_location":"profile"}" 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dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Michele Lacerenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="43128251"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43128251/M_Lacerenza_Il_monastero_di_Santa_Lucia_a_Barletta_Percorsi_di_Storia_e_Arte_Bari_2020_Puglia_Memorabile_Arte_Archeologia_Architettura_e_Storia_4_ISSN_2610_8658_ISBN_9788899224608_"><img alt="Research paper thumbnail of M. Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608]." class="work-thumbnail" src="https://attachments.academia-assets.com/63401902/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43128251/M_Lacerenza_Il_monastero_di_Santa_Lucia_a_Barletta_Percorsi_di_Storia_e_Arte_Bari_2020_Puglia_Memorabile_Arte_Archeologia_Architettura_e_Storia_4_ISSN_2610_8658_ISBN_9788899224608_">M. Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il volume è incentrato sulla ricostruzione degli aspetti storici, architettonici e artistici rela...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il volume è incentrato sulla ricostruzione degli aspetti storici, architettonici e artistici relativi al monastero domenicano femminile di Santa Lucia a Barletta. Ampio spazio è dedicato alle vicende di un primo insediamento monastico extra moenia, ormai scomparso, e più approfonditamente a quelle riguardanti la storia del monastero intra moenia, costruito entro la fine del XIV secolo. Particolare attenzione è dedicata, inoltre, agli affreschi di età tardogotica conservati nella cappella del Crocifisso, la cui analisi stilistica e iconografica, impreziosita da opportuni confronti con il mondo della miniatura adriatica, permette di collocarne la realizzazione entro i binari del primo Quattrocento, testimoniando le proficue relazioni artistiche alla base di questo prezioso e poco noto esempio di pittura medievale barlettana.<br /><br />----------------------------------------------------------------------------------------------------------------<br /><br />The volume focuses on the reconstruction of the historical, architectural and artistic aspects of the dominican female monastery of Santa Lucia in Barletta. Ample space is dedicated to the events of a first monastic settlement extra moenia, now disappeared, and more in depth to those concerning the history of the intra moenia monastery, built by the end of the fourteenth century. Particular attention is also dedicated to the late Gothic frescoes preserved in the chapel of the Crucifix, whose stylistic and iconographic analysis, embellished by appropriate comparisons with the world of the Adriatic miniature, allows to place the realization within the tracks of the early fifteenth century, testifying the fruitful artistic relationships at the basis of this precious and little-known example of Barletta medieval painting.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e34aadcb245ffca7f98609ed6510d20a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63401902,"asset_id":43128251,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63401902/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43128251"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43128251"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43128251; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43128251]").text(description); $(".js-view-count[data-work-id=43128251]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43128251; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43128251']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e34aadcb245ffca7f98609ed6510d20a" } } $('.js-work-strip[data-work-id=43128251]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43128251,"title":"M. Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608].","internal_url":"https://www.academia.edu/43128251/M_Lacerenza_Il_monastero_di_Santa_Lucia_a_Barletta_Percorsi_di_Storia_e_Arte_Bari_2020_Puglia_Memorabile_Arte_Archeologia_Architettura_e_Storia_4_ISSN_2610_8658_ISBN_9788899224608_","owner_id":47575487,"coauthors_can_edit":true,"owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele 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href="https://kataclima.academia.edu/JacopoCelani">Jacopo Celani</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://efpu.academia.edu/DavorBulic">Davor Bulic</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniss.academia.edu/GiuseppeMaisola">Giuseppe Maisola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica.academia.edu/FrancescoMameli">Francesco Mameli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/ElisaOrlando8">Elisa Orlando</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://royalholloway.academia.edu/AlessandroScalone">Alessandro Scalone</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/FrancescoBarbarulo">Francesco Barbarulo</a>, <a class="" 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href="https://independent.academia.edu/AngelaZaccara">Angela Zaccara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MauroFerrante">Mauro Ferrante</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://cnr-it.academia.edu/NicodemoAbate">Nicodemo Abate</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://na.academia.edu/LuigiDiCosmo">Luigi Di Cosmo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://bham.academia.edu/LucreziaCampagna">Lucrezia Campagna</a>, <a class="" data-click-track="profile-work-strip-authors" rel="nofollow" href="https://uniroma1.academia.edu/FloraMiele">Flora Miele</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://pisa.academia.edu/DaisyPetrelli">Daisy Antonia Petrelli</a>, <a class="" 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rel="nofollow">https://www.nuovomedioevo.it/attivita-2/1466-2/</a> <br /> <br /> <br />INDICE DEI CONTRIBUTI <br /> <br /> <br />Archeologia | Edifici <br /> <br />Massimiliano David, Alessandro Melega <br />All’ombra del Cristianesimo dilagantenell’Impero Romano.  Una lettura archeologica <br /> <br />Massimiliano David, Stefano De Togni,Dino Lombardo <br />La cristianizzazione dell’industria edilizia. 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36789264]").text(description); $(".js-view-count[data-work-id=36789264]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36789264; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36789264']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Michele Lacerenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="42115668"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_"><img alt="Research paper thumbnail of Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559]." class="work-thumbnail" src="https://attachments.academia-assets.com/62249070/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_">Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559].</a></div><div class="wp-workCard_item"><span>Barletta: La città e la storia. Testimonianze, protagonisti, memorie (Baruli Res, 6)</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nella Cattedrale di Santa Maria Maggiore di Barletta, all’interno della cappella del Transito di ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nella Cattedrale di Santa Maria Maggiore di Barletta, all’interno della cappella del Transito di San Giuseppe, è conservata una statua settecentesca in legno policromo raffigurante un’Immacolata. L’effige, pregevole per l’alta qualità dell’intaglio, è stata attribuita in passato allo scultore napoletano Nicola Fumo. La presente ricerca dimostrerà, tuttavia, attraverso l’ausilio di numerose fonti documentarie legate alla figura del committente Francesco Savero Maria de Queralt, come tale valutazione debba essere accantonata in favore di un artista a oggi ancora ignoto, facente parte di una delle numerose botteghe napoletane attive in tutto il Regno durante la prima metà del XVIII secolo.<br /><br />In the Cathedral of Santa Maria Maggiore in Barletta, inside the chapel of the Transito di San Giuseppe, there is an eighteenth-century polychrome wooden statue depicting an Immaculate Conception. The effigy, valuable for the high quality of the carving, has been attributed in the past to the Neapolitan sculptor Nicola Fumo. The present research will demonstrate, however, through the help of numerous documentary sources linked to the figure of the client Francesco Savero Maria de Queralt, how this evaluation should be set aside in favor of an artist still unknown today, part of one of the numerous Neapolitan workshops active throughout the Kingdom during the first half of the 18th century.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9d87f908525043d245d2fae380858398" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62249070,"asset_id":42115668,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62249070/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42115668"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42115668"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42115668; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42115668]").text(description); $(".js-view-count[data-work-id=42115668]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42115668; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42115668']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9d87f908525043d245d2fae380858398" } } $('.js-work-strip[data-work-id=42115668]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42115668,"title":"Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559].","internal_url":"https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_","owner_id":47575487,"coauthors_can_edit":true,"owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":62249070,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62249070/thumbnails/1.jpg","file_name":"M._Lacerenza__Tota_pulchra_es_Maria._La_statua_dellImmacolata_della_cattedrale_di_Barletta20200302-113681-1hbikpw.pdf","download_url":"https://www.academia.edu/attachments/62249070/download_file","bulk_download_file_name":"Tota_pulchra_es_Maria_la_statua_lignea_d.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62249070/M._Lacerenza__Tota_pulchra_es_Maria._La_statua_dellImmacolata_della_cattedrale_di_Barletta20200302-113681-1hbikpw-libre.pdf?1583149684=\u0026response-content-disposition=attachment%3B+filename%3DTota_pulchra_es_Maria_la_statua_lignea_d.pdf\u0026Expires=1740908364\u0026Signature=aPmaXLNaVlL-ml1-dZgd2pafuz9j4Mm-iG9rWdCPuPbAMjFFOLFHXi3gZCyuyNWdgW58PCFF~F93w7XTSrIpmFFP4WkVA5YAhN2hVDCwBDNRlpm0uDvZ8HuV8Zpvb-E6B-AFsV1FbApaeArmSmWEn8uBK8EC9~8AZlF4SXduUD7JT4tiuEGMQN1Qth4ClPrOVzwOUlpyhAFtEno7hVWOy3p0XX03KiVo4GLqlue7ToK27bUOTWAJh3U15X7FdcWCtxMkndAYSFksP5lra9s1MkdtREWNbq0jz6FNXYgWP8E9qCX2q~duMegFN7saPqdL7RXnLLLZ~odiWDinAV9vvA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39402097"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_"><img alt="Research paper thumbnail of Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4]." class="work-thumbnail" src="https://attachments.academia-assets.com/63261312/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_">Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4].</a></div><div class="wp-workCard_item"><span>V Ciclo di Studi Medievali, Atti del Convegno (Firenze, 3-4 giugno 2019)</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The iconography of the Virgin of Mercy appeared for the first time around the last decades of the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the "protection of the mantle", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.<br />The need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.<br />The aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between "saint and protective mantle", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.<br /><br />----------------------------------------------------------------------------------------------------<br /><br />L’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori.  <br />La necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. <br />Scopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e70085109b51e51ac6c41c885438f4c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63261312,"asset_id":39402097,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63261312/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39402097"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39402097"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39402097; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39402097]").text(description); $(".js-view-count[data-work-id=39402097]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39402097; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39402097']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2e70085109b51e51ac6c41c885438f4c" } } $('.js-work-strip[data-work-id=39402097]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39402097,"title":"Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4].","translated_title":"","metadata":{"abstract":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"V Ciclo di Studi Medievali, Atti del Convegno (Firenze, 3-4 giugno 2019)"},"translated_abstract":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","internal_url":"https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_","translated_internal_url":"","created_at":"2019-06-06T03:04:34.632-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":47575487,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":63261312,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/63261312/thumbnails/1.jpg","file_name":"4._M._Lacerenza__Sotto_il_manto_di_san_Domenico.pdf","download_url":"https://www.academia.edu/attachments/63261312/download_file","bulk_download_file_name":"Sotto_il_manto_di_san_Domenico_Alcune_no.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/63261312/4._M._Lacerenza__Sotto_il_manto_di_san_Domenico-libre.pdf?1589122245=\u0026response-content-disposition=attachment%3B+filename%3DSotto_il_manto_di_san_Domenico_Alcune_no.pdf\u0026Expires=1738769747\u0026Signature=Tlgs~QGEkaE8Nx~mQyCP36O4DQRfOcbJqmA022AZefEkL0vIdtiskkzxaM4HbJDXAw1878ByXZK7Ihx5LGEiLNav8p0FVAi4WHQswE07IGlh3S21EO26sYrOj47P67sYl1nTDGwkJ16282zfexlHd65PzeQX0Y0ANbrw4UKeFoBVfhA~Lc1UG9XZIDuv9s3KCJpryv~-TpItJaIo2eh-XeyzJzAsA6gCKxYWWpiSuoT5ivklFNnaI94MDQRSz7EWD9LrmYEnxW2vahnQkjdWs4X9MnnTE1wVIwY7qLDVEOCI9vTsmrUg2s6sDgc5Vv7w7ergiR7yK0SpSUhdWMAsBA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_","translated_slug":"","page_count":18,"language":"it","content_type":"Work","summary":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":63261312,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/63261312/thumbnails/1.jpg","file_name":"4._M._Lacerenza__Sotto_il_manto_di_san_Domenico.pdf","download_url":"https://www.academia.edu/attachments/63261312/download_file","bulk_download_file_name":"Sotto_il_manto_di_san_Domenico_Alcune_no.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/63261312/4._M._Lacerenza__Sotto_il_manto_di_san_Domenico-libre.pdf?1589122245=\u0026response-content-disposition=attachment%3B+filename%3DSotto_il_manto_di_san_Domenico_Alcune_no.pdf\u0026Expires=1738769747\u0026Signature=Tlgs~QGEkaE8Nx~mQyCP36O4DQRfOcbJqmA022AZefEkL0vIdtiskkzxaM4HbJDXAw1878ByXZK7Ihx5LGEiLNav8p0FVAi4WHQswE07IGlh3S21EO26sYrOj47P67sYl1nTDGwkJ16282zfexlHd65PzeQX0Y0ANbrw4UKeFoBVfhA~Lc1UG9XZIDuv9s3KCJpryv~-TpItJaIo2eh-XeyzJzAsA6gCKxYWWpiSuoT5ivklFNnaI94MDQRSz7EWD9LrmYEnxW2vahnQkjdWs4X9MnnTE1wVIwY7qLDVEOCI9vTsmrUg2s6sDgc5Vv7w7ergiR7yK0SpSUhdWMAsBA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia"},{"id":123014,"name":"Venezia","url":"https://www.academia.edu/Documents/in/Venezia"},{"id":152157,"name":"Firenze","url":"https://www.academia.edu/Documents/in/Firenze"},{"id":312951,"name":"Miniature","url":"https://www.academia.edu/Documents/in/Miniature"},{"id":438705,"name":"Domenicani","url":"https://www.academia.edu/Documents/in/Domenicani"},{"id":474283,"name":"Arte Medievale, Icone, Iconografia Medievale","url":"https://www.academia.edu/Documents/in/Arte_Medievale_Icone_Iconografia_Medievale"},{"id":536549,"name":"Arte Medievale","url":"https://www.academia.edu/Documents/in/Arte_Medievale"},{"id":979512,"name":"Barletta","url":"https://www.academia.edu/Documents/in/Barletta"},{"id":2197969,"name":"San Domenico","url":"https://www.academia.edu/Documents/in/San_Domenico"},{"id":2417113,"name":"Santi domenicani","url":"https://www.academia.edu/Documents/in/Santi_domenicani"},{"id":3269758,"name":"Studia domenicani","url":"https://www.academia.edu/Documents/in/Studia_domenicani"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36835007"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36835007/Strapparsi_le_vesti_nell_iconografia_medievale_il_caso_del_san_Giovanni_Evangelista_nella_chiesa_di_Santa_Lucia_a_Barletta_in_IV_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_4_5_giugno_2018_Arcore_2018_pp_473_479_ISBN_978_88_9349_371_0_"><img alt="Research paper thumbnail of Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0]." class="work-thumbnail" src="https://attachments.academia-assets.com/58322496/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36835007/Strapparsi_le_vesti_nell_iconografia_medievale_il_caso_del_san_Giovanni_Evangelista_nella_chiesa_di_Santa_Lucia_a_Barletta_in_IV_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_4_5_giugno_2018_Arcore_2018_pp_473_479_ISBN_978_88_9349_371_0_">Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and f...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that "Jesus loved" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.<br /><br />-----------------------------------------------------------------------------------------------------<br /><br />L’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. La ricerca dimostrerà come il discepolo che “Gesù amava” diventi in Barletta allo stesso tempo emblema e sintesi di ogni possibile significato legato a un gesto così drammatico e teatrale.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="03f429bbf0341f66f2af6d46197d58fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58322496,"asset_id":36835007,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58322496/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36835007"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36835007"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36835007; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36835007]").text(description); $(".js-view-count[data-work-id=36835007]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36835007; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36835007']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "03f429bbf0341f66f2af6d46197d58fa" } } $('.js-work-strip[data-work-id=36835007]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36835007,"title":"Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0].","translated_title":"","metadata":{"abstract":"The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. La ricerca dimostrerà come il discepolo che “Gesù amava” diventi in Barletta allo stesso tempo emblema e sintesi di ogni possibile significato legato a un gesto così drammatico e teatrale."},"translated_abstract":"The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. 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Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. La ricerca dimostrerà come il discepolo che “Gesù amava” diventi in Barletta allo stesso tempo emblema e sintesi di ogni possibile significato legato a un gesto così drammatico e teatrale.","owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":58322496,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58322496/thumbnails/1.jpg","file_name":"Lacerenza__Strapparsi_le_vesti_nelliconografia_mediavale.pdf","download_url":"https://www.academia.edu/attachments/58322496/download_file","bulk_download_file_name":"Strapparsi_le_vesti_nell_iconografia_med.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58322496/Lacerenza__Strapparsi_le_vesti_nelliconografia_mediavale-libre.pdf?1549203195=\u0026response-content-disposition=attachment%3B+filename%3DStrapparsi_le_vesti_nell_iconografia_med.pdf\u0026Expires=1738769747\u0026Signature=LWyw7AQcxHUtEvXwalV3k0JCZy2oF-p1QtiKTmn7mjxKWwMkNjKnXn1wQNtP1ELllPKB3CHdm3lyjvCYYDaUZZfs5kjgmclSun5pequgXBf-Ln84ZXe-IGLn-TKJeH785q0R-bwh3VXpj9LdfIkpk2h4ED-gHnAcZsuLu7KwD97z6GvhzWPtXGNd-dkJKzGDcTDeWU0fXg352f95Et8oNMUzTP1JqdPrp3Fl27xSu5Ok6ZdBTqJkF8StJ0ENiwdsTflgXRMdRVXxq7xNEpR5SBNJYIsAbciiiosWDwb4uYqB1JNLqT-fs8U92qVWPAk4Suo-gX5x16h2WwWEi3Fckw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1830,"name":"Gesture Studies","url":"https://www.academia.edu/Documents/in/Gesture_Studies"},{"id":3147,"name":"Gesture","url":"https://www.academia.edu/Documents/in/Gesture"},{"id":57677,"name":"Puglia","url":"https://www.academia.edu/Documents/in/Puglia"},{"id":75732,"name":"Giotto","url":"https://www.academia.edu/Documents/in/Giotto"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia"},{"id":169678,"name":"Crucifixion","url":"https://www.academia.edu/Documents/in/Crucifixion"},{"id":207644,"name":"Bibbia","url":"https://www.academia.edu/Documents/in/Bibbia"},{"id":209407,"name":"Tardogotico","url":"https://www.academia.edu/Documents/in/Tardogotico"},{"id":266236,"name":"Medioevo","url":"https://www.academia.edu/Documents/in/Medioevo"},{"id":306430,"name":"Cristo","url":"https://www.academia.edu/Documents/in/Cristo"},{"id":306431,"name":"Gesù Cristo","url":"https://www.academia.edu/Documents/in/Gesu_Cristo"},{"id":323365,"name":"Affresco","url":"https://www.academia.edu/Documents/in/Affresco"},{"id":437777,"name":"Gesto","url":"https://www.academia.edu/Documents/in/Gesto"},{"id":438705,"name":"Domenicani","url":"https://www.academia.edu/Documents/in/Domenicani"},{"id":500031,"name":"San Giovanni Evangelista","url":"https://www.academia.edu/Documents/in/San_Giovanni_Evangelista"},{"id":536549,"name":"Arte Medievale","url":"https://www.academia.edu/Documents/in/Arte_Medievale"},{"id":641400,"name":"Ordini Mendicanti","url":"https://www.academia.edu/Documents/in/Ordini_Mendicanti"},{"id":647404,"name":"Sacre Rappresentazioni","url":"https://www.academia.edu/Documents/in/Sacre_Rappresentazioni"},{"id":786653,"name":"Iconografia Medievale","url":"https://www.academia.edu/Documents/in/Iconografia_Medievale"},{"id":786668,"name":"Angeli","url":"https://www.academia.edu/Documents/in/Angeli"},{"id":786673,"name":"Crocifissione","url":"https://www.academia.edu/Documents/in/Crocifissione"},{"id":793689,"name":"Giotteschi","url":"https://www.academia.edu/Documents/in/Giotteschi"},{"id":979512,"name":"Barletta","url":"https://www.academia.edu/Documents/in/Barletta"},{"id":1106773,"name":"Italia Meridionale","url":"https://www.academia.edu/Documents/in/Italia_Meridionale"},{"id":2972912,"name":"Vergine Maria","url":"https://www.academia.edu/Documents/in/Vergine_Maria"},{"id":2972914,"name":"Trinità","url":"https://www.academia.edu/Documents/in/Trinit%C3%A0"},{"id":2972919,"name":"Monastero femminile","url":"https://www.academia.edu/Documents/in/Monastero_femminile"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Conferences" id="Conferences"><h3 class="profile--tab_heading_container">Conferences by Michele Lacerenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="39002463"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39002463/V_CICLO_DI_STUDI_MEDIEVALI_Firenze_3_4_Giugno_2019"><img alt="Research paper thumbnail of V CICLO DI STUDI MEDIEVALI, Firenze 3-4 Giugno 2019" class="work-thumbnail" src="https://attachments.academia-assets.com/59110050/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39002463/V_CICLO_DI_STUDI_MEDIEVALI_Firenze_3_4_Giugno_2019">V CICLO DI STUDI MEDIEVALI, Firenze 3-4 Giugno 2019</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/NUMEGruppodiRicercasulMedioevoLatino">NUME Gruppo di Ricerca sul Medioevo Latino</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://centrostudisantarosa.academia.edu/LucaSalvatelli">Luca Salvatelli</a>, <a class="" data-click-track="profile-work-strip-authors" rel="nofollow" href="https://miur.academia.edu/CarloP%C3%B9lisci">Carlo Pùlisci</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/RobertoDelMonte">Roberto Del Monte</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/PaolaNovara">Paola Novara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/RitaMei">Rita Mei</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/SaraRagni">Sara Ragni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univ-paris8.academia.edu/SarahProcopio">Sarah Procopio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://fcsh-unl.academia.edu/CatarinaTib%C3%BArcio">Catarina M Tibúrcio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MARIOGAGLIONE">Mario Gaglione</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://istorija.academia.edu/IrmaKapl%C5%ABnait%C4%97">Irma Kaplūnaitė</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/RJonaitis">Rytis Jonaitis</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://olemiss.academia.edu/ValerioCappozzo">Valerio Cappozzo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-bonn.academia.edu/GiacomoPonticelli">Giacomo Ponticelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usc-es.academia.edu/AbelLorenzoRodriguez">Abel de Lorenzo Rodríguez</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AntonellaVentura">Antonella Ventura</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniba-it.academia.edu/MicheleLacerenza">Michele Lacerenza</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unirsm.academia.edu/DavideEsposito">Davide Esposito</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/ElenaTrunfio">Elena R . Trunfio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/GiuliaCalabr%C3%B2">Giulia Calabrò</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://salerno.academia.edu/AntonioTagliente">Antonio Tagliente</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/NicolettaUsai">Nicoletta Usai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica.academia.edu/FrancescoMameli">Francesco Mameli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/MattiaSannaMontanelli">Mattia Sanna Montanelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MichelaGiuntoli">Michela Giuntoli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisa-it.academia.edu/MassimoLeoneAcquario">Massimo Siani</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univp.academia.edu/CarloMariaPoggi">Carlo Maria Poggi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/FilippoRibani">Filippo Ribani</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MLoffredo">Mario Loffredo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/ChiaraRibolla">Chiara Ribolla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univp.academia.edu/EleonoraCasarotti">Eleonora Casarotti</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unipi.academia.edu/ElenaCatalano">Elena Catalano</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://pisa.academia.edu/AureliaMaruggi">Aurelia Maruggi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://coimbra.academia.edu/JoaoNisa">Joao Nisa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usal.academia.edu/AndreaBiankaZnorovszky">Andrea-Bianka Znorovszky</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unimi.academia.edu/StefanoBernardinello">Stefano Bernardinello</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ecampus.academia.edu/FedericaFiorini">Federica Fiorini</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://coimbra.academia.edu/AzzurraRinaldi">Azzurra Rinaldi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/AndreaDApruzzo">Andrea D'Apruzzo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/AranciaBoffa">Arancia Boffa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MatteoSaracini">Matteo Saracini</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unive.academia.edu/GiacomoBrotto">Giacomo Brotto</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://sns.academia.edu/GiuliaLovison">Giulia Lovison</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniromatre.academia.edu/ValerioLucaFloris">Valerio Luca Floris</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/ItaliaCaradonna">Italia Caradonna</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/LorenzoFragai">Lorenzo Fragai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/BeatriceBrancazi">Beatrice Brancazi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AnnalisaColecchia">Annalisa Colecchia</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MassimilianoDavid">Massimiliano David</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/StefanoDeTogni">Stefano De Togni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://wwwuniroma1.academia.edu/AlessandroMelega">Alessandro Melega</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/EnricoPomo">Enrico Pomo</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/ChiaraBaldestein">Chiara Baldestein</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span 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src="https://attachments.academia-assets.com/59550064/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39405752/V_CICLO_DI_STUDI_MEDIEVALI_Atti_del_Convegno_Firenze_3_4_Giugno_2019_a_cura_del_Gruppo_di_Ricerca_NUME_Lesmo_MB_2019">V CICLO DI STUDI MEDIEVALI, Atti del Convegno, Firenze 3-4 Giugno 2019, a cura del Gruppo di Ricerca NUME, Lesmo (MB) 2019</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/NUMEGruppodiRicercasulMedioevoLatino">NUME Gruppo di Ricerca sul Medioevo Latino</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/AndreaPergola">Andrea Pergola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/ValentinaMilia">Valentina Milia</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniromatre.academia.edu/ValerioLucaFloris">Valerio Luca Floris</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/RobertoDelMonte">Roberto Del Monte</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/ChiaraBaldestein">Chiara Baldestein</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/leonardomarchetti">leonardo marchetti</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://istorija.academia.edu/IrmaKapl%C5%ABnait%C4%97">Irma Kaplūnaitė</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/RJonaitis">Rytis Jonaitis</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-bonn.academia.edu/GiacomoPonticelli">Giacomo Ponticelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://upr-si.academia.edu/AndreaBiondi">Andrea Biondi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/LorenzoFragai">Lorenzo Fragai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MLoffredo">Mario Loffredo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MARIOGAGLIONE">Mario Gaglione</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/RitaMei">Rita Mei</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/GiuliaCalabr%C3%B2">Giulia Calabrò</a>, <a class="" 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href="https://centrostudisantarosa.academia.edu/LucaSalvatelli">Luca Salvatelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://fcsh-unl.academia.edu/CatarinaTib%C3%BArcio">Catarina M Tibúrcio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usal.academia.edu/AndreaBiankaZnorovszky">Andrea-Bianka Znorovszky</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/ChiaraRibolla">Chiara Ribolla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/AranciaBoffa">Arancia Boffa</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/GemmaAlfonso">Gemma Alfonso</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/LucaBrancazi">Luca 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href="https://unive.academia.edu/GiacomoBrotto">Giacomo Brotto</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/FrancescoMastromatteo">Francesco Mastromatteo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisa.academia.edu/VeronicaDeDuonni">Veronica De Duonni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univ-paris8.academia.edu/SarahProcopio">Sarah Procopio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usc-es.academia.edu/AbelLorenzoRodriguez">Abel de Lorenzo Rodríguez</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://leeds.academia.edu/LisaTrischler">Elisabeth (Lisa) Trischler</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://coimbra.academia.edu/AzzurraRinaldi">Azzurra Rinaldi</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://univp.academia.edu/CarloMariaPoggi">Carlo Maria Poggi</a></span></div><div class="wp-workCard_item"><span>EBS Print</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Atti del Convegno tenutosi a Firenze il 3 e 4 Giugno 2019. Volume disponibile qui: https://www....</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Atti del Convegno tenutosi a Firenze il 3 e 4 Giugno 2019.<br /><br />Volume disponibile qui: <br /><a href="https://www.nuovomedioevo.it/attivita-2/1466-2/" rel="nofollow">https://www.nuovomedioevo.it/attivita-2/1466-2/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="83847e70d5a10820f5d59c1b79516636" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59550064,"asset_id":39405752,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59550064/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39405752"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39405752"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39405752; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Book Reviews" id="Book Reviews"><h3 class="profile--tab_heading_container">Book Reviews by Michele Lacerenza</h3></div><div class="js-work-strip profile--work_container" data-work-id="40500419"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40500419/M_Lacerenza_Scheda_bibliografica_del_libro_Molise_medievale_cristiano_Edilizia_religiosa_e_territorio_secoli_IV_XIII_a_cura_di_F_Marazzi_in_Kalkas_Rivista_del_Centro_Studi_Storico_Archeologici_del_Gargano_n_1_2019_pp_286_288_ISSN_2612_4637_"><img alt="Research paper thumbnail of M. Lacerenza, Scheda bibliografica del libro “Molise medievale cristiano. Edilizia religiosa e territorio (secoli IV-XIII)”, a cura di F. Marazzi, in “Kalkas. Rivista del Centro Studi Storico Archeologici del Gargano”, n. 1 (2019), pp. 286-288 [ISSN: 2612-4637]." class="work-thumbnail" src="https://attachments.academia-assets.com/60771353/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500419/M_Lacerenza_Scheda_bibliografica_del_libro_Molise_medievale_cristiano_Edilizia_religiosa_e_territorio_secoli_IV_XIII_a_cura_di_F_Marazzi_in_Kalkas_Rivista_del_Centro_Studi_Storico_Archeologici_del_Gargano_n_1_2019_pp_286_288_ISSN_2612_4637_">M. Lacerenza, Scheda bibliografica del libro “Molise medievale cristiano. Edilizia religiosa e territorio (secoli IV-XIII)”, a cura di F. Marazzi, in “Kalkas. Rivista del Centro Studi Storico Archeologici del Gargano”, n. 1 (2019), pp. 286-288 [ISSN: 2612-4637].</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8010dbcd550e9e1b5fa2d1699d282aa8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60771353,"asset_id":40500419,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60771353/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40500419"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40500419"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40500419; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40500419]").text(description); $(".js-view-count[data-work-id=40500419]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40500419; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40500419']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8010dbcd550e9e1b5fa2d1699d282aa8" } } $('.js-work-strip[data-work-id=40500419]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40500419,"title":"M. 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Rivista del Centro Studi Storico Archeologici del Gargano”, n. 1 (2019), pp. 286-288 [ISSN: 2612-4637].","internal_url":"https://www.academia.edu/40500419/M_Lacerenza_Scheda_bibliografica_del_libro_Molise_medievale_cristiano_Edilizia_religiosa_e_territorio_secoli_IV_XIII_a_cura_di_F_Marazzi_in_Kalkas_Rivista_del_Centro_Studi_Storico_Archeologici_del_Gargano_n_1_2019_pp_286_288_ISSN_2612_4637_","owner_id":47575487,"coauthors_can_edit":true,"owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":60771353,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/60771353/thumbnails/1.jpg","file_name":"M._Lacerenza__Scheda_Bibliografica_Molise_Medievale_Kalkas__120191002-80642-qclk9k.pdf","download_url":"https://www.academia.edu/attachments/60771353/download_file","bulk_download_file_name":"M_Lacerenza_Scheda_bibliografica_del_lib.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/60771353/M._Lacerenza__Scheda_Bibliografica_Molise_Medievale_Kalkas__120191002-80642-qclk9k-libre.pdf?1570018072=\u0026response-content-disposition=attachment%3B+filename%3DM_Lacerenza_Scheda_bibliografica_del_lib.pdf\u0026Expires=1740933835\u0026Signature=GM8o1jQq3sIcHAzdV6POu7bn1-fg~EFhHm7oh3xVj3oW0QsNZ7bbsoe3GGc6EL4bbXn-Yjj1we6N4C0X4MC2Fw9qhBjyUkZtKB6aVg1VV4mCP2AjTxtdZJlEjK~gO904A32ndvQ2lSSbenhV5asIbWvW-xxWLpDQZADeXPYszgB-2V-mAwhjlwR1G7hjv9F72GkJa0FOQen1rGsq9UBXHsVZnc6ob2LZogF9hnj3ZdPTaMjKkH3o0h9fSIekj3LH~D-~gSU29t82Mxpaxn~bMZ8M8kX6IyqIIfWcd7kQtN6UphH3FPMLn7us9tfU0CfzoJ~dtfRlqvm-8p5cc2gY6Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40500404"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40500404/M_Lacerenza_Scheda_bibliografica_del_libro_La_chiesa_di_San_Donato_a_Ripacandida_Storia_e_arte_di_un_santuario_lucano_dimenticato_di_R_Doronzo_in_Studi_Bitontini_n_105_106_2018_pp_106_108_ISSN_0392_1727_ISBN_978_88_7228_899_3_"><img alt="Research paper thumbnail of M. Lacerenza, Scheda bibliografica del libro “La chiesa di San Donato a Ripacandida. Storia e arte di un santuario lucano dimenticato” di R. Doronzo, in “Studi Bitontini”, n. 105-106 (2018), pp. 106-108 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3]." class="work-thumbnail" src="https://attachments.academia-assets.com/60783673/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500404/M_Lacerenza_Scheda_bibliografica_del_libro_La_chiesa_di_San_Donato_a_Ripacandida_Storia_e_arte_di_un_santuario_lucano_dimenticato_di_R_Doronzo_in_Studi_Bitontini_n_105_106_2018_pp_106_108_ISSN_0392_1727_ISBN_978_88_7228_899_3_">M. Lacerenza, Scheda bibliografica del libro “La chiesa di San Donato a Ripacandida. Storia e arte di un santuario lucano dimenticato” di R. Doronzo, in “Studi Bitontini”, n. 105-106 (2018), pp. 106-108 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. Non si risponde del contenuto degli articoli e si lascia agli autori piena responsabilità delle idee o delle opinioni in essi espresse. 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Lacerenza, Recensione del libro “San Michele in Monte Laureto a Putignano. La grotta dell'Angelo e la cultura pittorica angioina nel meridione barese” di M. Mignozzi, in “Studi Bitontini”, n. 105-106 (2018), pp. 100-102 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3]." class="work-thumbnail" src="https://attachments.academia-assets.com/60783680/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500380/M_Lacerenza_Recensione_del_libro_San_Michele_in_Monte_Laureto_a_Putignano_La_grotta_dellAngelo_e_la_cultura_pittorica_angioina_nel_meridione_barese_di_M_Mignozzi_in_Studi_Bitontini_n_105_106_2018_pp_100_102_ISSN_0392_1727_ISBN_978_88_7228_899_3_">M. Lacerenza, Recensione del libro “San Michele in Monte Laureto a Putignano. La grotta dell'Angelo e la cultura pittorica angioina nel meridione barese” di M. Mignozzi, in “Studi Bitontini”, n. 105-106 (2018), pp. 100-102 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. 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Lacerenza, Recensione del libro “San Michele in Monte Laureto a Putignano. La grotta dell'Angelo e la cultura pittorica angioina nel meridione barese” di M. 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Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. Non si risponde del contenuto degli articoli e si lascia agli autori piena responsabilità delle idee o delle opinioni in essi espresse. I manoscritti, i testi e le fotografie, anche se non pubblicati, non vengono restituiti. La validazione dei contributi (peer reviewing) per Studi Bitontini è affidata al giudizio del Comitato Scientifico, che si avvale -ove lo ritenga -della valutazione di revisori esterni, di profilo anche internazionale. Proprietà letteraria e artistica riservata. Riproduzione vietata.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5d2f0d613f21ff8cdf5dfa070f312091" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60782884,"asset_id":40510420,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60782884/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40510420"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" 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href="https://www.academia.edu/36416832/IV_CICLO_DI_STUDI_MEDIEVALI_Firenze_4_5_Giugno_2018">IV CICLO DI STUDI MEDIEVALI, Firenze 4-5 Giugno 2018</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/NUMEGruppodiRicercasulMedioevoLatino">NUME Gruppo di Ricerca sul Medioevo Latino</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://polito.academia.edu/silviabeltramo">Silvia Beltramo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/PaolaNovara">Paola Novara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/leonardomarchetti">leonardo marchetti</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ucy.academia.edu/AngeloPassuello">Angelo Passuello</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://infomus.academia.edu/DavidePenna">Davide Penna</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/ChiaraBaldestein">Chiara Baldestein</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MassimilianoDavid">Massimiliano David</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://wwwuniroma1.academia.edu/AlessandroMelega">Alessandro Melega</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/StefanoDeTogni">Stefano De Togni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://piac.academia.edu/DinoLombardo">Dino Lombardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unicatt.academia.edu/ChiaraRibolla">Chiara Ribolla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-heidelberg.academia.edu/FedericaCosenza">Federica Cosenza</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-heidelberg.academia.edu/LorenzoCuratella">Lorenzo Curatella</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unive.academia.edu/AlessandroMortera">Alessandro Mortera</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://kataclima.academia.edu/JacopoCelani">Jacopo Celani</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/EleonoraRossetti">Eleonora Rossetti</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://efpu.academia.edu/DavorBulic">Davor Bulic</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniss.academia.edu/GiuseppeMaisola">Giuseppe Maisola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/ElisaOrlando8">Elisa Orlando</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://salerno.academia.edu/AntonioTagliente">Antonio Tagliente</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/FrancescoBarbarulo">Francesco Barbarulo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://cambridge.academia.edu/GabrielePassab%C3%AC">Gabriele Passabì</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://mondodomani.academia.edu/StefanoSantarelli">Stefano Santarelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/RobertaNapoletano">Roberta Napoletano</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uni-duesseldorf.academia.edu/IrenaBerovic">Irena Berovic</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://jagiellonian.academia.edu/AlicjaBa%C5%84czyk">Alicja Bańczyk</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ceu.academia.edu/ZsuzsannaPappReed">Zsuzsanna Papp Reed</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AngelaZaccara">Angela Zaccara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://vu-lt.academia.edu/R%C5%ABtaZukien%C4%97">Rūta Šileikytė Zukienė</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MauroFerrante">Mauro Ferrante</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://bham.academia.edu/LucreziaCampagna">Lucrezia Campagna</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/BeatriceBrancazi">Beatrice Brancazi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/ChiaraSantini">Chiara Santini</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/MariaPaolaBulla">Maria Paola Bulla</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unich-it.academia.edu/AntonelloVilella">Antonello Vilella</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://centrostudisantarosa.academia.edu/LucaSalvatelli">Luca Salvatelli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/AndreaPergola">Andrea Pergola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica.academia.edu/AndreaPala">Andrea Pala</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniba-it.academia.edu/MicheleLacerenza">Michele Lacerenza</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/EloyBermejoMalumbres">Eloy Bermejo Malumbres</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica-it.academia.edu/NicolettaUsai">Nicoletta Usai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unito.academia.edu/FilippoDiara">Filippo Diara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://columbia.academia.edu/AriannaCarannante">Arianna Carannante</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://unifi.academia.edu/RobertoDelMonte">Roberto Del Monte</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f3b0e90ad38909a5314d39b240890279" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56329429,"asset_id":36416832,"asset_type":"Work","button_location":"profile"}" 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Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608]." class="work-thumbnail" src="https://attachments.academia-assets.com/63401902/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43128251/M_Lacerenza_Il_monastero_di_Santa_Lucia_a_Barletta_Percorsi_di_Storia_e_Arte_Bari_2020_Puglia_Memorabile_Arte_Archeologia_Architettura_e_Storia_4_ISSN_2610_8658_ISBN_9788899224608_">M. Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il volume è incentrato sulla ricostruzione degli aspetti storici, architettonici e artistici rela...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il volume è incentrato sulla ricostruzione degli aspetti storici, architettonici e artistici relativi al monastero domenicano femminile di Santa Lucia a Barletta. Ampio spazio è dedicato alle vicende di un primo insediamento monastico extra moenia, ormai scomparso, e più approfonditamente a quelle riguardanti la storia del monastero intra moenia, costruito entro la fine del XIV secolo. Particolare attenzione è dedicata, inoltre, agli affreschi di età tardogotica conservati nella cappella del Crocifisso, la cui analisi stilistica e iconografica, impreziosita da opportuni confronti con il mondo della miniatura adriatica, permette di collocarne la realizzazione entro i binari del primo Quattrocento, testimoniando le proficue relazioni artistiche alla base di questo prezioso e poco noto esempio di pittura medievale barlettana.<br /><br />----------------------------------------------------------------------------------------------------------------<br /><br />The volume focuses on the reconstruction of the historical, architectural and artistic aspects of the dominican female monastery of Santa Lucia in Barletta. Ample space is dedicated to the events of a first monastic settlement extra moenia, now disappeared, and more in depth to those concerning the history of the intra moenia monastery, built by the end of the fourteenth century. Particular attention is also dedicated to the late Gothic frescoes preserved in the chapel of the Crucifix, whose stylistic and iconographic analysis, embellished by appropriate comparisons with the world of the Adriatic miniature, allows to place the realization within the tracks of the early fifteenth century, testifying the fruitful artistic relationships at the basis of this precious and little-known example of Barletta medieval painting.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e34aadcb245ffca7f98609ed6510d20a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63401902,"asset_id":43128251,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63401902/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43128251"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43128251"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43128251; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43128251]").text(description); $(".js-view-count[data-work-id=43128251]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43128251; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43128251']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e34aadcb245ffca7f98609ed6510d20a" } } $('.js-work-strip[data-work-id=43128251]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43128251,"title":"M. Lacerenza, Il monastero di Santa Lucia a Barletta. Percorsi di Storia e Arte, Bari 2020 (Puglia Memorabile. Arte, Archeologia, Architettura e Storia, 4) [ISSN 2610-8658; ISBN 9788899224608].","internal_url":"https://www.academia.edu/43128251/M_Lacerenza_Il_monastero_di_Santa_Lucia_a_Barletta_Percorsi_di_Storia_e_Arte_Bari_2020_Puglia_Memorabile_Arte_Archeologia_Architettura_e_Storia_4_ISSN_2610_8658_ISBN_9788899224608_","owner_id":47575487,"coauthors_can_edit":true,"owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele 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href="https://kataclima.academia.edu/JacopoCelani">Jacopo Celani</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://efpu.academia.edu/DavorBulic">Davor Bulic</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniss.academia.edu/GiuseppeMaisola">Giuseppe Maisola</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unica.academia.edu/FrancescoMameli">Francesco Mameli</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/ElisaOrlando8">Elisa Orlando</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://royalholloway.academia.edu/AlessandroScalone">Alessandro Scalone</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/FrancescoBarbarulo">Francesco Barbarulo</a>, <a class="" 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href="https://independent.academia.edu/AngelaZaccara">Angela Zaccara</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/MauroFerrante">Mauro Ferrante</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisob.academia.edu/MariannaCuomo">Marianna Cuomo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://cnr-it.academia.edu/NicodemoAbate">Nicodemo Abate</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://na.academia.edu/LuigiDiCosmo">Luigi Di Cosmo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://bham.academia.edu/LucreziaCampagna">Lucrezia Campagna</a>, <a class="" data-click-track="profile-work-strip-authors" rel="nofollow" href="https://uniroma1.academia.edu/FloraMiele">Flora Miele</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://pisa.academia.edu/DaisyPetrelli">Daisy Antonia Petrelli</a>, <a class="" 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rel="nofollow">https://www.nuovomedioevo.it/attivita-2/1466-2/</a> <br /> <br /> <br />INDICE DEI CONTRIBUTI <br /> <br /> <br />Archeologia | Edifici <br /> <br />Massimiliano David, Alessandro Melega <br />All’ombra del Cristianesimo dilagantenell’Impero Romano.  Una lettura archeologica <br /> <br />Massimiliano David, Stefano De Togni,Dino Lombardo <br />La cristianizzazione dell’industria edilizia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8389921" id="papers"><div class="js-work-strip profile--work_container" data-work-id="42115668"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_"><img alt="Research paper thumbnail of Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559]." class="work-thumbnail" src="https://attachments.academia-assets.com/62249070/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_">Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559].</a></div><div class="wp-workCard_item"><span>Barletta: La città e la storia. Testimonianze, protagonisti, memorie (Baruli Res, 6)</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nella Cattedrale di Santa Maria Maggiore di Barletta, all’interno della cappella del Transito di ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nella Cattedrale di Santa Maria Maggiore di Barletta, all’interno della cappella del Transito di San Giuseppe, è conservata una statua settecentesca in legno policromo raffigurante un’Immacolata. L’effige, pregevole per l’alta qualità dell’intaglio, è stata attribuita in passato allo scultore napoletano Nicola Fumo. La presente ricerca dimostrerà, tuttavia, attraverso l’ausilio di numerose fonti documentarie legate alla figura del committente Francesco Savero Maria de Queralt, come tale valutazione debba essere accantonata in favore di un artista a oggi ancora ignoto, facente parte di una delle numerose botteghe napoletane attive in tutto il Regno durante la prima metà del XVIII secolo.<br /><br />In the Cathedral of Santa Maria Maggiore in Barletta, inside the chapel of the Transito di San Giuseppe, there is an eighteenth-century polychrome wooden statue depicting an Immaculate Conception. The effigy, valuable for the high quality of the carving, has been attributed in the past to the Neapolitan sculptor Nicola Fumo. The present research will demonstrate, however, through the help of numerous documentary sources linked to the figure of the client Francesco Savero Maria de Queralt, how this evaluation should be set aside in favor of an artist still unknown today, part of one of the numerous Neapolitan workshops active throughout the Kingdom during the first half of the 18th century.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9d87f908525043d245d2fae380858398" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62249070,"asset_id":42115668,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62249070/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42115668"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42115668"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42115668; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42115668]").text(description); $(".js-view-count[data-work-id=42115668]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42115668; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42115668']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9d87f908525043d245d2fae380858398" } } $('.js-work-strip[data-work-id=42115668]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42115668,"title":"Tota pulchra es Maria: la statua lignea dell’Immacolata della cattedrale di Barletta e la devozione del de Queralt. Nuovi spunti di riflessione, in Barletta: La città e la storia. Testimonianze, protagonisti, memorie, Modugno 2020 (Baruli Res, 6), pp. 185-205 [ISBN: 9788868711559].","internal_url":"https://www.academia.edu/42115668/Tota_pulchra_es_Maria_la_statua_lignea_dell_Immacolata_della_cattedrale_di_Barletta_e_la_devozione_del_de_Queralt_Nuovi_spunti_di_riflessione_in_Barletta_La_citt%C3%A0_e_la_storia_Testimonianze_protagonisti_memorie_Modugno_2020_Baruli_Res_6_pp_185_205_ISBN_9788868711559_","owner_id":47575487,"coauthors_can_edit":true,"owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":62249070,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62249070/thumbnails/1.jpg","file_name":"M._Lacerenza__Tota_pulchra_es_Maria._La_statua_dellImmacolata_della_cattedrale_di_Barletta20200302-113681-1hbikpw.pdf","download_url":"https://www.academia.edu/attachments/62249070/download_file","bulk_download_file_name":"Tota_pulchra_es_Maria_la_statua_lignea_d.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62249070/M._Lacerenza__Tota_pulchra_es_Maria._La_statua_dellImmacolata_della_cattedrale_di_Barletta20200302-113681-1hbikpw-libre.pdf?1583149684=\u0026response-content-disposition=attachment%3B+filename%3DTota_pulchra_es_Maria_la_statua_lignea_d.pdf\u0026Expires=1740908364\u0026Signature=aPmaXLNaVlL-ml1-dZgd2pafuz9j4Mm-iG9rWdCPuPbAMjFFOLFHXi3gZCyuyNWdgW58PCFF~F93w7XTSrIpmFFP4WkVA5YAhN2hVDCwBDNRlpm0uDvZ8HuV8Zpvb-E6B-AFsV1FbApaeArmSmWEn8uBK8EC9~8AZlF4SXduUD7JT4tiuEGMQN1Qth4ClPrOVzwOUlpyhAFtEno7hVWOy3p0XX03KiVo4GLqlue7ToK27bUOTWAJh3U15X7FdcWCtxMkndAYSFksP5lra9s1MkdtREWNbq0jz6FNXYgWP8E9qCX2q~duMegFN7saPqdL7RXnLLLZ~odiWDinAV9vvA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39402097"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_"><img alt="Research paper thumbnail of Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4]." class="work-thumbnail" src="https://attachments.academia-assets.com/63261312/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_">Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4].</a></div><div class="wp-workCard_item"><span>V Ciclo di Studi Medievali, Atti del Convegno (Firenze, 3-4 giugno 2019)</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The iconography of the Virgin of Mercy appeared for the first time around the last decades of the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the "protection of the mantle", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.<br />The need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.<br />The aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between "saint and protective mantle", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.<br /><br />----------------------------------------------------------------------------------------------------<br /><br />L’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori.  <br />La necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. <br />Scopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e70085109b51e51ac6c41c885438f4c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63261312,"asset_id":39402097,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63261312/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39402097"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39402097"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39402097; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39402097]").text(description); $(".js-view-count[data-work-id=39402097]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39402097; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39402097']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2e70085109b51e51ac6c41c885438f4c" } } $('.js-work-strip[data-work-id=39402097]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39402097,"title":"Sotto il manto di san Domenico. Alcune note su una variante iconografica della Madonna della Misericordia nata in seno all’Ordine dei Predicatori, in V Ciclo di Studi Medievali. Atti del Convegno (Firenze, 3-4 giugno 2019), Lesmo (MB) 2019, pp. 240-247 [ISBN: 978-88-9349-584-4].","translated_title":"","metadata":{"abstract":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"V Ciclo di Studi Medievali, Atti del Convegno (Firenze, 3-4 giugno 2019)"},"translated_abstract":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","internal_url":"https://www.academia.edu/39402097/Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_","translated_internal_url":"","created_at":"2019-06-06T03:04:34.632-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":47575487,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":63261312,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/63261312/thumbnails/1.jpg","file_name":"4._M._Lacerenza__Sotto_il_manto_di_san_Domenico.pdf","download_url":"https://www.academia.edu/attachments/63261312/download_file","bulk_download_file_name":"Sotto_il_manto_di_san_Domenico_Alcune_no.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/63261312/4._M._Lacerenza__Sotto_il_manto_di_san_Domenico-libre.pdf?1589122245=\u0026response-content-disposition=attachment%3B+filename%3DSotto_il_manto_di_san_Domenico_Alcune_no.pdf\u0026Expires=1738769747\u0026Signature=Tlgs~QGEkaE8Nx~mQyCP36O4DQRfOcbJqmA022AZefEkL0vIdtiskkzxaM4HbJDXAw1878ByXZK7Ihx5LGEiLNav8p0FVAi4WHQswE07IGlh3S21EO26sYrOj47P67sYl1nTDGwkJ16282zfexlHd65PzeQX0Y0ANbrw4UKeFoBVfhA~Lc1UG9XZIDuv9s3KCJpryv~-TpItJaIo2eh-XeyzJzAsA6gCKxYWWpiSuoT5ivklFNnaI94MDQRSz7EWD9LrmYEnxW2vahnQkjdWs4X9MnnTE1wVIwY7qLDVEOCI9vTsmrUg2s6sDgc5Vv7w7ergiR7yK0SpSUhdWMAsBA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Sotto_il_manto_di_san_Domenico_Alcune_note_su_una_variante_iconografica_della_Madonna_della_Misericordia_nata_in_seno_all_Ordine_dei_Predicatori_in_V_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_3_4_giugno_2019_Lesmo_MB_2019_pp_240_247_ISBN_978_88_9349_584_4_","translated_slug":"","page_count":18,"language":"it","content_type":"Work","summary":"The iconography of the Virgin of Mercy appeared for the first time around the last decades of the 13th century, to find particular affirmation in the cultural and figurative tradition of the 14th and 15th centuries, especially in the countries of Western Europe. Its origin is closely linked to the medieval legacy of the \"protection of the mantle\", which only the Veil of Mary could grant for mercy to the needy and the persecuted, offering a symbolic shelter under a cloak considered inviolable. With the spread of this iconography, under the mantle of the Virgin all humanity ended up for finding shelter: men, women, members of religious orders or congregations of professions, bishops and popes, kings and emperors.\nThe need for spiritual protection symbolically expressed by the iconography of the Virgin of Mercy was soon bent for devotional purposes, but also propaganda, by the Mendicant orders, especially by the Dominicans who, masters in reshaping tested iconographies, used it to create a new original image that had the figure of Saint Dominic as the central pivot of the gesture. A more unique than rare case on a monumental level is the fresco of the early 15th century, located in the church of Santa Lucia in Barletta, part of a female Dominican monastery.\nThe aim of the research will be to investigate the causes that led to the conception of this unusual iconographic variant, starting from similar examples of admixture between \"saint and protective mantle\", to arrive through the analysis of the documentary sources related to the founder of the Order of the Preachers, to the miniatures produced in the Venetian context in the scriptorium of Tommaso da Siena and to the stimulating debates in the Dominican studia, very important intellectual laboratories of the Order scattered along the peninsula, to the concretization of the particular iconography in Barletta.\n\n----------------------------------------------------------------------------------------------------\n\nL’iconografia della Madonna della Misericordia apparve per la prima volta intorno agli ultimi decenni del Duecento, per poi trovare particolare affermazione nella tradizione culturale e figurativa del XIV e XV secolo, soprattutto nei paesi dell’Europa occidentale. La sua origine è strettamente legata al retaggio medievale della “protezione del mantello”, che solo il Velo di Maria poteva concedere per misericordia ai bisognosi e ai perseguitati, offrendo un riparo simbolico sotto un manto considerato inviolabile. Con il diffondersi di tale iconografia, sotto il mantello della Vergine finì per trovare riparo l'intera umanità: uomini, donne, membri di ordini religiosi o di congregazioni di mestieri, vescovi e papi, re e imperatori. \nLa necessità di protezione spirituale simbolicamente espressa dall’iconografia della Vergine della Misericordia venne ben presto piegata per fini devozionali, ma anche propagandistici, da parte degli ordini Mendicanti, soprattutto dai Domenicani che, maestri nel riplasmare collaudate iconografie, se ne servirono per creare una nuova originale immagine che avesse la figura di san Domenico come perno centrale del gesto. Caso più unico che raro a livello monumentale è dunque l’affresco, degli inizi del XV secolo, posto nella chiesa di Santa Lucia a Barletta facente parte di un monastero di domenicane. \nScopo della ricerca sarà quello di indagare le cause che hanno portato all’ideazione di questa inusuale variante iconografica, partendo da esempi consimili di commistione tra “santo e mantello protettivo”, per giungere attraverso l’analisi delle fonti documentarie legate al fondatore dell’Ordine dei Predicatori, alle miniature prodotte in ambito veneziano nello scriptorium di Tommaso da Siena e agli stimolanti dibattiti in seno agli studia domenicani, importantissimi laboratori intellettuali dell’Ordine sparsi lungo la penisola, al concretizzarsi della particolare iconografia barlettana.\n","owner":{"id":47575487,"first_name":"Michele","middle_initials":null,"last_name":"Lacerenza","page_name":"MicheleLacerenza","domain_name":"uniba-it","created_at":"2016-04-23T02:33:34.096-07:00","display_name":"Michele Lacerenza","url":"https://uniba-it.academia.edu/MicheleLacerenza"},"attachments":[{"id":63261312,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/63261312/thumbnails/1.jpg","file_name":"4._M._Lacerenza__Sotto_il_manto_di_san_Domenico.pdf","download_url":"https://www.academia.edu/attachments/63261312/download_file","bulk_download_file_name":"Sotto_il_manto_di_san_Domenico_Alcune_no.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/63261312/4._M._Lacerenza__Sotto_il_manto_di_san_Domenico-libre.pdf?1589122245=\u0026response-content-disposition=attachment%3B+filename%3DSotto_il_manto_di_san_Domenico_Alcune_no.pdf\u0026Expires=1738769747\u0026Signature=Tlgs~QGEkaE8Nx~mQyCP36O4DQRfOcbJqmA022AZefEkL0vIdtiskkzxaM4HbJDXAw1878ByXZK7Ihx5LGEiLNav8p0FVAi4WHQswE07IGlh3S21EO26sYrOj47P67sYl1nTDGwkJ16282zfexlHd65PzeQX0Y0ANbrw4UKeFoBVfhA~Lc1UG9XZIDuv9s3KCJpryv~-TpItJaIo2eh-XeyzJzAsA6gCKxYWWpiSuoT5ivklFNnaI94MDQRSz7EWD9LrmYEnxW2vahnQkjdWs4X9MnnTE1wVIwY7qLDVEOCI9vTsmrUg2s6sDgc5Vv7w7ergiR7yK0SpSUhdWMAsBA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia"},{"id":123014,"name":"Venezia","url":"https://www.academia.edu/Documents/in/Venezia"},{"id":152157,"name":"Firenze","url":"https://www.academia.edu/Documents/in/Firenze"},{"id":312951,"name":"Miniature","url":"https://www.academia.edu/Documents/in/Miniature"},{"id":438705,"name":"Domenicani","url":"https://www.academia.edu/Documents/in/Domenicani"},{"id":474283,"name":"Arte Medievale, Icone, Iconografia Medievale","url":"https://www.academia.edu/Documents/in/Arte_Medievale_Icone_Iconografia_Medievale"},{"id":536549,"name":"Arte Medievale","url":"https://www.academia.edu/Documents/in/Arte_Medievale"},{"id":979512,"name":"Barletta","url":"https://www.academia.edu/Documents/in/Barletta"},{"id":2197969,"name":"San Domenico","url":"https://www.academia.edu/Documents/in/San_Domenico"},{"id":2417113,"name":"Santi domenicani","url":"https://www.academia.edu/Documents/in/Santi_domenicani"},{"id":3269758,"name":"Studia domenicani","url":"https://www.academia.edu/Documents/in/Studia_domenicani"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36835007"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36835007/Strapparsi_le_vesti_nell_iconografia_medievale_il_caso_del_san_Giovanni_Evangelista_nella_chiesa_di_Santa_Lucia_a_Barletta_in_IV_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_4_5_giugno_2018_Arcore_2018_pp_473_479_ISBN_978_88_9349_371_0_"><img alt="Research paper thumbnail of Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0]." class="work-thumbnail" src="https://attachments.academia-assets.com/58322496/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36835007/Strapparsi_le_vesti_nell_iconografia_medievale_il_caso_del_san_Giovanni_Evangelista_nella_chiesa_di_Santa_Lucia_a_Barletta_in_IV_Ciclo_di_Studi_Medievali_Atti_del_Convegno_Firenze_4_5_giugno_2018_Arcore_2018_pp_473_479_ISBN_978_88_9349_371_0_">Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and f...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that "Jesus loved" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.<br /><br />-----------------------------------------------------------------------------------------------------<br /><br />L’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. La ricerca dimostrerà come il discepolo che “Gesù amava” diventi in Barletta allo stesso tempo emblema e sintesi di ogni possibile significato legato a un gesto così drammatico e teatrale.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="03f429bbf0341f66f2af6d46197d58fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58322496,"asset_id":36835007,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58322496/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36835007"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36835007"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36835007; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36835007]").text(description); $(".js-view-count[data-work-id=36835007]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36835007; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36835007']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "03f429bbf0341f66f2af6d46197d58fa" } } $('.js-work-strip[data-work-id=36835007]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36835007,"title":"Strapparsi le vesti nell’iconografia medievale: il caso del san Giovanni Evangelista nella chiesa di Santa Lucia a Barletta, in IV Ciclo di Studi Medievali. Atti del Convegno (Firenze, 4-5 giugno 2018), Arcore 2018, pp. 473-479 [ISBN: 978-88-9349-371-0].","translated_title":"","metadata":{"abstract":"The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. La ricerca dimostrerà come il discepolo che “Gesù amava” diventi in Barletta allo stesso tempo emblema e sintesi di ogni possibile significato legato a un gesto così drammatico e teatrale."},"translated_abstract":"The iconography of the Crucifixion is one of the cardinal symbols of the christian religion and from the beginning it has a fundamental role in the production of holy art. Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. 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Always present in these images are the figures of the Sorrowful: the Virgin Mary and Saint John the Evangelist. Since the most remote Byzantine icons, both externalize their pain in a manner rather restrained, bringing his hands to his face or intertwining his fingers, however in some cases the son of Zebedee is represented in the rare act of pain of tearing off his garments. Emblematic case is that frescoed at the beginning of the fifteenth century in the church of Santa Lucia in Barletta, inside the Chapel of the Crucifix. Aim of the study is to clarify the meaning that revolves around this unusual iconographic variant, starting from theological reflections and many semantic declensions, found in the Bible and in the thought of the Doctors of the Church. In such artistic productions this extreme action was introduced for the first time by Giotto, to whom we owe the merit of having given a whole pathos human to visual representations. Angels, allegories and mothers carry this message of despair, anger and denunciation crystallizing what was preached by the Mendicant Orders, through a politics for images linked to the humanity of the Savior and his suffering. Through the sacred representations and the tables that were likely to circulate, the gesture extreme of tearing off clothes spread among the centers of the peninsula until it characterized St. John the Evangelist, as it is possible to observe in the frescoed examples in the churches of Southern Italy under study. The research will show how the disciple that \"Jesus loved\" becomes in Barletta at the same time emblem and synthesis of every possible meaning linked to a such a dramatic and theatrical gesture.\n\n-----------------------------------------------------------------------------------------------------\n\nL’iconografia della Crocifissione rappresenta uno dei simboli cardine della religione cristiana e sin dalle origini essa occupa un posto fondamentale nella produzione dell’arte sacra. Immancabili in tali immagini sono le figure dei dolenti: la Vergine Maria e san Giovanni Evangelista. Sin dalle più remote icone bizantine, entrambi esternano il proprio dolore in maniera piuttosto contenuta, portandosi le mani al volto o intrecciando le dita, tuttavia in alcuni casi il figlio di Zebedeo è rappresentato nel raro atto di dolore di strapparsi le vesti. Caso emblematico è quello affrescato all’inizio del XV secolo nella chiesa di Santa Lucia a Barletta, all’interno della Cappella del Crocifisso. Scopo dello studio è quello di chiarire il significato che ruota attorno a questa inusuale variante iconografica, partendo da riflessioni teologiche e dalle molteplici declinazioni semantiche, riscontrabili nella Bibbia e nel pensiero dei Dottori della Chiesa. Nelle produzioni artistiche tale atto estremo è stato introdotto per la prima volta da Giotto, al quale si deve il merito di aver conferito un pathos tutto umano alle rappresentazioni visive. Angeli, allegorie e madri veicolano tale messaggio di disperazione, rabbia e denuncia cristallizzando quanto predicato dagli Ordini Mendicanti, attraverso una politica per immagini legata all’umanità del Salvatore e alla sua sofferenza. Attraverso le rappresentazioni sacre e le tavole che dovevano verosimilmente circolare, il gesto estremo di lacerarsi le vesti si diffuse tra i centri della penisola sino a caratterizzare san Giovanni Evangelista, come è possibile osservare negli esempi affrescati nelle chiese dell’Italia Meridionale oggetto di studio. 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href="https://upr-si.academia.edu/AndreaBiondi">Andrea Biondi</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unina2.academia.edu/LesterLonardo">Lester Lonardo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/LorenzoFragai">Lorenzo Fragai</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MLoffredo">Mario Loffredo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MARIOGAGLIONE">Mario Gaglione</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/RitaMei">Rita Mei</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://units.academia.edu/GiuliaCalabr%C3%B2">Giulia Calabrò</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisa-it.academia.edu/MassimoLeoneAcquario">Massimo Siani</a>, <a class="" 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href="https://independent.academia.edu/FrancescoMastromatteo">Francesco Mastromatteo</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://unisa.academia.edu/VeronicaDeDuonni">Veronica De Duonni</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://univ-paris8.academia.edu/SarahProcopio">Sarah Procopio</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usc-es.academia.edu/AbelLorenzoRodriguez">Abel de Lorenzo Rodríguez</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://leeds.academia.edu/LisaTrischler">Elisabeth (Lisa) Trischler</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://coimbra.academia.edu/AzzurraRinaldi">Azzurra Rinaldi</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://univp.academia.edu/CarloMariaPoggi">Carlo Maria Poggi</a></span></div><div class="wp-workCard_item"><span>EBS Print</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Atti del Convegno tenutosi a Firenze il 3 e 4 Giugno 2019. 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Lacerenza, Scheda bibliografica del libro “Molise medievale cristiano. Edilizia religiosa e territorio (secoli IV-XIII)”, a cura di F. Marazzi, in “Kalkas. Rivista del Centro Studi Storico Archeologici del Gargano”, n. 1 (2019), pp. 286-288 [ISSN: 2612-4637]." class="work-thumbnail" src="https://attachments.academia-assets.com/60771353/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500419/M_Lacerenza_Scheda_bibliografica_del_libro_Molise_medievale_cristiano_Edilizia_religiosa_e_territorio_secoli_IV_XIII_a_cura_di_F_Marazzi_in_Kalkas_Rivista_del_Centro_Studi_Storico_Archeologici_del_Gargano_n_1_2019_pp_286_288_ISSN_2612_4637_">M. Lacerenza, Scheda bibliografica del libro “Molise medievale cristiano. Edilizia religiosa e territorio (secoli IV-XIII)”, a cura di F. 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Lacerenza, Scheda bibliografica del libro “La chiesa di San Donato a Ripacandida. Storia e arte di un santuario lucano dimenticato” di R. Doronzo, in “Studi Bitontini”, n. 105-106 (2018), pp. 106-108 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3]." class="work-thumbnail" src="https://attachments.academia-assets.com/60783673/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500404/M_Lacerenza_Scheda_bibliografica_del_libro_La_chiesa_di_San_Donato_a_Ripacandida_Storia_e_arte_di_un_santuario_lucano_dimenticato_di_R_Doronzo_in_Studi_Bitontini_n_105_106_2018_pp_106_108_ISSN_0392_1727_ISBN_978_88_7228_899_3_">M. Lacerenza, Scheda bibliografica del libro “La chiesa di San Donato a Ripacandida. Storia e arte di un santuario lucano dimenticato” di R. Doronzo, in “Studi Bitontini”, n. 105-106 (2018), pp. 106-108 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. Non si risponde del contenuto degli articoli e si lascia agli autori piena responsabilità delle idee o delle opinioni in essi espresse. 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Lacerenza, Recensione del libro “San Michele in Monte Laureto a Putignano. La grotta dell'Angelo e la cultura pittorica angioina nel meridione barese” di M. Mignozzi, in “Studi Bitontini”, n. 105-106 (2018), pp. 100-102 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3]." class="work-thumbnail" src="https://attachments.academia-assets.com/60783680/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40500380/M_Lacerenza_Recensione_del_libro_San_Michele_in_Monte_Laureto_a_Putignano_La_grotta_dellAngelo_e_la_cultura_pittorica_angioina_nel_meridione_barese_di_M_Mignozzi_in_Studi_Bitontini_n_105_106_2018_pp_100_102_ISSN_0392_1727_ISBN_978_88_7228_899_3_">M. Lacerenza, Recensione del libro “San Michele in Monte Laureto a Putignano. La grotta dell'Angelo e la cultura pittorica angioina nel meridione barese” di M. Mignozzi, in “Studi Bitontini”, n. 105-106 (2018), pp. 100-102 [ISSN: 0392-1727; ISBN: 978-88-7228-899-3].</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. 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Gli articoli devono essere redatti in ottemperanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La collaborazione, aperta a tutti, è gratuita. Gli articoli devono essere redatti in ottemperanza al 'Codice Etico' e in conformità alle 'Norme per la redazione e l'accettazione dei contributi' disciplinate dal 'Regolamento di Studi Bitontini'. Non si risponde del contenuto degli articoli e si lascia agli autori piena responsabilità delle idee o delle opinioni in essi espresse. I manoscritti, i testi e le fotografie, anche se non pubblicati, non vengono restituiti. 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