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Atti del Convegno internazionale di studi (Perugia, 14-15 novembre 2019)</a></div><div class="wp-workCard_item"><span>HAL (Le Centre pour la Communication Scientifique Directe)</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><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="102739774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102739774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102739774; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102739774]").text(description); $(".js-view-count[data-work-id=102739774]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102739774; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102739774']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 102739774, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=102739774]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102739774,"title":"Gli ordini di Terrasanta. 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nei secoli ...</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">Contiene anche: L&#39;abbazia di San Salvatore di Monte Acuto - Montecorona&lt;br&gt; nei secoli XI-XVII: storia e arte, atti del Convegno (Abbazia di San Salvatore di Montecorona, 18-19 giugno 2009), a cura di Nicolangelo D&#39;Acunto e Mirko Santanicchia</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8e843991a8b5050e400973171a4fa0fd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102929144,"asset_id":102739773,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102929144/download_file?st=MTczMzExNTk4MCw4LjIyMi4yMDguMTQ2&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="102739773"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102739773"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102739773; 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$(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="43392311"><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/43392311/M_Santanicchia_In_Istrumento_la_sede_pu%C3%B2_fare_la_differenza_La_rappresentazione_del_paesaggio_urbano_e_naturale_in_alcuni_documenti_miniati_e_oreficerie_del_Trecento_in_Paesaggio_e_arti_figurative_in_Umbria_tra_Gotico_e_Rinascimento_a_cura_di_E_Neri_M_Santanicchia_Perugia_2017"><img alt="Research paper thumbnail of M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in "Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento", a cura di E. Neri - M. Santanicchia, Perugia 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/63688563/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/43392311/M_Santanicchia_In_Istrumento_la_sede_pu%C3%B2_fare_la_differenza_La_rappresentazione_del_paesaggio_urbano_e_naturale_in_alcuni_documenti_miniati_e_oreficerie_del_Trecento_in_Paesaggio_e_arti_figurative_in_Umbria_tra_Gotico_e_Rinascimento_a_cura_di_E_Neri_M_Santanicchia_Perugia_2017">M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in "Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento", a cura di E. Neri - M. Santanicchia, Perugia 2017</a></div><div class="wp-workCard_item"><span>Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento, Atti della giornata di studi (Perugia, 13 novembre 2014), a cura di E. Neri-M. Santanicchia, Perugia 2017</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Italiano (English version below): In un’opera d’arte medievale, come è noto, l’ambientazione del...</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">Italiano (English version below): <br />In un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo.  <br />E’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento. <br />Lo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia -  è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. <br /> <br />Abstract (English version) <br />The essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time. <br />This realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place. <br />This is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document. <br />The same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). Secondly, the loggia painted in the upper part of the scene corresponds with architectural fragments, still preserved, on the west facade of the palace.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8e6651f533077c7ccc96443dddd0c044" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63688563,"asset_id":43392311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63688563/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="43392311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43392311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43392311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43392311]").text(description); $(".js-view-count[data-work-id=43392311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43392311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43392311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43392311, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.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: "8e6651f533077c7ccc96443dddd0c044" } } $('.js-work-strip[data-work-id=43392311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43392311,"title":"M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in \"Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento\", a cura di E. Neri - M. Santanicchia, Perugia 2017","translated_title":"","metadata":{"abstract":"Italiano (English version below):\r\nIn un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo. \r\nE’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento.\r\nLo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia - è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. \r\n\r\nAbstract (English version)\r\nThe essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time.\r\nThis realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place.\r\nThis is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document.\r\nThe same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). Secondly, the loggia painted in the upper part of the scene corresponds with architectural fragments, still preserved, on the west facade of the palace.","page_numbers":"pp.109-154","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento, Atti della giornata di studi (Perugia, 13 novembre 2014), a cura di E. Neri-M. Santanicchia, Perugia 2017"},"translated_abstract":"Italiano (English version below):\r\nIn un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo. \r\nE’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento.\r\nLo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia - è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. \r\n\r\nAbstract (English version)\r\nThe essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time.\r\nThis realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place.\r\nThis is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document.\r\nThe same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). 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$(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="38224703"><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/38224703/Santanicchia_Pintoricchio_e_le_arti_minori_catalogo_mostra_con_schede_4_pdf"><img alt="Research paper thumbnail of Santanicchia Pintoricchio e le arti minori catalogo mostra con schede (4).pdf" class="work-thumbnail" src="https://attachments.academia-assets.com/58264712/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/38224703/Santanicchia_Pintoricchio_e_le_arti_minori_catalogo_mostra_con_schede_4_pdf">Santanicchia Pintoricchio e le arti minori catalogo mostra con schede (4).pdf</a></div><div class="wp-workCard_item"><span>M. Santanicchia, Pintoricchio e le "arti minori", a cento anni dalla Mostra di Antica Arte Umbra, in Pintoricchio, Catalogo della Mostra (Perugia-Spello, febbraio-giugno 2008), a cura di V. Garibaldi e F.F. Mancini, Cinisello Balsamo 2008</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">E' il saggio dedicato alla omonima mostra "Pintoricchio e le "arti minori", a cento anni dalla Mo...</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">E' il saggio dedicato alla omonima mostra "Pintoricchio e le "arti minori", a cento anni dalla Mostra di Antica Arte Umbra", tenutasi a Spello, ideata e curata da Mirko Santanicchia, sezione staccata della mostra di Pintoricchio con sede a Perugia. Mira a mettere in evidenza il rapporto privilegiato tra Pintoricchio e le arti applicate, oreficeria, ceramica, tessuti, intaglio e tarsia, miniatura; il pittore perugino emerge sia come fornitore di disegni, sia come attento osservatore del panorama delle arti applicate, interesse ricambiato da ceramisti, intarsiatori e orafi a loro volta ricettivi agli spunti offerti dal fantasioso ma anche 'colto' linguaggio pintoricchiesco. La mostra al contempo intende celebrare il centenario della Mostra di Antica Arte Umbra del 1907, tenutasi a Perugia, in una temperie cui si lega anche la riscoperta critica di Pintoricchio stesso.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="461ab767b479988c19ae7a7b57ed4338" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58264712,"asset_id":38224703,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58264712/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="38224703"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38224703"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38224703; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38224703]").text(description); $(".js-view-count[data-work-id=38224703]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38224703; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38224703']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38224703, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.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: "461ab767b479988c19ae7a7b57ed4338" } } $('.js-work-strip[data-work-id=38224703]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38224703,"title":"Santanicchia Pintoricchio e le arti minori catalogo mostra con schede (4).pdf","translated_title":"","metadata":{"abstract":"E' il saggio dedicato alla omonima mostra \"Pintoricchio e le \"arti minori\", a cento anni dalla Mostra di Antica Arte Umbra\", tenutasi a Spello, ideata e curata da Mirko Santanicchia, sezione staccata della mostra di Pintoricchio con sede a Perugia. Mira a mettere in evidenza il rapporto privilegiato tra Pintoricchio e le arti applicate, oreficeria, ceramica, tessuti, intaglio e tarsia, miniatura; il pittore perugino emerge sia come fornitore di disegni, sia come attento osservatore del panorama delle arti applicate, interesse ricambiato da ceramisti, intarsiatori e orafi a loro volta ricettivi agli spunti offerti dal fantasioso ma anche 'colto' linguaggio pintoricchiesco. La mostra al contempo intende celebrare il centenario della Mostra di Antica Arte Umbra del 1907, tenutasi a Perugia, in una temperie cui si lega anche la riscoperta critica di Pintoricchio stesso.","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"M. Santanicchia, Pintoricchio e le \"arti minori\", a cento anni dalla Mostra di Antica Arte Umbra, in Pintoricchio, Catalogo della Mostra (Perugia-Spello, febbraio-giugno 2008), a cura di V. Garibaldi e F.F. 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Atti del Convegno internazionale di studi (Perugia, 14-15 novembre 2019)</a></div><div class="wp-workCard_item"><span>HAL (Le Centre pour la Communication Scientifique Directe)</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><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="102739774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102739774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102739774; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102739774]").text(description); $(".js-view-count[data-work-id=102739774]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102739774; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102739774']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 102739774, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=102739774]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102739774,"title":"Gli ordini di Terrasanta. 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nei secoli ...</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">Contiene anche: L&#39;abbazia di San Salvatore di Monte Acuto - Montecorona&lt;br&gt; nei secoli XI-XVII: storia e arte, atti del Convegno (Abbazia di San Salvatore di Montecorona, 18-19 giugno 2009), a cura di Nicolangelo D&#39;Acunto e Mirko Santanicchia</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8e843991a8b5050e400973171a4fa0fd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102929144,"asset_id":102739773,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102929144/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&st=MTczMzExNTk4MCw4LjIyMi4yMDguMTQ2&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="102739773"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102739773"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102739773; 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$(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="43392311"><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/43392311/M_Santanicchia_In_Istrumento_la_sede_pu%C3%B2_fare_la_differenza_La_rappresentazione_del_paesaggio_urbano_e_naturale_in_alcuni_documenti_miniati_e_oreficerie_del_Trecento_in_Paesaggio_e_arti_figurative_in_Umbria_tra_Gotico_e_Rinascimento_a_cura_di_E_Neri_M_Santanicchia_Perugia_2017"><img alt="Research paper thumbnail of M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in "Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento", a cura di E. Neri - M. Santanicchia, Perugia 2017" class="work-thumbnail" src="https://attachments.academia-assets.com/63688563/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/43392311/M_Santanicchia_In_Istrumento_la_sede_pu%C3%B2_fare_la_differenza_La_rappresentazione_del_paesaggio_urbano_e_naturale_in_alcuni_documenti_miniati_e_oreficerie_del_Trecento_in_Paesaggio_e_arti_figurative_in_Umbria_tra_Gotico_e_Rinascimento_a_cura_di_E_Neri_M_Santanicchia_Perugia_2017">M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in "Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento", a cura di E. Neri - M. Santanicchia, Perugia 2017</a></div><div class="wp-workCard_item"><span>Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento, Atti della giornata di studi (Perugia, 13 novembre 2014), a cura di E. Neri-M. Santanicchia, Perugia 2017</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Italiano (English version below): In un’opera d’arte medievale, come è noto, l’ambientazione del...</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">Italiano (English version below): <br />In un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo.  <br />E’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento. <br />Lo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia -  è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. <br /> <br />Abstract (English version) <br />The essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time. <br />This realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place. <br />This is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document. <br />The same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). Secondly, the loggia painted in the upper part of the scene corresponds with architectural fragments, still preserved, on the west facade of the palace.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8e6651f533077c7ccc96443dddd0c044" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63688563,"asset_id":43392311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63688563/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="43392311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43392311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43392311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43392311]").text(description); $(".js-view-count[data-work-id=43392311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43392311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43392311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43392311, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.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: "8e6651f533077c7ccc96443dddd0c044" } } $('.js-work-strip[data-work-id=43392311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43392311,"title":"M. Santanicchia, In Istrumento: la sede può fare la differenza? La rappresentazione del paesaggio urbano e naturale in alcuni documenti miniati e oreficerie del Trecento, in \"Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento\", a cura di E. Neri - M. Santanicchia, Perugia 2017","translated_title":"","metadata":{"abstract":"Italiano (English version below):\r\nIn un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo. \r\nE’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento.\r\nLo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia - è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. \r\n\r\nAbstract (English version)\r\nThe essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time.\r\nThis realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place.\r\nThis is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document.\r\nThe same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). Secondly, the loggia painted in the upper part of the scene corresponds with architectural fragments, still preserved, on the west facade of the palace.","page_numbers":"pp.109-154","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Paesaggio e arti figurative in Umbria tra Gotico e Rinascimento, Atti della giornata di studi (Perugia, 13 novembre 2014), a cura di E. Neri-M. Santanicchia, Perugia 2017"},"translated_abstract":"Italiano (English version below):\r\nIn un’opera d’arte medievale, come è noto, l’ambientazione della scena basata su una visione dal vero di uno spazio urbano o naturale deve considerarsi rara o occasionale. Più consueto, infatti, è il ricorso degli artisti a soluzioni convenzionali e all’uso di modelli. Il saggio esamina alcune situazioni specifiche che possono determinare un maggiore realismo nel modo di rappresentare certe scene, ad esempio quando un’immagine assume la funzione di documento “figurato”, a supporto di atti documentari, per descrivere e comprovare un fatto come realmente avvenuto in un determinato luogo. \r\nE’ il caso del celebre Reliquiario del Corporale di Orvieto (1338), dove in uno degli smalti è presente una eccezionale veduta molto realistica della rupe con la città vista da sud-ovest, lato coerente con quello visibile dal ponte di Rio Chiaro, dove il papa ricevette dal vescovo il Corporale del “Miracolo di Bolsena”. Così raffigurati i fatti hanno la forza di un documento.\r\nLo stesso vale per la miniatura che illustra il Liber indulgentie (1330), registro in cui i domenicani di Perugia fecero trascrivere da un notaio le testimonianze dell’avvenuta concessione, da parte di papa Benedetto XI (1304), dell’Indulgenza in loro favore. Anche i presenti al fatto e il luogo sono raffigurati, nella miniatura, con dovizia di dettagli, importanti per risalire forma originale degli edifici: il campanile della Cattedrale appare in forma chiaramente cilindrica di tipo ravennate, e una forma di questo tipo –di cui non resta più traccia - è ben compatibile con la storia della città; la loggia dipinta nella parte alta della miniatura corrisponde bene con frammenti architettonici ancora conservati nella facciata ovest del palazzo. \r\n\r\nAbstract (English version)\r\nThe essay examines some specific conditions, in works of art from the XIV century, which could have determined greater “realism” in the way in which urban and natural landscapes were represented. In these cases they can be used as historical sources with respect to the widespread conventional formulas used by artists at the time.\r\nThis realism is recurring when an image takes on the role of a “record”, to directly or indirectly support a notarial document, to describe and attest that an event really happened in a specific place.\r\nThis is the case in the well-known Reliquary of the Holy Corporal in the Cathedral of Orvieto (1338). The enameled scene in which the Pope is receiving the Corporal of the Miracle of Bolsena from the Bishop shows an extraordinary view of the south west cliff (rupe) with the town of Orvieto sitting on top. Exactly the side seen from the Rio Chiaro bridge, were the actual meeting occurred. In this way the scene depicted has the power of a written document.\r\nThe same is true for the miniature which illustrates the Liber Indulgentie (1330). A register in which the Dominicans of Perugia had the testimony, transcribed by a notary, of the concession granted by Pope Benedetto XI, in the palace near the Cathedral (1304). In the scene of the Concession the people and the buildings are depicted with great attention to detail, this is significant because it allows us to see how the original architecture of this part of the town was. Two details stand out. Firstly, there is the campanile (bell tower) of the Cathedral which is clearly cylindrical and done in the style of Ravenna, this does fit well with the history of the town (however, today not a trace of it remains). 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Santanicchia, Pintoricchio e le "arti minori", a cento anni dalla Mostra di Antica Arte Umbra, in Pintoricchio, Catalogo della Mostra (Perugia-Spello, febbraio-giugno 2008), a cura di V. Garibaldi e F.F. Mancini, Cinisello Balsamo 2008</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">E' il saggio dedicato alla omonima mostra "Pintoricchio e le "arti minori", a cento anni dalla Mo...</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">E' il saggio dedicato alla omonima mostra "Pintoricchio e le "arti minori", a cento anni dalla Mostra di Antica Arte Umbra", tenutasi a Spello, ideata e curata da Mirko Santanicchia, sezione staccata della mostra di Pintoricchio con sede a Perugia. Mira a mettere in evidenza il rapporto privilegiato tra Pintoricchio e le arti applicate, oreficeria, ceramica, tessuti, intaglio e tarsia, miniatura; il pittore perugino emerge sia come fornitore di disegni, sia come attento osservatore del panorama delle arti applicate, interesse ricambiato da ceramisti, intarsiatori e orafi a loro volta ricettivi agli spunti offerti dal fantasioso ma anche 'colto' linguaggio pintoricchiesco. La mostra al contempo intende celebrare il centenario della Mostra di Antica Arte Umbra del 1907, tenutasi a Perugia, in una temperie cui si lega anche la riscoperta critica di Pintoricchio stesso.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="461ab767b479988c19ae7a7b57ed4338" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58264712,"asset_id":38224703,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58264712/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="38224703"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38224703"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38224703; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38224703]").text(description); $(".js-view-count[data-work-id=38224703]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38224703; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38224703']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38224703, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.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: "461ab767b479988c19ae7a7b57ed4338" } } $('.js-work-strip[data-work-id=38224703]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38224703,"title":"Santanicchia Pintoricchio e le arti minori catalogo mostra con schede (4).pdf","translated_title":"","metadata":{"abstract":"E' il saggio dedicato alla omonima mostra \"Pintoricchio e le \"arti minori\", a cento anni dalla Mostra di Antica Arte Umbra\", tenutasi a Spello, ideata e curata da Mirko Santanicchia, sezione staccata della mostra di Pintoricchio con sede a Perugia. Mira a mettere in evidenza il rapporto privilegiato tra Pintoricchio e le arti applicate, oreficeria, ceramica, tessuti, intaglio e tarsia, miniatura; il pittore perugino emerge sia come fornitore di disegni, sia come attento osservatore del panorama delle arti applicate, interesse ricambiato da ceramisti, intarsiatori e orafi a loro volta ricettivi agli spunti offerti dal fantasioso ma anche 'colto' linguaggio pintoricchiesco. La mostra al contempo intende celebrare il centenario della Mostra di Antica Arte Umbra del 1907, tenutasi a Perugia, in una temperie cui si lega anche la riscoperta critica di Pintoricchio stesso.","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"M. Santanicchia, Pintoricchio e le \"arti minori\", a cento anni dalla Mostra di Antica Arte Umbra, in Pintoricchio, Catalogo della Mostra (Perugia-Spello, febbraio-giugno 2008), a cura di V. Garibaldi e F.F. 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href="https://vegajournal.academia.edu/MichelaMorelli">Michela Morelli</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">SEZIONE: LE ARTI TRA RISCOPERTA, COPIA E INVENZIONE, venerdì 2 dicembre dalle 16.30 alle 18.30</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8ebdeb0445184c27e411bf05d1be3330" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50442277,"asset_id":29983455,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50442277/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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" 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id="conferencepresentations"><div class="js-work-strip profile--work_container" data-work-id="40482293"><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/40482293/Sonia_Merli_Venerd%C3%AC_13_ottobre_1307_larresto_dei_templari_nel_Regno_di_Francia_in_Medioevo_e_Medievalismi_Il_Medioevo_infinito_dei_templari_Perugia_Castello_di_Monterone_14_ottobre_2019"><img alt="Research paper thumbnail of Sonia Merli, "Venerdì 13 ottobre 1307: l'arresto dei templari nel Regno di Francia", in "Medioevo e Medievalismi. Il Medioevo infinito dei templari", Perugia, Castello di Monterone, 14 ottobre 2019." class="work-thumbnail" src="https://attachments.academia-assets.com/60749287/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/40482293/Sonia_Merli_Venerd%C3%AC_13_ottobre_1307_larresto_dei_templari_nel_Regno_di_Francia_in_Medioevo_e_Medievalismi_Il_Medioevo_infinito_dei_templari_Perugia_Castello_di_Monterone_14_ottobre_2019">Sonia Merli, "Venerdì 13 ottobre 1307: l'arresto dei templari nel Regno di Francia", in "Medioevo e Medievalismi. Il Medioevo infinito dei templari", Perugia, Castello di Monterone, 14 ottobre 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://unipa.academia.edu/SoniaMerli">Sonia Merli</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unipg.academia.edu/MirkoSantanicchia">Mirko Santanicchia</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24d5710909bd088edfa052ea1e47c329" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60749287,"asset_id":40482293,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60749287/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="40482293"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40482293"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40482293; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40482293]").text(description); $(".js-view-count[data-work-id=40482293]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40482293; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40482293']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40482293, container: "", }); });</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-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.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: "24d5710909bd088edfa052ea1e47c329" } } $('.js-work-strip[data-work-id=40482293]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40482293,"title":"Sonia Merli, \"Venerdì 13 ottobre 1307: l'arresto dei templari nel Regno di Francia\", in \"Medioevo e Medievalismi. 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href="https://www.academia.edu/40766830/_Gli_Ordini_di_Terrasanta_questioni_aperte_nuove_acquisizioni_XII_XVI_secolo_Convegno_internazionale_di_studi_Perugia_14_15_novembre_2019"><img alt="Research paper thumbnail of "Gli Ordini di Terrasanta: questioni aperte, nuove acquisizioni (XII-XVI secolo)", Convegno internazionale di studi, Perugia, 14-15 novembre 2019." class="work-thumbnail" src="https://attachments.academia-assets.com/61046856/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/40766830/_Gli_Ordini_di_Terrasanta_questioni_aperte_nuove_acquisizioni_XII_XVI_secolo_Convegno_internazionale_di_studi_Perugia_14_15_novembre_2019">"Gli Ordini di Terrasanta: questioni aperte, nuove acquisizioni (XII-XVI secolo)", Convegno internazionale di studi, Perugia, 14-15 novembre 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://unipa.academia.edu/SoniaMerli">Sonia Merli</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unipg.academia.edu/MirkoSantanicchia">Mirko Santanicchia</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> Il Convegno è organizzato dal Comune di Perugia e dall’Università degli Studi di Perugia (Dipar...</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 Convegno è organizzato dal Comune di Perugia e dall’Università degli Studi di Perugia (Dipartimento di Lettere - Lingue, letterature e civiltà antiche e moderne) e si inquadra nell’attività scientifica promossa nell’ambito della Templars Route European Federation, della quale il Comune di Perugia è membro fondatore.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9f714d60805b81a9dfd896d70452f5b6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61046856,"asset_id":40766830,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61046856/download_file?st=MTczMzExNTk4MSw4LjIyMi4yMDguMTQ2&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="40766830"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa 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