Papers by Marco D'Attanasio
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Additions to the illuminated production from the Marches. The late 13th-century Antiphonary fragm... more Additions to the illuminated production from the Marches. The late 13th-century Antiphonary fragments in the Biblioteca Communale at Ascoli Piceno. This study introduces five illuminated choir books preserved in the Biblioteca Communale 'G. Gabrielli' at Ascoli Piceno, until now practically overlooked by art historical literature. Choir book ms. 14 had been mentioned in the past, but other four manuscripts, among those kept in the library, are undoubtedly related to it (mss. 9, 11, 12, 13). A codicological and textual analysis has allowed us to recognize in the books the Offices pertaining to the Proper of the Season, the Proper of the Saints and the Common of the Saints. It is therefore possible to suggest that the manuscripts, containing parts of the Antiphonary, probably belonged to the same liturgical series; nonetheless, given that every volume has been manipulated, it is not possible to be absolutely certain about this. The manuscripts still comprise many illuminated i...
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Actual Problems of Theory and History of Art, 2016
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This study introduces five illuminated choir books preserved
in the Biblioteca Comunale ‘G. Gabri... more This study introduces five illuminated choir books preserved
in the Biblioteca Comunale ‘G. Gabrielli’ atAscoli
Piceno, until now practically overlooked by art historical
literature. Choir book ms. 14 had been mentioned in the
past, but other four manuscripts, among those kept in the
library, are undoubtedly related to it (mss. 9, 11, 12, 13).
A codicological and textual analysis has allowed us to
recognize in the books the Offices pertaining to the Proper
of the Season, the Proper of the Saints and the Common
of the Saints. It is therefore possible to suggest that
the manuscripts, containing parts of the Antiphonary,
probably belonged to the same liturgical series; nonetheless,
given that every volume has been manipulated, it is
not possible to be absolutely certain about this. The manuscripts
still comprise many illuminated initials, both
decorated and historiated, and the article proposes to
assign them to three different workshops, which seem to
work in parallel. It is possible to compare the miniatures
with illuminations produced in other areas of central
Italy; some decorated initials have stylistic affinities with
Umbrian late 13th-century art, while other elements suggest
a relationship with Rome. Moreover, even closer
comparisons can be found with a group of frescoes in the
churches of San Vittore and San Giacomo in Ascoli
Piceno. The lack of information regarding illuminated
manuscripts produced in the Marches prevents us from
ascertaining if it was the illuminators that copied the
painters or the opposite, but the affinities between frescoes
and miniatures are unquestionable. This allows us to
suppose that the manuscripts were illuminated by local
workshops, at the end of the 13th century, as stylistic, liturgical
and historical reasons agree in dating the manuscripts
to the last decade of this century. The five manuscripts
are therefore extremely important, because they
document a period of illumination from the Marches until
now practically unknown.
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Lanciano, Santa Maria Maggiore, Crocifisso, in Abruzzo: un laboratorio di ricerca sulla scultura lignea, Atti del Convegno (Chieti, 29-30 ottobre 2009), a cura di G. Curzi e A. Tomei, Casoria, Loffredo 2011, in “Studi medievali e moderni”, a. XV (2011), I-II, nn. 29-30, pp. 45-68.
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Exhibition by Marco D'Attanasio
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Papers 2017 by Marco D'Attanasio
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Book presentation by Marco D'Attanasio
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Talks by Marco D'Attanasio
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Books by Marco D'Attanasio
Arte di confine. Pittura nelle Marche Merdionali tra XII e XIII secolo, 2023
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Papers by Marco D'Attanasio
in the Biblioteca Comunale ‘G. Gabrielli’ atAscoli
Piceno, until now practically overlooked by art historical
literature. Choir book ms. 14 had been mentioned in the
past, but other four manuscripts, among those kept in the
library, are undoubtedly related to it (mss. 9, 11, 12, 13).
A codicological and textual analysis has allowed us to
recognize in the books the Offices pertaining to the Proper
of the Season, the Proper of the Saints and the Common
of the Saints. It is therefore possible to suggest that
the manuscripts, containing parts of the Antiphonary,
probably belonged to the same liturgical series; nonetheless,
given that every volume has been manipulated, it is
not possible to be absolutely certain about this. The manuscripts
still comprise many illuminated initials, both
decorated and historiated, and the article proposes to
assign them to three different workshops, which seem to
work in parallel. It is possible to compare the miniatures
with illuminations produced in other areas of central
Italy; some decorated initials have stylistic affinities with
Umbrian late 13th-century art, while other elements suggest
a relationship with Rome. Moreover, even closer
comparisons can be found with a group of frescoes in the
churches of San Vittore and San Giacomo in Ascoli
Piceno. The lack of information regarding illuminated
manuscripts produced in the Marches prevents us from
ascertaining if it was the illuminators that copied the
painters or the opposite, but the affinities between frescoes
and miniatures are unquestionable. This allows us to
suppose that the manuscripts were illuminated by local
workshops, at the end of the 13th century, as stylistic, liturgical
and historical reasons agree in dating the manuscripts
to the last decade of this century. The five manuscripts
are therefore extremely important, because they
document a period of illumination from the Marches until
now practically unknown.
Exhibition by Marco D'Attanasio
Papers 2017 by Marco D'Attanasio
Book presentation by Marco D'Attanasio
Talks by Marco D'Attanasio
Books by Marco D'Attanasio
in the Biblioteca Comunale ‘G. Gabrielli’ atAscoli
Piceno, until now practically overlooked by art historical
literature. Choir book ms. 14 had been mentioned in the
past, but other four manuscripts, among those kept in the
library, are undoubtedly related to it (mss. 9, 11, 12, 13).
A codicological and textual analysis has allowed us to
recognize in the books the Offices pertaining to the Proper
of the Season, the Proper of the Saints and the Common
of the Saints. It is therefore possible to suggest that
the manuscripts, containing parts of the Antiphonary,
probably belonged to the same liturgical series; nonetheless,
given that every volume has been manipulated, it is
not possible to be absolutely certain about this. The manuscripts
still comprise many illuminated initials, both
decorated and historiated, and the article proposes to
assign them to three different workshops, which seem to
work in parallel. It is possible to compare the miniatures
with illuminations produced in other areas of central
Italy; some decorated initials have stylistic affinities with
Umbrian late 13th-century art, while other elements suggest
a relationship with Rome. Moreover, even closer
comparisons can be found with a group of frescoes in the
churches of San Vittore and San Giacomo in Ascoli
Piceno. The lack of information regarding illuminated
manuscripts produced in the Marches prevents us from
ascertaining if it was the illuminators that copied the
painters or the opposite, but the affinities between frescoes
and miniatures are unquestionable. This allows us to
suppose that the manuscripts were illuminated by local
workshops, at the end of the 13th century, as stylistic, liturgical
and historical reasons agree in dating the manuscripts
to the last decade of this century. The five manuscripts
are therefore extremely important, because they
document a period of illumination from the Marches until
now practically unknown.