Gateways to Medieval Naples (7-9 June 2022)
Adrian Bremenkamp
Centro per la Storia dell'Arte e dell'Architettura delle Città Portuali
Tanja Michalsky
Elisabetta SciroccoRelated papers
Sacred Imagery, Confraternities and Urban Space in Medieval Naples
Confraternities in Southern Italy: Art, Politics and Religion, edited by David D'Andrea and Salvatore Marino, Toronto, Centre for Renaissance and Reformation Studies (Eassys and Studies, 52), 2022, pp. 43-102, 2022
In recent years, scholarly research has shown an increasing interest in the confraternal imagery, although studies have mainly concentrated on single case-studies. More comprehensive overviews were attempted for limited areas, such as Central and Northern Italy, during specific periods of time. Medieval Naples, like Southern Italy in general, has received no attention, although historical studies during the last few decades have offered a clearer picture of confraternal movements and other forms of lay associations that were active in the city since the early Middle Ages. Far from filling the gap, this article adopts an art-historical methodology to explore the visual culture, rituality and social composition of confraternities and other lay associations in medieval Naples. The survey focuses on three types of sacred images. Firstly, it discusses the monumental wooden Crucifixes that were on display in the main churches of the city. An essential feature in the visual layout of the church, the crucifixes also benefited from donations of lands and properties from the laypeople, a practice originally reserved in Naples to images of private devotion. Utilizing textual and material evidence, the article examines their relation with the most common kind of secular associations in the churches of Naples during the medieval and early modern periods: the “staurite”, from the Greek word for cross (“stauròs”). They were made of laymen who lived in the surroundings of the church and were devoted to charitable activities for the sick and poor of the district. Secondly, it examines sacred imagery in late medieval confraternities and other forms of lay religious associations by analysing three case-studies: the Disciplina della Croce, one of the oldest and longest living confraternities in Naples, originally formed by flagellants; the Annunziata, founded by a consortium of laymen and women in the fourteenth century as a church and hospital; two fifteenth century confraternities linked to the Dominican convents of S. Domenico Maggiore and S. Pietro Martire, whose members came from the aristocracy and the middle class respectively. Lastly, it presents two ancient images that originally belonged to local confraternities but gained a larger reputation after they proved miraculous in the sixteenth century: a panel with St. Antony of Padua in S. Lorenzo Maggiore, and the icon of the Madonna Bruna in S. Maria del Carmine. The narrative will ideally follow a historic itinerary in the medieval city: from the earlier places of worship in the old Greek and Roman centre, to the late medieval expansion towards the Market Square and the grand church of the Carmelites.
“A New View of Naples from the Campus Neapolitanus and its Authorship.” Gateways to Medieval Naples. The Edith O'Donnell Institute of Art History and Franklin University Switzerland Museo e Real Bosco di Capodimonte / La Capraia. June 8, 2022.
British Library Additional MS 12228, a royal version of the Arthurian Meliadus romance, was begun in Naples after May 1352 by Cristoforo Orimina’s workshop. The Neapolitan Angevins inserted themselves visually into the manuscript to bolster their clams to chivalrous valor and kingly legitimacy. Here Meliadus is a stand-in for Louis of Taranto, husband of Queen Giovanna I. Orimina carried the text throughout the manuscript but illustrations only to folio 259v. Then there is a change in illustration hand and style by a quattrocento artist. I propose that folios 259v–275v depict Naples as the stand-in for Arthurian Leonnois and that these preparatory drawings contain one of the city’s earliest, complete, and detailed perspectives from the Campus Neapolitanus, more accurate than the Metropolitan Museum of Art’s Charles III cassone of c.1382. To the right (recto) spreads King Arthur’s camp. To the left, on the facing versos, appears the characteristic combination of Ponte della Maddalena (Guizzardo) crossing over the Sebeto to Porta Maddalena (Carmine), marked throughout by the same high-arched, crenellated, and shallow rectangular form depicted in the Metropolitan’s cassone. Behind them rises the church of Sant’Agostino alla Zecca with its three-tiered tower, turret with its orb and cross, and bifore. In the center Castel Capuano. To the right S. Giovanni a Carbonara, here with a campanile contemporary with the original building. We will compare and verify this topography with the same relationships in the Tavola Strozzi of 1472/73. These illustrations bear a close relationship to a drawing for the eventual program for the triumphal arch of Alfonso I at Castel Nuovo. The drawing (now in Rotterdam) is attributed to Pisanello. Comparing these BL drawings to Pisanello’s known corpus, I note the close correspondences in chivalric subject matter, composition, perspective, drawing style and technique, and individual details of architecture, arms, armor, horses, and combat. Pisanello accepted Alfonso’s invitation to work in Naples between 1449 and the mid-1450s and was appointed court artist to do disegni, including manuscript illustration. I propose that Pisanello’s authorship is supported by the visual evidence and warrants further investigation. If accepted, this thesis would date this view of Naples to c.1450.
R. Balzaretti, J. Barrow y P. Skinner (eds.), Italy and Early Medieval Europe. Papers for Chris Wickham
Hortus artium medievalium, 2019
A Companion to Early Modern Naples
A Companion to Early Modern Naples, 2013
MUSEO DI CAPODIMONTE – SALE PITTURA MEDIEVALE
h. 11.10-11.50 / John Witty – Independent scholar
DAY 3 / Morning
Weaving Representations of Power: Depicting Middle Eastern and European Textiles
in Fourteenth-Century Naples
Free time to visit the museum
THURSDAY, 9 JUNE 2022
DAY 3 / Afternoon
REAL BOSCO DI CAPODIMONTE / LA CAPRAIA
This session is open to the public; pre-registration required
Chair: Adrian Bremenkamp – Bibliotheca Hertziana–Max-Planck-Institut für Kunstgeschichte
h. 14.30-15.10 / Nunzia Tota – Università degli Studi di Napoli “Federico II” / École des Hautes
Études en Sciences Sociales
Il ruolo dell’epigrafe nella scultura funeraria di età angioina a Napoli
h. 15.10-15.50 / Jill Caskey – University of Toronto
© Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte / Luciano e Marco Pedicini, Napoli
Webs of Gold: Ideologies of Metalwork in the Kingdom of Sicily
h. 15.50-17.00 Final discussion
h. 17.00 Closing reception at La Capraia
Organizing committee
Janis Elliott (Texas Tech University); Cathleen A. Fleck (Saint Louis University);
Tanja Michalsky, Elisabetta Scirocco, Antonino Tranchina, and Adrian Bremenkamp (Bibliotheca
Hertziana–Max-Planck-Institut für Kunstgeschichte); Vinni Lucherini and Stefano D’Ovidio
(Università degli Studi di Napoli “Federico II”–Dipartimento di Studi Umanistici); Sarah Kozlowski
and Francesca Santamaria (Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali
“La Capraia”, a collaboration between the Museo e Real Bosco di Capodimonte and the Edith
O’Donnell Institute of Art History at the University of Texas at Dallas)
Special thanks
The Samuel H. Kress Foundation, Museo e Real Bosco di Capodimonte, Amici di Capodimonte Ets,
Società Nazionale di Scienze, Lettere e Arti in Napoli, Consiglio Nazionale delle Ricerche – Istituto di
Scienze del Patrimonio Culturale, Biblioteca Nazionale di Napoli, Heidi Kessell (Edith O’Donnell Institute
of Art History), Raffaele Rossi (Bibliotheca Hertziana–Max-Planck-Institut für Kunstgeschichte)
Field Seminar
7-9 June 2022, Naples
Segreteria organizzativa
Francesca Santamaria
ASSISTANCE WITH GROUND COORDINATION
Alessia Attanasio
in collaboration with
La partecipazione è riservata ai partecipanti al seminario. Esclusivamente le sessioni del martedì mattina e
del giovedì pomeriggio sono aperte al pubblico previa registrazione scrivendo a lacapraia@gmail.com
TUESDAY, 7 JUNE 2022
DAY 1 / Morning
Chair: Stefano D’Ovidio – Università degli Studi di Napoli “Federico II”
BASILICA DELLA SANTISSIMA ANNUNZIATA MAGGIORE / Via Annunziata 34
h. 10.30-11.10 / David D’Andrea – Oklahoma State University
ACCADEMIA PONTANIANA / Via Mezzocannone 8
This session is open to the public; pre-registration required
h. 9.30-10.00 / Welcome and introduction by Janis Elliott and Cathleen Fleck, on behalf of the
organizing committee
Chair: Tanja Michalsky – Bibliotheca Hertziana–Max-Planck-Institut für Kunstgeschichte
h. 10.00-10.40 / Alfredo Buccaro – Università degli Studi di Napoli “Federico II” / CIRICE - Centro
Interdipartimentale di Ricerca sull’Iconografia della Città Europea
Alle soglie della Napoli ducale: architettura, urbanistica e cartografia digitale
h. 10.40-11.20 / Caroline Goodson – University of Cambridge
Environmental History of Early Medieval Naples: houses, churches, and their gardens
Medieval Naples as a Gateway of Health Care and Charity
Chair: Cathleen Fleck – Saint Louis University
PARCO DI RE LADISLAO / Via Cardinale Seripando
h. 11.30-12.10 / Andrea Pane – Università degli Studi di Napoli “Federico II”
L’architettura del complesso di San Giovanni a Carbonara a Napoli come paradigma
della transizione dal Gotico al Rinascimento
MADE IN CLOISTER / Piazza Enrico De Nicola 48
h. 12.30-13.10 / Hilary Haakenson – California State University
Sergianni in the Temple of Solomon: Spiritual Topography in San Giovanni a Carbonara
h. 11.20-11.40 / Coffee Break
DAY 2 / Afternoon
Chair: Vinni Lucherini – Università degli Studi di Napoli “Federico II”
h. 11.40-12.20 / Monica Santangelo – Università degli Studi di Napoli “Federico II”
Urban Space, social distinction and political representation: tocchi and Seggi in late medieval Naples
h. 12.20-13.00 / Damiana Di Bonito – Università degli Studi di Napoli “Federico II”
Riallestimenti di arredi altomedievali a Napoli tra XIX e XX secolo: il caso dei plutei della
chiesa di Sant’Aspreno al Porto
DAY 1 / Afternoon
Chair: Janis Elliott – Texas Tech University
BASILICA DI SAN DOMENICO MAGGIORE / Piazza San Domenico Maggiore
h. 15.00-15.40 / Sarah Wilkins – Italian Art Society / Pratt Institute
The Dominican and Angevin Worlds of the Brancaccio Chapel in San Domenico Maggiore
BASILICA DI SANTA RESTITUTA / Via Duomo 147
h. 16.00-16.40 / Alexis Wang – Columbia University
ISPC ISTITUTO DI SCIENZE DEL PATRIMONIO CULTURALE / Via Guglielmo Sanfelice 8
h. 15.10 -15.20 Greetings from Costanza Miliani, Director, ISPC
Chair: Antonino Tranchina – Bibliotheca Hertziana–Max-Planck-Institut für Kunstgeschichte
h. 15.20-16.00 / Nora Lambert – University of Chicago
Manuscripts on the Move
h. 16.00-16.40 / Ronald Musto – University of Bristol
A New View of Naples from the Campus Neapolitanus and its Authorship
h. 16.40-17.20/ Luisa Nardini – University of Texas, Austin
Campanian manuscripts in the Biblioteca Nazionale of Naples
h. 18.00, GALLERIE D’ITALIA, Via Toledo 177
Presentation of the volume Confraternities in Southern Italy: Art, Politics, and Religion (1100-1800),
edited by David D’Andrea and Salvatore Marino
The Embedded Panel in the Apse of Santa Restituta
THURSDAY, 9 JUNE 2022
WEDNESDAY, 8 JUNE 2022
DAY 2 / Morning
Chair: Elisabetta Scirocco – Bibliotheca Hertziana–Max-Planck-Institut für Kunstgeschichte
“SERINO” AQUEDUCT, BASILICA DI SANTA MARIA MAGGIORE ALLA PIETRASANTA / Piazzetta
Pietrasanta
h. 9.30-10.10 / Diana Mellon – Columbia University
DAY 3 / Morning
MUSEO E REAL BOSCO DI CAPODIMONTE / Via Miano 2
MUSEO DI CAPODIMONTE – SALA SOL LEWITT
h. 10.00-10.10 Greetings from Sylvain Bellenger, Director, Museo e Real Bosco di Capodimonte
Chair: Sarah Kozlowski – Edith O’Donnell Institute of Art History / Centro per la Storia dell’Arte
e dell’Architettura delle Città Portuali “La Capraia”
Aquatic Underground
h. 10.10-10.50 / Imogen Tedbury – Royal Museums Greenwich
Gateways to the Holy Land: The Aix-Lehman panels between Provence, Naples, Nubia and Jerusalem
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Related topics
Medieval HistoryMedieval StudiesUrban StudiesMedieval ArchaeologyMedieval ArchitectureMedieval ArtMedieval illuminated manuscriptsTombs (Medieval Studies)NaplesArquitetura e UrbanismoMedieval TextilesThe Kingdom of NaplesMedieval Wall PaintingsUrban SpaceMedieval panel paintingMedieval NaplesMittelalterliche GeschichteArchäologie des MittelaltersMedieval ReliquariesNeapolitan Art