Papers by Paolo Di Simone
Petrarca und die Bildenden Künste. Dialoge-Spiegelungen-Transformationen, hrsg. von M.A Terzoli und S. Schütze, De Gruyter, Berlin-Boston 2021, pp. 153-188
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Il fumetto nel Medioevo, a cura di M. Miglio, Istituto Storico Italiano per il Medio Evo, Roma 2021, pp. 31-97
Medieval Europe in Motion 3. The Circulation of Jurists, Legal Manuscripts and Artistic, Cultural and Legal Practices in Medieval Europe (13th-15th centuries), ed. by M.A. Bilotta, Officina di Studi Medievali, Palermo 2021, pp. 215-241
This essay offers a significant overview of the critical history about juridical manuscripts writ... more This essay offers a significant overview of the critical history about juridical manuscripts written or preserved in the Abruzzi, a region in the north-east of the Kingdom of Naples, and proposes new reflections about surviving books and fragments. Furthermore, the author deals with the historical, social and cultural context in which they circulated, enlighting relationships between Abruzzi and the rest of the Europe and his legal tradition.
Judici i Justícia. Art sacre i profà medieval i modern, R. Alcoy i C. Fontcuberta (eds.), UB, Barcelona 2020, pp. 183-213
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ABside. Rivista di Storia dell'Arte, I, 2019, pp. 47-74
This essay aims to investigate around the links between art and Italian language and literature e... more This essay aims to investigate around the links between art and Italian language and literature established by Seroux d'Agincourt in his Histoire de l'Art par les monumens. In particular, it deals with the role played by Petrarca and Ariosto in Seroux's historiographical vision.
Arte Medievale, s. IV, VIII, 2018, pp. 99-106
This essay gives a brief overview of the drawings representing Neapolitan medieval paintings from... more This essay gives a brief overview of the drawings representing Neapolitan medieval paintings from the collection of art historian Jean-Baptiste Seroux d’Agincourt housed in the Vatican Apostolic Library. In particular, it deals with a hitherto unpublished copy of the missing central panel of S. Maria Incoronata altarpiece described by Bernardo De Dominici.
Scrigni da sfogliare. L'arte antica delle legature, catalogo della mostra (Tagliacozzo, Museo del Convento di San Francesco, agosto-ottobre 2018), a cura di F. de Sanctis, Avezzano 2018, pp. 52-59
Updated and revised version of Il Graduale di San Cesidio. Dal testo al contesto in La collegiata... more Updated and revised version of Il Graduale di San Cesidio. Dal testo al contesto in La collegiata dei Santi Cesidio e Rufino a Trasacco: un santuario nella Marsica, a cura di G. Curzi, Gangemi, Roma 2015, pp. 105-110, and Avezzano, Archivio Diocesano dei Marsi, Graduale di San Cesidio a Trasacco, in Illuminare l'Abruzzo. Codici miniati tra Medioevo e Rinascimento, a cura di G. Curzi, F. Manzari, F. Tentarelli, A. Tomei, Pescara 2012, pp. 229-230.
Hortus Artium Medievalium, XXIV, 2018, pp. 366-378
This essay focuses on the lost church of Santa Croce a Villa Madama in Rome, often mentioned by s... more This essay focuses on the lost church of Santa Croce a Villa Madama in Rome, often mentioned by scholars but yet unknown in its ichnographic features. A series of hitherto unpublished drawings from the collection of the art historian Jean-Baptiste Seroux d'Agincourt, housed in the Biblioteca Apostolica Vaticana, allows reconstructing the original aspect of the building, formerly a roman cistern.
Nuovi studi. Rivista di arte antica e moderna, XXIII, 2017, pp. 39-60
This essay examines and discusses a hitherto unpublished drawing reproducing a fresco in Siena, n... more This essay examines and discusses a hitherto unpublished drawing reproducing a fresco in Siena, now lost but traditionally attributed to Simone Martini by sources ranging from Ghiberti to Della Valle. The drawing, from the collection of the art historian Jean-Baptiste Seroux d’Agincourt housed in the Biblioteca Apostolica Vaticana, prompts discussion regarding the painting’s iconography and style.
Seroux d'Agincourt e la documentazione grafica del Medioevo. I disegni della Biblioteca Apostolica Vaticana, a cura di I. Miarelli Mariani e S. Moretti, Città del Vaticano 2017 (Studi e testi, 523), pp. 267-421
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Annales d'Histoire de l'Art et d'Archéologie, XXXVIII, 2016, pp. 49-83
This essay discusses Hans Belting’s and Bernard Aikema’s recent studies on Giorgione’s Tempesta. ... more This essay discusses Hans Belting’s and Bernard Aikema’s recent studies on Giorgione’s Tempesta. The authors connect this enigmatic masterpiece with Jacopo Sannazaro’s Arcadia, the Renaissance notion of a Golden Age and the debate on the origins of humanity, common in North European humanistic culture. Furthermore, it analyzes an illumination by Jean Bourdichon which seems to confirm the evocative link between Giorgione’s Tempesta and the nordic iconography of the Wild Man and his family, a symbol of an utopic escape from the corrupt social system, like the melancholic exile of poets-shepherds in Sannazaro’s Arcadia.
Hortus Artium Medievalium, XXII, 2016, pp. 313-325
This essay takes into account the fragments of a mid-fourteenth-century fresco cycle in the churc... more This essay takes into account the fragments of a mid-fourteenth-century fresco cycle in the church of San Domenico in Penne, representing biblical stories, the legend of Saint John the Evangelist and, probably, the visions of Apocalypse. These frescoes reveal stylistic parallels with contemporary Neapolitan miniature and painting, and seem to attest the mobility of artists and the transfer of form between Naples, with its giottesque masterpieces in the church of Santa Chiara and in the Palatine Chapel in Castel Nuovo, and the Adriatic side of the angevin Kingdom.
Art medieval en joc, R. Alcoy (ed.), UB, Barcelona 2016, pp. 341-356
Monza Illustrata 2015. Annuario di arti e culture a Monza e in Brianza, a cura di R. Delmoro, Aracne editrice, Roma 2016, pp. 111-158
Milanese sketchbook. A visit to the exhibition Lombard Art from Visconti to Sforza - Milan at the... more Milanese sketchbook. A visit to the exhibition Lombard Art from Visconti to Sforza - Milan at the Centre of Europe (Milan, Palazzo Reale, 12 March-28 June 2015).
The recent exhibition held at the Palazzo Reale in Milan offered the opportunity to provide a significant overview of artistic production in the Visconti-Sforza state between the fourteenth and fifteenth centuries, opening a debate on historical and philological issues related to this context.
This essay aims to put forward suggestions with regard to some of these questions. In particular, reconsidering the works exhibited, it deals with the presence and the role of painters in the Visconti court from Giotto to Michelino da Besozzo. Furthermore, it focuses on cultural exchanges across Europe in the late Middle Ages and early Renaissance.
La collegiata dei Santi Cesidio e Rufino a Trasacco: un santuario nella Marsica, a cura di G. Curzi, Gangemi, Roma 2015, pp. 105-110
© Proprietà letteraria riservata Gangemi Editore spa Piazza San Pantaleo 4, Roma www.gangemiedito... more © Proprietà letteraria riservata Gangemi Editore spa Piazza San Pantaleo 4, Roma www.gangemieditore.it Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. In quarta di copertina: Trasacco, Santi Cesidio e Rufino, altare maggiore, fiancata anteriore del sarcofago Tutti i testi contenuti in questo volume sono stati sottoposti ad un procedimento di peer review. Volume pubblicato con il contributo dell'Università degli Studi "G. d'Annunzio" di Chieti-Pescara. Dipartimento di Lettere, Arti e Scienze Sociali P D F E s t r a t t o A u t o r e LA COLLEGIATA DEI SANTI CESIDIO E RUFINO A TRASACCO un santuario nella Marsica a cura di Gaetano Curzi con la collaborazione di Marco D'Attanasio e Simona Manzoli P D F E s t r a t t o A u t o r e INDICE Gaetano Curzi, Trasacco, le ragioni di una scelta 7 Maria Carla Somma, Trasacco e la collegiata di San Cesidio: note di archeologia medievale per la lettura delle trasformazioni post classiche del bacino fucense 9 Maria Cristina Rossi, L'architettura medievale della collegiata del Santi Cesidio e Rufino attraverso i documenti e le fonti 19 Alice Petrongolo, Mathieu Piavaux, La chiesa medievale: stato della questione e nuove prospettive di ricerca 31 Valeria Gambi, I portali della basilica di Trasacco tra tradizione ed eclettismo 55 Maria Antonella Madonna, Spolia e arredi dalla basilica medievale 71 Marco D'Attanasio, La decorazione pittorica d'età medievale 85 Claudia D'Alberto, La cappella di Santa Caterina. Feudatari locali e artisti stranieri per un piccolo pantheon familiare ed ecclesiastico 95 Paolo di Simone, Il Graduale di San Cesidio. Dal testo al contesto 105 Gaetano Curzi, Culto, reliquie e reliquiari 111 Simona Manzoli, La collegiata di Trasacco in età moderna. Echi baroniani e culti martiriali 123 Cecilia Mazzetti di Pietralata, Gli affreschi della navata destra 131 Diana Di Marino, L'oratorio dell'Immacolata Concezione 141 Simona Manzoli, L'apparato moderno: dipinti e altari 151 Cecilia Mazzetti di Pietralata, Gli affreschi della sacrestia 163 Valentina Fraticelli, La cappella di San Cesidio 165 Diana Di Marino, Gli arredi lignei tra XVI e XVIII secolo 171 Simona Manzoli, Fonti fotografiche per lo studio della collegiata 179 Maria Cristina Rossi, Un breve ragguaglio delle vicende dell'archivio parrocchiale e storia del patrimonio documentario 189 Appendice documentaria. Le visite pastorali, a cura di Marco D'Attanasio e Valentina Fraticelli 193 Bibliografia 197
The Survival of the Trecento in the Fifteenth Century, ed. by L. Bourdua, Edizioni ETS, Pisa 2015 (Predella Monografie, 9, 2014), pp. 31-64
The cult of the past is a very common topos not only in the humanistic Quattrocento but also in t... more The cult of the past is a very common topos not only in the humanistic Quattrocento but also in the Middle
Ages, and it represents a strong propaganda tool in profane art associated with astronomical and moralistic
allegories, frequent in the fourteenth and fifteenth centuries. This essay investigates some profane
themes - linked with contemporary literature - in court art between the late Middle Ages and early Renaissance.
In particular, it deals with secular cycles of Illustrious Men and Triumphs, following continuity and
transformations from older evidence (often lost) to their presence in proto-humanistic contexts in Italy before
the Quattrocento, when these typical themes are documented everywhere. Furthermore, it discusses
the relationships between images, words and memory; and the propagation of Illustrious Genealogies in
the late Trecento.
Predella. Journal of Visual Arts, 2014, 35, pp. 179-207
This essay discusses Hans Belting’s and Bernard Aikema’s recent studies on Giorgione’s Tempesta. ... more This essay discusses Hans Belting’s and Bernard Aikema’s recent studies on Giorgione’s Tempesta. The authors
connect this enigmatic masterpiece with Jacopo Sannazaro’s Arcadia, the Renaissance notion of a
Golden Age and the debate on the origins of humanity, common in North European humanistic culture.
Furthermore, it analyzes an illumination by Jean Bourdichon which seems to con! rm the evocative link
between Giorgione’s Tempesta and the nordic iconography of the Wild Man and his family, a symbol of an
utopic escape from the corrupt social system, like the melancholic exile of poets-shepherds in Sannazaro’s
Arcadia.
Art fugitiu. Estudis sobre art medieval desplaçat, R. Alcoy (ed.), UB, Barcelona 2014, pp. 461-483
«Non soltanto per lenta e oscura trasmissione giunse anche nella Lombardia il nuovo stile fiorent... more «Non soltanto per lenta e oscura trasmissione giunse anche nella Lombardia il nuovo stile fiorente in Toscana, ma vi si affermò per opera diretta del suo maggior artefice, di Giotto. E sebbene non si ritrovi più nessuna traccia degli affreschi che il maestro lasciò a Milano, il riflesso della sua arte è per tutto». 1 Così, cento anni fa, Pietro Toesca sintetizzava in uno dei suoi libri più importanti 2 il problema della presenza, nei territori do-minati nel corso del x i v secolo dalla signoria dei Visconti, 3 di pitture murali innegabilmente «giottesche», 4 informate della nuova e rivoluzionaria concezione che nel giro di pochi anni aveva mutato in maniera radicale Profughi toscani nella Milano viscontea. In margine al problema di Stefano Fiorentino Paolo di Simone * Nel maggio del 2012 è uscito un libro molto importante, che raccoglie gli atti di un convegno svoltosi due anni prima presso l'Università di Lausanne: Serena Romano, Damien Cerutti (a cura di), L'artista girovago. Forestieri, avventurieri, emigranti e missionari nell'arte del Trecento in Italia del Nord, atti del convegno (Lausanne, 7-8 maggio 2010), Roma, 2012. Sono lieto di poter tenere conto delle riflessioni ivi contenute, che, oltre a stimolare nuovi ed originali approcci alla ricerca, arricchiscono con ulteriori argomenti alcune ipotesi espresse in questa sede e altrove, relative soprattutto al problema della Crocifissione di San Gottardo in Corte e al ciclo degli Uomini Illustri che decorava il palazzo di Azzone Visconti. Desidero ringraziare, per scambi di idee e materiale, ringraziamento particolare va a Ferdinando Bologna: il suo libro forse più bello mi ha accompagnato durante tutte le ricerche sui Pittori alla Corte Viscontea di Milano. Dedico questo saggio alla cara, lieta memoria di mio nonno Timoteo, per tutti Timuccio.
Rivista d'Arte, V serie, III, 2013, pp. 35-55
This essay aims to investigate the lost ‘Uomini Illustri’ cycles in Napoli, Milano
and Padova, tr... more This essay aims to investigate the lost ‘Uomini Illustri’ cycles in Napoli, Milano
and Padova, traditionally linked to Giotto, Petrarch and to the ‘Proto-Humanistic’
culture. The author offers some research ideas and hypothesis on the iconography
of the lost frescoes and their cultural contexts, considering the most recent critical
literature, with particular attention to Petrarchan studies, the circulation of ideas,
books and images, and the surviving transformations of classical, artistic and literary
models in Europe during the Middle Ages.
Rivista d'Arte, V serie, II, 2012, pp. 39-76
This essay aims to investigate around the lost Uomini Illustri cycles in Napoli,
Milano and Padov... more This essay aims to investigate around the lost Uomini Illustri cycles in Napoli,
Milano and Padova, traditionally linked to Giotto, Petrarch and to the “Proto-Humanistic”
culture. The author proposes some research ideas and hypotheses about
the iconography of the lost frescoes and their cultural contexts, considering the most
recent critical literature, with particular attention to Petrarchan studies, the circulation
of ideas, books and images, the surviving and transformations of classical artistic
and literary models in Europe during the Middle Ages.
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Papers by Paolo Di Simone
The recent exhibition held at the Palazzo Reale in Milan offered the opportunity to provide a significant overview of artistic production in the Visconti-Sforza state between the fourteenth and fifteenth centuries, opening a debate on historical and philological issues related to this context.
This essay aims to put forward suggestions with regard to some of these questions. In particular, reconsidering the works exhibited, it deals with the presence and the role of painters in the Visconti court from Giotto to Michelino da Besozzo. Furthermore, it focuses on cultural exchanges across Europe in the late Middle Ages and early Renaissance.
Ages, and it represents a strong propaganda tool in profane art associated with astronomical and moralistic
allegories, frequent in the fourteenth and fifteenth centuries. This essay investigates some profane
themes - linked with contemporary literature - in court art between the late Middle Ages and early Renaissance.
In particular, it deals with secular cycles of Illustrious Men and Triumphs, following continuity and
transformations from older evidence (often lost) to their presence in proto-humanistic contexts in Italy before
the Quattrocento, when these typical themes are documented everywhere. Furthermore, it discusses
the relationships between images, words and memory; and the propagation of Illustrious Genealogies in
the late Trecento.
connect this enigmatic masterpiece with Jacopo Sannazaro’s Arcadia, the Renaissance notion of a
Golden Age and the debate on the origins of humanity, common in North European humanistic culture.
Furthermore, it analyzes an illumination by Jean Bourdichon which seems to con! rm the evocative link
between Giorgione’s Tempesta and the nordic iconography of the Wild Man and his family, a symbol of an
utopic escape from the corrupt social system, like the melancholic exile of poets-shepherds in Sannazaro’s
Arcadia.
and Padova, traditionally linked to Giotto, Petrarch and to the ‘Proto-Humanistic’
culture. The author offers some research ideas and hypothesis on the iconography
of the lost frescoes and their cultural contexts, considering the most recent critical
literature, with particular attention to Petrarchan studies, the circulation of ideas,
books and images, and the surviving transformations of classical, artistic and literary
models in Europe during the Middle Ages.
Milano and Padova, traditionally linked to Giotto, Petrarch and to the “Proto-Humanistic”
culture. The author proposes some research ideas and hypotheses about
the iconography of the lost frescoes and their cultural contexts, considering the most
recent critical literature, with particular attention to Petrarchan studies, the circulation
of ideas, books and images, the surviving and transformations of classical artistic
and literary models in Europe during the Middle Ages.
The recent exhibition held at the Palazzo Reale in Milan offered the opportunity to provide a significant overview of artistic production in the Visconti-Sforza state between the fourteenth and fifteenth centuries, opening a debate on historical and philological issues related to this context.
This essay aims to put forward suggestions with regard to some of these questions. In particular, reconsidering the works exhibited, it deals with the presence and the role of painters in the Visconti court from Giotto to Michelino da Besozzo. Furthermore, it focuses on cultural exchanges across Europe in the late Middle Ages and early Renaissance.
Ages, and it represents a strong propaganda tool in profane art associated with astronomical and moralistic
allegories, frequent in the fourteenth and fifteenth centuries. This essay investigates some profane
themes - linked with contemporary literature - in court art between the late Middle Ages and early Renaissance.
In particular, it deals with secular cycles of Illustrious Men and Triumphs, following continuity and
transformations from older evidence (often lost) to their presence in proto-humanistic contexts in Italy before
the Quattrocento, when these typical themes are documented everywhere. Furthermore, it discusses
the relationships between images, words and memory; and the propagation of Illustrious Genealogies in
the late Trecento.
connect this enigmatic masterpiece with Jacopo Sannazaro’s Arcadia, the Renaissance notion of a
Golden Age and the debate on the origins of humanity, common in North European humanistic culture.
Furthermore, it analyzes an illumination by Jean Bourdichon which seems to con! rm the evocative link
between Giorgione’s Tempesta and the nordic iconography of the Wild Man and his family, a symbol of an
utopic escape from the corrupt social system, like the melancholic exile of poets-shepherds in Sannazaro’s
Arcadia.
and Padova, traditionally linked to Giotto, Petrarch and to the ‘Proto-Humanistic’
culture. The author offers some research ideas and hypothesis on the iconography
of the lost frescoes and their cultural contexts, considering the most recent critical
literature, with particular attention to Petrarchan studies, the circulation of ideas,
books and images, and the surviving transformations of classical, artistic and literary
models in Europe during the Middle Ages.
Milano and Padova, traditionally linked to Giotto, Petrarch and to the “Proto-Humanistic”
culture. The author proposes some research ideas and hypotheses about
the iconography of the lost frescoes and their cultural contexts, considering the most
recent critical literature, with particular attention to Petrarchan studies, the circulation
of ideas, books and images, the surviving and transformations of classical artistic
and literary models in Europe during the Middle Ages.
Tale culto non conobbe flessioni presso le popolazioni locali e venne rilanciato, in piena Controriforma, dal cardinal Cesare Baronio e quindi, nei secoli successivi, da figure di prima grandezza dell'erudizione storico-religiosa come Febonio e Corsignani.
Una storia dunque estremamente significativa, attestata da una notevole mole di documentazione scritta e da un edificio che esibisce un palinsesto monumentale ancora leggibile che partendo dall'Alto Medioevo giunge al primo Novecento, caso rarissimo in una regione dove eventi naturali e volontà di rinnovamento o ripristino, anche recenti, hanno immiserito contesti plurisecolari.
E' stata proprio l'eccezionale stratificazione storica, artistica e cultuale sedimentatasi a Trasacco a spingere un gruppo di studiosi dell'Università degli Studi di Chieti-Pescara a realizzare questo volume, frutto di due anni di ricerche 'sul campo'.
The conference’s themed sections will address the multiple registers of legislative power and the eschatological and hagiographic dimensions of divine and human justice, which together bind common or earthly existence into the complexity of a religious system. In conjunction with this, study of the historical context and textual and documentary sources serves to corroborate and clarify these diverse themes while furthering a deeper understanding of the specific visual significance of images.
The journal embraces the thematic field of the artistic production spanning from the 3/4th century to the contemporary age. The interest area is the history of art, conservation, enhancement and restoration of cultural heritage. Particular attention will be given to studies that deal with aspects related to museology and to the themes of the enhancement of cultural heritage. From the geographical point of view the area of choice will be the Mediterranean one, intended both as a physical geographical space and as a cultural term of comparison for studies that deal with aspects common to other areas and relations of cultural and material interchange. Particular attention will also be given to studies dealing with aspects related to the museology, to the restoration of monuments, to issues related to the enhancement of cultural sites. The journal aims to encourage, in the areas identified above, the historical-artistic research on the Mediterranean area, with an opening also to other territories, presenting itself as a container for exchange and comparison not only among the members of the academic community but, overcoming national boundaries, between the different academic communities and civil society.
8-11 de maig de 2019, Facultat de Geografia i Història, Universitat de Barcelona.
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