{"id":9429,"date":"2023-07-28T11:49:26","date_gmt":"2023-07-28T09:49:26","guid":{"rendered":"http:\/\/bollettinodarte.cultura.gov.it\/?page_id=9429"},"modified":"2023-11-06T12:20:52","modified_gmt":"2023-11-06T11:20:52","slug":"il-refettorio-medievale-del-sacro-speco-a-subiaco-studi-in-occasione-del-restauro-di-roberta-cerone-tiziana-checchi-cecilia-bernardini","status":"publish","type":"page","link":"https:\/\/bollettinodarte.cultura.gov.it\/?page_id=9429","title":{"rendered":"Il refettorio medievale del Sacro Speco a Subiaco: studi in occasione del restauro\u00a0di Roberta Cerone, Tiziana Checchi, Cecilia Bernardini"},"content":{"rendered":"<div align=\"justify\"><strong>Estratto dal fascicolo 29 (gennaio-marzo 2016)<\/strong><\/div>\n<div align=\"justify\">Ultima Cena\u00a0e la\u00a0<em>Crocifissione<\/em>, e su i successivi interventi avvicendatisi sulle pareti e sulla volta della sala nei secoli XVI (\u00e8 di questo periodo una interessante<em>\u201cPiattaia\u201d<\/em>), XVIII e XIX, che fortunatamente hanno risparmiato i pi\u00f9 antichi dipinti trecenteschi. L\u2019interpretazione delle informazioni tecniche emerse, soprattutto per quanto riguarda gli interventi tardi, non sarebbe stata possibile senza le ricerche di archivio, che si sono svolte contemporaneamente al restauro e hanno confermato le intuizioni sui dati materiali, collocando nel tempo le diverse fasi decorative dell\u2019ambiente.Conclude l\u2019articolo, scritto a pi\u00f9 mani, una doppia appendice che rende conto delle tecniche usate (ad esempio, lo spolvero) e delle giornate impiegate dalle maestranze attive nel cantiere medievale (<em>Appendice 1<\/em>), nonch\u00e9 dello svolgimento del restauro (<em>Appendice 2<\/em>).<a title=\"Analisi diagnostiche\" href=\"http:\/\/www.bollettinodarte.beniculturali.it\/opencms\/multimedia\/BollettinoArteIt\/documents\/1503999844748_Falcucci_-_analisi.pdf\"><br \/>\n<\/a><a title=\"Analisi diagnostiche\" href=\"http:\/\/www.bollettinodarte.beniculturali.it\/opencms\/multimedia\/BollettinoArteIt\/documents\/1503999844748_Falcucci_-_analisi.pdf\"><br \/>\n<\/a><\/p>\n<div align=\"center\"><\/div>\n<div align=\"center\"><strong>The medieval Refectory of the Sacro Speco in Subiaco: new findings on the occasion of its restoration<\/strong><\/div>\n<div align=\"center\"><\/div>\n<div align=\"justify\">The restoration of the former Benedictine refectory in the Sacro Speco monastery in Subiaco \u2014 a space originally conceived as a monastic dormitory, and which today functions as a chapel \u2014 was sponsored in 2013 by the Ministero dei Beni e delle Attivit\u00e0 Culturali. The conservation work furnished a plentitude of data on the execution technique of the medieval mural paintings in the room where the residents had their meals, including two lunettes with the\u00a0<em>Last Supper<\/em> and <em>Crucifixion<\/em>, and on successive additions to the walls and vault of the hall in the 16th century (from this period there is an interesting depiction of a \u201c<em>Piattaia<\/em>\u201d),\u00a0and in the 18th and 19th centuries, which fortunately spared the earliest (13th\u2013century) murals.\u00a0The interpretation of the acquired technical information, especially with regard to the latest works, would not have been possible without the archival research undertaken simultaneously with the restoration. These findings confirmed the impressions gleaned from the material data, enabling the placement of the various decorative phases of the space in an accurate chronological sequence.\u00a0The article, co\u2013written by several authors, concludes with a double appendix on the artistic techniques used (e.g., spolvero) and the giornate of the artists active at the medieval worksite (<em>Appendix 1)<\/em>,\u00a0as well as on the execution of the restoration\u00a0(<em>Appendix 2<\/em>).<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Estratto dal fascicolo 29 (gennaio-marzo 2016) Ultima Cena\u00a0e la\u00a0Crocifissione, e su i successivi interventi avvicendatisi sulle pareti e sulla volta della sala nei secoli XVI (\u00e8 di questo periodo una interessante\u201cPiattaia\u201d), XVIII e XIX, che fortunatamente hanno risparmiato i pi\u00f9 antichi dipinti trecenteschi.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-9429","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/9429","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9429"}],"version-history":[{"count":2,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/9429\/revisions"}],"predecessor-version":[{"id":12270,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/9429\/revisions\/12270"}],"wp:attachment":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9429"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9429"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9429"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}