Romanesque architecture

RÉSUMÉ

Les études récentes consacrées à l’architecture de l’abbatiale Sainte-Foy de Conques montrent que l’approche archéologique du bâti permet de largement renouveler notre vision de la marche du chantier. Ainsi une étude archéologique plus approfondie est-elle réalisée afin de proposer, indépendamment de l’analyse stylistique de la sculpture, une marche du chantier plus raffinée. La répartition des matériaux, des techniques de taille, des trous de boulin et des marques lapidaires constitue les principales données archéologiques à exploiter, en plus de la mise en oeuvre des pierres. Cette marche des travaux offre un repère chronologique plus rigoureux à l’étude de la sculpture, et quelques pistes de réflexion peuvent déjà être avancées.

ABSTRACT

Recent studies on the architecture of Sainte-Foy at Conques show that the building archaeology enables us to renew largely our opinion on the construction process of the abbey church. In order to put forward a more detailed construction process, we have undertaken a more in-depth archaeological study, though leaving out of consideration stylistic analysis of sculpture. The distribution of construction materials, stone cutting techniques, putlog holes and masons’ marks is the main archaeological data to be studied, in addition to the masonry. This reconsidered construction process offer a more rigorous chronologic reference to sculpture study, and some new research ideas may also be suggested.

RESUM

Estudis recents sobre l’arquitecture de Sainte-Foy de Conques mostren que l’aproximació arqueològica a l’edifici permet renovar àmpliament la visió del procés constructiu de l’església abacial. Hem dut a terme un aprofundit estudi arqueològic per tal de proposar un procés de construcció més detallat i independent de l’anàlisi estilística de l’escultura. Les nostres dades arqueològiques principals són la distribució de materials de construcció, les tècniques de talla, els forats de bastida i les marques de picapedrer, a més de la disposició en obra dels carreus. Aquest procés constructiu novament definit ofereix una referència cronològica més rigorosa per a l’estudi de l’escultura i també permet avançar algunes noves orientacions de reflexió."

Eine große Zahl herausragender Denkmäler der mittelalterlichen Baukunst befindet sich auf dem Gebiet des heutigen Polen. Zwischen Oder und Weichsel liegen sowohl Kernlandschaften Polens als auch Territorien, die vormals dem deutschen Kulturraum angehörten. Es zeigen sich im gesamten Raum vielfältige und einander durchdringende Phänomene der deutsch-polnischen Kulturbeziehungen. Kunsthistoriker aus Deutschland und Polen haben in einem gemeinsamen Projekt, angesiedelt am kunsthistorischen Institut der Johannes Gutenberg-Universität Mainz (Prof. Matthias Müller), erstmals in deutscher Sprache eine umfassende Gesamtdarstellung der mittelalterlichen Architektur in den historischen Landschaften von Großpolen, Kleinpolen, Masowien, Schlesien, Hinterpommern/Neumark sowie des Deutschordenslands Preußen verfasst. Die Ergebnisse dieser Arbeit liegen nun, unter der Herausgeberschaft von Prof. Dethard von Winterfeld (Mainz) und Prof. Christofer Herrmann (Danzig), in einer zweibändigen und reich bebilderten Publikation vor. Das Buch richtet sich an ein deutschsprachiges Publikum, dem heute die großartigen Denkmäler östlich der Oder – in denen sich deutsche und polnische Geschichte widerspiegelt – kaum mehr bekannt sind. Für die Wissenschaft wird zugleich eine breite Materialgrundlage für weiterführende Studien geschaffen.

Only recently have the connecting-openings and viewing-ducts in the vaults of crypts received attention in research. They can be found dating from the 10th to the 13th century in Germany, France, and Italy, and can be classified within the broad field of hagioscopes and fenestellae, such as in Santa Maria Assunta Ivrea. However, many of these are not explicitly aligned with the tomb of a saint, but rather allow laymen as clerics also to participate in the events in the crypt from spaces located above the crypts or even from the outside; for example, in Santo Sepolcro in Acquapendente or Saint-Gilles-du-Gard. Some of the holes are so large, that they seem created for inspection, whiles others are so narrow and routed low through the vault, at times closed with bars, that they can be observed only by means of hearing. Also, the symbolic link, which these openings produce, has played an even greater roll than the actual visual or auditory witness of the mass, or illuminations approaching olfactory experience through incense. In this way, crypts, closed for the most part for reasons of safety, but also for reasons of seclusion – notwithstanding access for pilgrims – could guarantee a connection to a holy place. To those crypts with vault-openings – already well-known in the literature, for example Ivrea and Quedlinburg – the as yet undiscovered examples of Santo Sepolcro in Acquapendente and Saint-Gilles will be added.

La croce di Santa Maria Maggiore, di pietra aurisina, restaurata e ricomposta nei suoi frammenti da Giovanni Giannelli, direttore tecnico del Laboratorio di Restauro
Ottorino Nonfarmale S.r.l., e collocata su una colonna di pietra gialla ramata di Vicenza, foggiata dal Laboratorio Morseletto, torna ad essere patrimonio archeologico
visibile della città di Bologna. Dopo essere rimasta a lungo nascosta, è stata rinvenuta durante i recenti lavori di consolidamento del portico della basilica di Via Galliera, dove è attesa per la definitiva collocazione all’interno della chiesa. (Mons. Rino Magnani)
Si tratta di un tassello archeologico importante che reca la data certa del 1143,
ma potrebbe anche trasformarsi in chiave determinante di interpretazione per
rileggere le maestranze di quegli anni.

On the Isle of Texel (NL) in the central village of Den Burg (the Burgh) in medieval times a church was erected, dedicated to Saint Sixtus, the Sixth Pope of Rome. The paper describes the slow transformation of the Frisian islanders from their Germanic believe into the mould of Christianity. The paper combines archaeology, building history and medieval history.

published  in Antichità tardoromane e medievali nel territorio di Bracciano, Atti della giornata di studi, Bracciano, Castello Odescalchi 15 giugno 1991, Viterbo 1994, pp. 97-124.
The analysis of three medieval churches in the area surrounding the Lake of Bracciano (ca. 20 miles North of Rome) gives the opportunity to consider some decorative motifs in the masonry technique that recall the Roman Architecture of the Imperial age. We can observe in some parts of  the ecclesiastical buildings the imitation of ancient Roman opus reticulatum, opus spicatum, and opus vittatum.  In the church of St. Catherine in Trevignano the quality of reused opus reculatum gives almost the impression of an ancient building. These cases don’t appear, anyway, as an ideological reference to the Imperial Rome, as it occurs in other Medieval buildings in Europe, especially during the Carolingian era.

Auteur : Pierre MARTIN (UNI)
N° site : 45 234 025 AH
N° d’OA : 0612082
Responsable de l’opération : Pierre MARTIN (UNI)
Nature de l’opération : Projet collectif de recherche pluriannuel (PCRP), janvier à décembre 2018
Couverture géographique : Centre-Val de Loire > Loiret > Orléans > Cathédrale Sainte-Croix
Code INSEE de la commune : 45 234
Mots-clefs du thésaurus : Cathédrale, groupe épiscopal, architecture romane, architecture gothique, sous-sol archéologique, historiographie
Chronologie : Antiquité tardive, haut Moyen Âge, XIe siècle, XIIe siècle, XIIIe siècle, bas Moyen Âge, époque moderne, époque contemporaine
Peuples et cités : Orléans, Aurelianum
Keywords : Cathedral, episcopal quarter, romanesque architecture, gothic architecture, archaeological basement, historiography,
Late Antiquity, Early Middle Ages, 11th century, 12th century, 13th century, Late Middle Ages, Early modern period, Late modern period
Titre : Orléans
Sous-titre : Cathédrale Sainte-Croix


L’année 2017 a marqué le 80e anniversaire des fouilles entreprises par Georges Chenesseau sous le chevet de la cathédrale Sainte-Croix d’Orléans. Elle a également été l’occasion de rouvrir le dossier dans le cadre d’un Projet collectif de recherche (PCR). À l’issue de cette année probatoire, la richesse des éléments à reprendre a logiquement conduit à déposer une demande de PCR pluriannuel pour la triennale 2018-2020. La première année de triennale avait plusieurs objectifs dont les principaux résultats, encore partiels, peuvent être évoqués en cinq points.

En premier lieu, le dossier historique a pu être rouvert et amène ainsi à reconsidérer les données fournies par les sources écrites. Le récolement de la documentation a largement progressé et devrait aboutir à la reprise d’un certain nombre d’études sur les textes relatifs à la cathédrale au cours des siècles. À ce titre, les Vies de saint Euverte et le récit de Raoul Glaber – principale source d’information sur la reconstruction des alentours de l’an mil – seront l’objet d’une attention particulière.

En second lieu, les aspects historiographiques illustrent une nouvelle fois la nécessité de rentrer dans la logique des travaux du chanoine Chenesseau. Il s’agit sans doute du seul biais afin de dépasser des interprétations parfois douteuses de notre illustre prédécesseur qui fut non seulement le témoin de sa propre fouille – heureusement largement documentée – mais aussi de nombreuses sources écrites disparues dans l’incendie des Archives départementales du Loiret en 1940.

En troisième lieu, le travail de topographie permet désormais une nouvelle documentation graphique de la cathédrale. Celle-ci servira aussi bien pour la recherche en cours que pour les travaux d’aménagement envisagés par les services de l’État (CRMH).

En quatrième lieu, la reprise des données stratigraphiques sur la base de données CADoc pose déjà les bases concrètes de la nouvelle analyse du site. Si l’essentiel des fouilles conduites par le chanoine Chenesseau reste encore à intégrer, le traitement de l’ensemble des autres travaux fournit d’ores et déjà un socle solide des connaissances et de la projection des recherches.

En cinquième lieu, l’achèvement du pré-inventaire du mobilier conservé sur le site permet un premier regard critique sur les objets issus des fouilles anciennes et d’envisager une série d’analyses qui pourra débuter dès 2019. Si l’inventaire détaillé reste encore largement à parfaire – les observations réalisées en 2018 seront mises en forme dans le rapport 2019 –, il montre déjà de riches mises en perspectives tout comme la nécessité d’un déplacement du mobilier pour étude et conservation.

L’ensemble de ces premiers résultats permet d’affiner la stratégie pour les deux années de recherche à venir. Pour 2019 (année 2), le PCR se recentrera sur l’archéologie de l’édifice au travers de quatre objectifs principaux : le complément de la reprise des données des fouilles antérieures, la poursuite les travaux de relevés pour la génération d’un modèle 3D de la cathédrale, l’étude du mobilier issu des fouilles anciennes et enfin la réalisation de datations en laboratoire.

A Bishop of Two Peoples: William of St. Calais and the Hybridization of Architecture in Eleventh-Century Durham complicates the study of Durham Cathedral by considering it in the context of the Norman Chapel in the bishop’s palace, located adjacent to the cathedral. Both were commissioned by Bishop William of Saint Calais, the second Norman-appointed bishop of Durham. Meg Bernstein argues that the dramatically different formal styles of the two buildings reflect political choices the bishop made following the cultural conquest brought upon England in and after 1066. While the cathedral is recognizably hybrid, recalling Anglo-Saxon formal motifs applied to a Norman plan, the castle chapel is straight out of the milieu of the Duchy of Normandy. In particular, Bernstein argues that the stone capitals from the chapel were brought back from Normandy by the bishop. This article seeks to provide context to the cathedral where it has been lost, and draw conclusions about the chapel’s commission within the context of colonialism.

In my dissertation I describe the building history of the church of the Saviour in Utrecht, Holland. The church was founded in the remains of a Roman castellum that merovingian 'maiordomus'  Pippin had transferred to the Anglo-Saxon missionary Willibrord.

Four major building phases are described. First Willibrord had rather sizeble hall church erected with a eastern annex, that was used as a burial chamber until 854. In that year the bishop of Utrecht fled from his see because of Viking threat. it was only around 924 that bishop Balderic was reinstated in Utrecht. Based on archaeological indications an outer crypta was added on the eastside during his episcopate. Bishop Ansfried had the church rebuilt on the original groundplan. The hall was divided into two. On the western side a grand 'westwerk' was erected, on the eastern part a basilical structure was built. The eastern annex was preserved.  It seems that the role of the church changed from mausoleum to episcopal palatine chapel. Around 1050 the church underwent another building phase. The ancient annex was torn down and a wide transept was erected in it's place. On the the eastern side a huge choir with crypt was built, in which the first bishops of Utrecht were venerated. The remails of these bishops had been taken out of their graves during the tearing down of the ancient eastern annex.
The church remained in this shape until it was torn down during the Reformation, in the year 1587. 
The research done for this 'paper reconstruction' of the church  had a interdisciplinary character, in which diplomatic, hagiograhical, litugical and archaeological sources wew used.

The use of arcades was the most outstanding decoration that was used in the Romanesque church. Arcading can occur in a variety of forms such as a row of small arches that appear to support a roofline or shallow blind arcading. Arcading can either be used internally or externally and is of significant effect to the user. Additionally, the decoration used in Romanesque churches is regularly quite modest. The decorations use geometric shapes in relative to floral or curvilinear patterns. The standard configurations used include lozenges or squares, diapers, and chevrons. Chevrons are zigzag patterns and shapes. Plain circles were also used, which echoed the half-circle shape of the universal arches. The art of colossal sculpture was invigorated in Western Europe during the Romanesque period. The figurative sculptures were constructed mainly on manuscript illumination and small-scale sculpture in ivory and metal. Relief sculpture was used to depict the biblical history and church doctrine on the capitals of columns and around the massive doors of churches. For example, the tympanum in Vezelay was used to show Christ's mission to the apostles; the tympanum can also be used to depict the events of Pentecost. Both of those events are part of the religious history. The relief sculpture is relative stylistic freedom from a heritage of angular Germanic design. Furthermore, the sculpture is free from the classical figural tradition. The relief sculpture also combines the inspiration of religion to produce a distinctive style of carving. Natural objects were transformed freely into visionary images that derive their power from abstract linear design and significant distortion and stylization. For instance, some of the sculptures in the tympanum were crafted to depict the story of civilisation outside of the European borders such as the people who had large ears that they could wrap themselves within southern Asia or the short people that

In the end of XI – XII centuries Irish monks Scotti or
otherwise Gaels went on pilgrimage to Germany and founded Benedictine monasteries during the Hiberno-Scottish mission which started in 563 by the Irish monk Columbanus (540 – 615). The St. James Church in Regensburg founded by the Irish monks was a major local pilgrim site of the Southern Germany. As a result of the missionary work of the Irish monks in continental Europe for more than one hundred years we can see the special variation of German Romanesque sculpture representing the complex and sometimes hardly perceptible interlacing (literally and in figurative sense) of the German and Irish traditions.

Key words: Irish missionary, Romanesque sculpture, St. James
Church in Regensburg, pilgrim ways, visions, “Visions of Tundal”,
Schottenkloster.

Sul fronte principale di Santa Maria Matricolare a Verona fu previsto, nella fase di XII secolo, un imponente protiro a due piani che, ancora pressoché integro in ogni sua parte, attira da molto tempo l'attenzione degli studi' (ill. 1). L'interesse della critica si è concentrato su vari aspetti di questa struttura, fra i quali è oppor-tuno ricordare almeno la lunga ed altisonante epigrafe ("+ ARTIFICEM GNARUM QUI SCULPSERIT HEC NICOLAUM-HUNC CONCURRENTES LAU-DANT PER SECULA GENTES '''-'"),2 che permette di collegare quest'opera e il suo artefice a vari cantieri della Pianura Padana.3 Solo raramente, però, la loggia monumentale veronese è stata oggetto di approfondi-menti specifici in relazione ai rapporti con il corpo architettonico da cui aggetta e che contribuisce a nobilitare con le proprie slanciate ed eleganti forme.{ Pertanto, attraverso pochi indizi di carattere archeolo-gico e documentario, si tenterà in questa sede di esplorare i complessi, e in parte ancora celati, nessi funzionali fra l'interno e l'esterno del 1. Verona, cattedrale, tacciata (foto Fabio Coden) 337

Bár az egri vár ásatásai több, mint 150 éve folynak, történetének első évszázadairól eddig nagyon keveset tudtunk. A várban 2016-ban végzett próbaásatások és a 2017-ben, az egri Dobó István vármúzeumnak
a Magyar Nemzeti Múzeum visegrádi Mátyás Király Múzeumával együttműködve végzett megelőző feltárások azonban, olyan új eredményeket hoztak, amelyek lehetővé teszik az egri Árpád-kori püspöki központ történetének rekonstrukcióját.

Medieval village churches in East Bohemia were researched and documented as part of the research project of the Czech Ministry of Culture (NAKI II, Gothic and Renaissance Art in East Bohemia: Research, Interpretation, Presentation) that was carried out by Palacky University Olomouc, the Institute of Art History of the Czech Academy of Sciences, the Josefov and Pardubice offices of the National Heritage Care, and the Museum of East Bohemia in Hradec Králové. The large collection of more than two hundred structures, some remaining impressively authentic, others only as fragments with small testimonial ability, became the subject of attention of the given publication, inter alia because no summarising work on this collection of documents of Romanesque and gothic architecture has been compiled yet.

O interesse na Ermida do Paiva foi espoletado pelos trabalhos que lhe consagrou Aarão de Lacerda em 1919. Desde então a obra não foi, todavia, objeto de outro estudo monográfico, havendo novas questões a explorar pela historiografia da arte – como recentemente sublinharam Lúcia Rosas, Leonor Botelho e Nuno Resende.
Este trabalho incide sobre três temáticas principais: a primeira versa a questão da Ordem Premonstratense em Portugal e na Ermida do Paiva, a fundação monástica e a figura de D. Roberto, seu impulsionador; a segunda, a implantação do mosteiro na Serra de Montemuro, o quadro histórico-social, religioso, cultural, e o contexto territorial em que esta ocorreu; a terceira, e principal, incide sobre a arquitetura e escultura do monumento, designadamente as características que o singularizam no panorama da arquitetura românica portuguesa, com enfoque nas marcas forâneas que a obra acusa, apontadas por Ferreira de Almeida.
A escassez de fontes documentais não permite avançar na problemática das datas de fundação monástica, da filiação Premonstratense, ou das origens de D. Roberto. A inscrição de sagração da igreja parece permanecer como única cronologia segura para a datação da obra (1214). Atestadas ficam as ligações de D. Roberto e do seu cenóbio ao poder régio e à nobreza, nas políticas de ocupação e organização do território, em período de formação do novo reino. A sacralidade do lugar, as potencialidades agrícolas, e uma rede de caminhos e povoados, ajudam a compreender a implantação monástica.
A conjugação de diversas soluções e modelos arquitetónicos e escultóricos oriundos do Limousin, evidenciada em Ermida do Paiva, leva-nos a refletir sobre o papel desta obra nos processos de introdução, entre nós, dessas formas artísticas do Centro-Oeste francês, e da sua difusão pelo território português – cuja explicação, até agora, tem sido associada unicamente à Sé do Porto. O contributo da Arqueologia (estudo das siglas) será imprescindível para comprovar a ligação às obras cistercienses da região, podendo vir a clarificar o papel de Cister na construção românica da época.

Ermida do Paiva first became the subject of academic interest with the studies of Aarão de Lacerda in 1919. Since then, no other comprehensive monographs on this monument have emerged and yet, today, new questions can be explored by art historians.
Our research encompasses three main topics: first, the Order of Prémontré in Portugal and in Ermida do Paiva, the origins of the monastery and the historical figure of D. Roberto, its founder; second, the reasons for the monastic implantation in the territory of Serra de Montemuro, and its historical, social, religious, cultural context; third(and the main one), the architecture and sculpture of Ermida do Paiva, specially their singular aspects in the context of Portuguese Romanesque architecture – which relate the building to foreign architecture, as pointed by Ferreira de Almeida.
Portuguese documents do not allow us to know the date of the monastic foundation, its adoption of the Prémontré Order, or the origins of D. Roberto. The inscription of the consecration of the church, in 1214, seems to be the only date that we can consider for the building construction. The relations of D. Roberto and its monastery with Portuguese monarchy and nobility took place in the context of territorial occupation, when the new kingdom was being formed. The sacred aspect of the place, the agricultural potentialities of the land, and a network of roads and settlements, seem to explain the monastic implantation.
Several architectural solutions and models - typical from Limousin - applied in Ermida do Paiva lead us to reflect on the role of this building in the introduction in Portugal of artistic forms from the Centre-Western territory of France; until now, its expansion in Portuguese territory has been associated only with the construction of Porto’s cathedral. Archaeology (the study of masons' marks) could provide evidence for the links between this and other buildings to the Cistercian constructions in Beira Alta, and unravel the role of the Cistercian Order in medieval Portuguese architecture.

Nell’effervescente contesto culturale del secondo XIX
secolo, la coscienza nazionale dell’Italia unifi cata riscopriva
la propria identità storica e le radici artistiche; si
incrementavano i cantieri di scavo archeologico e di
ripristino architettonico: fra i più emblematici quello di
Sant’Ambrogio a Milano. In quest’orizzonte, l’ingegnere
francese Fernand de Dartein (1838-1912) redigeva l’Étude
sur l’architecture lombarde et sur les origines de l’architecture
romano-byzantine, prima e colossale indagine sul
romanico in Lombardia, e svolgeva i suoi sopralluoghi
alla basilica, documentati da schizzi, disegni e planches
acquerellate preparatorie alle incisioni. A cent’anni dalla
morte dello studioso francese, questa ricerca ne ricostruisce
l’indagine e riesamina alcune questioni problematiche,
cronologiche e strutturali, riconsiderando come la
basilica di Sant’Ambrogio nell’Ottocento abbia avuto
nuova vita e sia diventata la basilica che oggi conosciamo.

Eel libro se plantea como un estudio iconográfico de los capiteles del interior de la catedral románica de Santiago decorados con representaciones de animales. No se trata únicamente de la compilación de un corpus de las representaciones del bestiario medieval esculpidas en estos capiteles sino un proceso hermenéutico para desentrañar el mensaje que buscaban transmitir los mentores y autores de estas obras.
Para ello, se reflexiona sobre cuestiones como el lugar que ocupa cada uno de estos capiteles en el espacio catedralicio, el tipo de público o audiencia que pudieron tener estas imágenes o su visibilidad en el contexto arquitectónico de la iglesia.
Aunque el objetivo primordial del trabajo era hacer un estudio iconográfico no se pueden obviar otras cuestiones de tipo formal como la hibridación estilística que se percibe en el taller catedralicio. A lo largo de la historia de la construcción de la Catedral nos encontramos, como una constante, este proceso que consiste en que unos escultores que se nutran unos de la experiencia de los otros de forma que, en ocasiones, es realmente difícil distinguir manos o personalidades individuales.
El análisis iconográfico e iconológico del bestiario de los capiteles de la Catedral de Santiago permite concluir que este no es un tema marginal relegado a una función decorativa dentro del espacio sagrado del templo, sino que tiene un gran protagonismo dentro del discurso iconográfico de la basílica románica y unas altas capacidades comunicativas para un mensaje dogmático moralizante en relación con los dictados de la Reforma Gregoriana. Además, sus repertorios y estilo van cambiando y actualizándose a lo largo de la historia de la edificación de la iglesia de forma que su análisis aporta también interesantes datos para la definición de sus fases constructivas.

Tra il 1097 e il 1098 la comunità benedettina di Farfa, guidata dall'abate Berardo II, decide di trasferire il cenobio sulla cima del Monte Acuziano, sito più difendibile ed isolato. Il progetto si arresta però pochi anni dopo, lasciando incompiuto l'unico cantiere avviato, quello della chiesa abbaziale. Questa sarà ripresa alla metà del secolo successivo dall'abate Adinolfo, senza essere terminata. I ruderi della grande incompiuta mostrano di appartenere ad un progetto ambizioso, legato da un lato al modello benedettino-cassinese (transetto inscritto e tre absidi) e dall'altro proiettato, tramite la facciata armonica a due torri, verso quel mondo imperiale ed oltralpino che tradizionalmente aveva costituito un modello per l'ambito farfense, anche nelle sue espressioni periferiche (es. nelle Marche).

Il volume è il risultato di un progetto di ricerca interdisciplinare che ha visto coinvolti due dipartimenti dell’Università di Cagliari (Dip. di Scienze Chimiche e Geologiche e il Dip. di Storia, Beni Culturali e Territorio) e l’Istituto di Scienze dell’Atmosfera e del Clima (U.O.S. di Cagliari) del ConsiglioNazionale delle Ricerche (CNR-ISAC), con la collaborazione del Dipartimento di Architettura dell’Università di Firenze e dell’Istituto di Geoscienze e Georisorse (IGG-U.O.S. di Firenze) del Consiglio Nazionale delle Ricerche (CNR). Il presente lavoro è finalizzato alla focalizzazione dei rapporti fra il monumento architettonico e il territorio di riferimento, nella prospettiva storica e in quella attuale, attraverso lo studio di alcuni casi studio rappresentati dalle chiese romaniche edificate in
Sardegna nell’età giudicale (dal XI al XIII secolo).
A tal fine è stata elaborata ed applicata una metodologia di studio dei manufatti architettonici che ha visto l’apporto congiunto di discipline
di ambito umanistico (archivistica, storia dell’architettura, storia
dell’arte) con altre di ambito scientifico (geologia, mineralogia, petrografi a, petrofisica, geochimica), insieme alle tecnologie di rilievo laser-scan volta a comprendere su quali connessioni territoriali si sia fondata la relazione fra gli edifici ecclesiastici romanici e il paesaggio circostante. L'incrocio dei dati minero-petrografici-geochimici dei materiali costruttivi con quelli derivati dall’attività di ricognizione delle cave di estrazione della pietra ha consentito di precisare quali fossero, durante l’età giudicale, i fattori che sovrintendevano alla scelta dei materiali (e quindi delle cave) e come e quanto questi fattori si siano correlati con le esigenze di tipo politico, estetico o, più semplicemente, di tipo pratico.