The theme of the insertion of new bronze doors inside historicized religious buildings belongs to the entire Italian architectural culture during the course of the twentieth century. Some notable religious buildings have condensed, during the course of the twentieth century, the history of these insertions of contemporary art within their historicized palimpsest. The cathedral of Milan with its five doors of the twentieth century is certainly the most complex monument and the most consistent experience of synthesis; similarly other bronze doors have made explicit the values of the novation: in the Vatican basilica of San Pietro, in Santa Maria Maggiore or, in San Paolo Fuori le Mura with the door of Antonio Maraini which also sealed the Concordat of 1929 between State and Church. The stories of the Cathedral of Orvieto, with the doors of Emilio Greco or that of Siena with the door of Enrico Manfrini, are also singular. New doors were then placed on the occasion of jubilees and holy years, underlining the value of continuity, in worship, of the ancient sacred space that was changing, welcoming the expressive products of contemporary sensitivity.
Il tema dell’inserto di nuove valve bronzee all’interno di edifici di culto storicizzati appartiene a tutta la cultura architettonica italiana durante il corso del Novecento. Alcuni insigni edifici religiosi hanno condensato, durante il corso del XX secolo, la storia di questi inserimenti di arte contemporanea all’interno del proprio palinsesto storicizzato. Il duomo di Milano con le sue cinque porte del Novecento è sicuramente il monumento più complesso e l’esperienza di sintesi di maggior consistenza; similmente altre porte di bronzo hanno esplicitato i valori della novazione: nella basilica vaticana di San Pietro, in Santa Maria Maggiore o, in San Paolo Fuori le Mura con la porta di Antonio Maraini che suggellò anche il Concordato del 1929 tra Stato e Chiesa. Singolare sono poi le storie della Cattedrale di Orvieto, con le porte di Emilio Greco o di quella di Siena con la porta di Enrico Manfrini. Nuove porte sono poi state immesse in occasione di giubilei ed anni santi sottolineando il valore di continuità, nel culto, dello spazio sacro antico che andava modificandosi accogliendo i prodotti espressivi di sensibilità contemporanea.
Portali del Novecento: nuove porte per antiche e nuove chiese
CARILLO, Saverio
2017
Abstract
The theme of the insertion of new bronze doors inside historicized religious buildings belongs to the entire Italian architectural culture during the course of the twentieth century. Some notable religious buildings have condensed, during the course of the twentieth century, the history of these insertions of contemporary art within their historicized palimpsest. The cathedral of Milan with its five doors of the twentieth century is certainly the most complex monument and the most consistent experience of synthesis; similarly other bronze doors have made explicit the values of the novation: in the Vatican basilica of San Pietro, in Santa Maria Maggiore or, in San Paolo Fuori le Mura with the door of Antonio Maraini which also sealed the Concordat of 1929 between State and Church. The stories of the Cathedral of Orvieto, with the doors of Emilio Greco or that of Siena with the door of Enrico Manfrini, are also singular. New doors were then placed on the occasion of jubilees and holy years, underlining the value of continuity, in worship, of the ancient sacred space that was changing, welcoming the expressive products of contemporary sensitivity.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
