Abstract
The article resumes and analyzes some figurations of the 1755 earthquake, paying attention to conventions related to the locus horrendus or horrendous place. Furthermore, it seeks to demonstrate that the dramatic effects of narratives must be apprehended from the linguistic codes and theological-political topics mobilized by the scholars of the 18th and 19th centuries, and not from aestheticizing, psychological or idealistic categories that assume the centrality of the taste as a paradigm of the arts.
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