Relevant bibliographies by topics / Florence. Santa Croce (Church)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Florence. Santa Croce (Church)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Florence. Santa Croce (Church)"

1

Ryde, Jeni. "Church or Museum? The Case of Santa Croce, Florence, Italy." International Journal of the Inclusive Museum 2, no. 2 (2009): 39–50. http://dx.doi.org/10.18848/1835-2014/cgp/v02i02/44265.

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2

Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.

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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
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Licht, Meg. ""I Ragionamenti"-Visualizing St. Peter's." Journal of the Society of Architectural Historians 44, no. 2 (May 1, 1985): 111–28. http://dx.doi.org/10.2307/990024.

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Thirteen architectural drawings by four architects-Bramante, Baldassare Peruzzi, Giuliano da Sangallo, and Antonio da Sangallo the Younger-all dating from the period between early 1505 to 18 April 1506, all except one in the Gabinetto dei Disegni e Stampe of the Uffizi, and all connected with the earliest proposals for the new St. Peter's, are examined to establish their authorship and date and the exact sequence in which they were executed. Beyond that, the chronological alignment of the drawings enables us to follow the process of visualizing and creating a building of an unprecedented type and an extraordinary scale. The ground plans of several small-scale prototypes-such as the Audience Hall of the Piazza d'Oro at Hadrian's Villa, the Oratorio of Santa Croce (a tiny 2nd- or 5th-century structure that stood near the Lateran Baptistery until the end of the 16th century), and the 9th-century San Satiro in Milan-are combined with elements of larger-scale prototypes such as San Lorenzo in Milan and the cathedrals of Milan, Pavia, and Florence in the search for a plan and elevation that are both spacious and structurally sound, that sum up both Roman architectural achievement and the heightened unities of Renaissance church design. The main concern in most of these drawings is the delineation of the crossing, the baldacchino formed by the great piers and the dome they support, protecting the tomb of St. Peter and the altar of the Early Christian church. Although in nearly every drawing some attention is paid to the outer perimeters of the building and its internal spatial divisions, many of those decisions are left in suspense, particularly the question of whether the building is to be centralized or longitudinal. Bramante's main concern was to establish the scale of the crossing, the size and shape of the piers and their distance from each other. This nucleus, constructed up through the pendentive level during his lifetime, set the scale for everything that was to follow. In the absence of a definitive plan attributable to the Bramante/Peruzzi team, the pier designs of Uff. 529 A verso and of f. 1466 verso of the Rothschild drawing book, and the interior of the crossing as it appears in the perspective drawing Uff. 2 A, are the best evidence of Bramante's permanent contribution. The drawings considered here trace the experiments with shape and scale that led to the establishment of these elements.
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Matera, Loredana, Raffaele Persico, Edoardo Geraldi, Maria Sileo, and Salvatore Piro. "GPR and IRT tests in two historical buildings in Gravina in Puglia." Geoscientific Instrumentation, Methods and Data Systems 5, no. 2 (November 29, 2016): 541–50. http://dx.doi.org/10.5194/gi-5-541-2016.

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Abstract. This paper describes a geophysical investigation conducted into two important churches, namely the Cathedral of Santa Maria Assunta and the Church of Santa Croce, both in Gravina in Puglia (close to Bari, southern Italy). The Church of Santa Croce, now deconsecrated, lies below the cathedral. Therefore, the two churches constitute a unique building body. Moreover, below the Church of Santa Croce there are several crypts, which are only partially known. The prospecting was performed both with a pulsed commercial ground penetrating radar (GPR) system and with a prototypal reconfigurable stepped frequency system. The aim was twofold, namely to gather information about the monument and to test the prototypal system. The GPR measurements have also been integrated with an infrared thermography (IRT) investigation performed on part of the vaulted ceiling in the Church of Santa Croce, in order to confirm or deny a possible interpretation of certain GPR results.
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Condorelli, F., G. Pescarmona, and Y. Ricci. "PHOTOGRAMMETRY AND MEDIEVAL ARCHITECTURE. USING BLACK AND WHITE ANALOGIC PHOTOGRAPHS FOR RECONSTRUCTING THE FOUNDATIONS OF THE LOST ROOD SCREEN AT SANTA CROCE, FLORENCE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 141–46. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-141-2021.

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Abstract. In this research paper photogrammetric techniques have been successfully applied to historic black and white analogic photographs to convey previously inaccessible architectural and archaeological information. The chosen case study for this paper is the Franciscan Basilica of Santa Croce in Florence, Italy. A photogrammetric algorithm has been implemented over a series of b/w negatives portraying the archaeological excavations carried out in the years 1967–1969, after the traumatic flood of the river Arno in 1966 that severely damaged the city centre of Florence and, particularly, the Santa Croce monumental site. The final aim of this operation is to provide solid evidence for the virtual reconstruction of the lost rood screen of the basilica of Santa Croce, the current subject of the PhD research of one of the Authors (Giovanni Pescarmona) at the University of Florence. The foundations that were uncovered during the archaeological excavation in the ‘60s are one of the most important hints towards a convincing retro-planning of the structure. Using advanced photogrammetric techniques, and combining them with LIDAR scanning, it is possible to uncover new datasets that were previously inaccessible for scholars, opening new paths of research. This interdisciplinary approach, combining traditional art-historical research methods and state-of-the-art computational tools, tries to bridge the gap between areas of research that still do not communicate enough with each other, defining new frameworks in the field of Digital Art History.
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Long, Jane C. "The Program of Giotto's Saint Francis Cycle at Santa Croce in Florence." Franciscan Studies 52, no. 1 (1992): 85–133. http://dx.doi.org/10.1353/frc.1992.0011.

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schultz, daniel j. "Flesh made word: sacramental visibility in the Bardi Panel of Santa Croce, Florence." Word & Image 36, no. 4 (October 1, 2020): 357–74. http://dx.doi.org/10.1080/02666286.2020.1758897.

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8

Brandt, Olof. "I muri trasversali di Santa Croce in Gerusalemme e la sinagoga di Ostia." Opuscula. Annual of the Swedish Institutes at Athens and Rome 1 (November 2008): 155–66. http://dx.doi.org/10.30549/opathrom-01-12.

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The reasons behind the unusual internal division of the first phase of the church of Santa Croce in Gerusalemme have never been fully explained. This paper proposes an explanation of the phenomenon with the help of a comparison with the Synagogue of Ostia Antica.
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Verità, Marco, Susanna Bracci, and Simone Porcinai. "Analytical investigation of 14th century stained glass windows from Santa Croce Basilica in Florence." International Journal of Applied Glass Science 10, no. 4 (June 17, 2019): 546–57. http://dx.doi.org/10.1111/ijag.13446.

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Long, Jane C. "Salvation through Meditation: The Tomb Frescoes in the Holy Confessors Chapel at Santa Croce in Florence." Gesta 34, no. 1 (January 1995): 77–88. http://dx.doi.org/10.2307/767126.

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Dissertations / Theses on the topic "Florence. Santa Croce (Church)"

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De, Courcey-Bayley Crispin. "House and household : a study of families and property in the Quarter of Santa Croce, Florence during the fifteenth century." Thesis, University of York, 1998. http://etheses.whiterose.ac.uk/10842/.

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Roy, Brian E. "The façade of Santa Maria Novella : architecture, context, patronage and meaning." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34772.

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This thesis is a monograph on the facade of the church of Santa Maria Novella in Florence, Italy. The present appearance of the facade is the result of three building campaigns effected over the period of two centuries (c1300--c1500), and two restorative campaigns conducted in the twentieth century. Each of the three major campaigns is considered in isolation, with attention to reconstructions, formal and comparative analyses, and extensive contextualization and discussion of patronage networks. The twentieth-century interventions are cursorily presented in an epilogue. Major themes developed and continued through the five chapters of the dissertation are: architecture and its projected meanings in late medieval and Renaissance Florence, urban organization, political structures, the Dominican order and the position of the Florentine chapter within local and international ecclesiastical, social and political structures.
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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /." Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.

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Simons, Patricia. "Portraiture and patronage in quattrocento Florence with special reference to the Tornaquinci and their chapel in S. Maria Novella /." Connect to thesis, 1985. http://eprints.unimelb.edu.au/archive/00000836.

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Rosa, Angela. "Integrating cultural heritage risk management into urban planning. The Ravenna case study." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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As increasingly recognised by scholars, climate change is posing new challenges in the field of risk management and urban planning. The natural and anthropogenic risks that characterise a given territory, see their effects amplified by those of climate change. Even though cultural heritage has passed through decades and centuries, it has never experienced such unexpected and variable events as those forecasted by climate change for the foreseeable future, making it a sensitive element of the living environment. This thesis, whose general context has been defined and provided by the European H2020 SHELTER project, aims at defining guidelines to reduce the gap between disaster risk management and urban planning in the field of cultural heritage in historic areas. To this aim, the current integration of both cultural heritage and protection and prevention measures within planning policies and tools for the case study of Ravenna has been explored, reported and analysed, with a specific focus on the church and archaeological area of Santa Croce. The specific objective is to understand to what extent data risk management, climate change adaptation and heritage site management are currently treated as key interlinked elements. The results obtained have led to the definition of a protocol for integrating climate change and disaster risks management into heritage management which is articulated into six phases. As part of the protocol, an evaluation method of how urban planning tools already in force contribute to the adaptive capacity of Ravenna’ territory in terms of treating and dealing with risk management has been proposed and validated. The proposed guidelines may lead to the improvement of the heritage management plans that heritage site managers applies to cope with risks related and the effects of climate change. Lastly, three punctual design actions for increasing the resilience of the area of Santa Croce have been explored.
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Books on the topic "Florence. Santa Croce (Church)"

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Davidson, Laura. Giotto at Santa Croce. [Boston]: Laura Davidson, 2003.

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Tre capitoli per Santa Croce. Firenze: Città di vita, 2000.

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Sebregondi, Ludovica. Giotto at Santa Croce. Florence: Edizioni Polistampa, 2006.

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Sebregondi, Ludovica. The Arno in Santa Croce. Florence, Italy: Edizioni Polistampa, 2006.

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Rita, Iacopino, and Cheli Cristina, eds. Le lapidi terragne di Santa Croce. Firenze: Polistampa, 2012.

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Long, Jane Collins. Bardi patronage at Santa Croce in Florence, c.1320-1343. Ann Arbor: University Microfilms International, 1988.

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Sebregondi, Ludovica. Santa Croce sotterranea: Trasformazioni e restauri. Firenze: Città di Vita, 1997.

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Santa Croce: Oltre le apparenze. Pistoia: Gli ori, 2011.

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The Basilica of Santa Croce: Itinerary guide. Livorno: Sillabe, 2003.

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Firenze delle torri: Architetture verticali e loro intorno : i campanili di Santa Maria del Fiore e di Santa Croce. Firenze: Alinea, 2003.

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Book chapters on the topic "Florence. Santa Croce (Church)"

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Lambertini, Roberto. "L’usura tra Santa Croce e Santa Maria Novella:." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo), 193–205. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.12.

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Between 1290 and 1310, two Mendicant friars active in Florence dealt with the controversial issue of usury: the Franciscan lector Peter of Trabibus, who until now has been studied primarily for his relationship to Olivi’s teaching, and the Dominican Remigio de’ Girolami. In the mid-nineties of the thirteenth century, in the context of his quodlibetal questions, Peter of Trabibus discusses the social role of merchants and he broaches the question of the restitution of usurious gains. Some years later, Remigio also deals with similar issues in his quodlibetal questions and writes a treatise that bears the title De peccato usurae.
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Reynolds, Mark A. "A New Geometric Analysis of the Pazzi Chapel in Santa Croce, Florence." In Architecture and Mathematics from Antiquity to the Future, 687–707. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_46.

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Elston, Ashley. "A Painted Saint and Passion Relics: Taddeo Gaddi’s Reliquary Cupboard for Santa Croce in Florence." In Mendicant Cultures in the Medieval and Early Modern World, 143–82. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.es-eb.5.108259.

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"Gendering Prayer in Trecento Florence: Tomb Paintings in Santa Croce and San Remigio." In Picturing Death 1200–1600, 64–78. BRILL, 2020. http://dx.doi.org/10.1163/9789004441118_006.

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"10. Preparing the Mind. Preparing the Soul. The Fusion of Franciscan Thought into the Daily Lives of Friars in the Sacristy Decoration of Santa Croce, Florence." In Push Me, Pull You, 295–325. BRILL, 2011. http://dx.doi.org/10.1163/9789004215139_031.

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Conference papers on the topic "Florence. Santa Croce (Church)"

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Sfarra, S., C. Ibarra-Castanedo, D. Ambrosini, D. Paoletti, A. Bendada, and X. Maldague. "The use of optical and infrared techniques for the restoration of the frescoes damaged by earthquake: a case study–the fresco of Giacomo Farelli in the Church of Santa Maria della Croce di Roio (L’Aquila, Italy)." In STREMAH 2011. Southampton, UK: WIT Press, 2011. http://dx.doi.org/10.2495/str110521.

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