Relevant bibliographies by topics / Italian Medieval architecture

Contents

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

Academic literature on the topic 'Italian Medieval architecture'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Italian Medieval architecture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Italian Medieval architecture"

1

Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 170–95. http://dx.doi.org/10.2307/991483.

Full text
Abstract:
This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored, along with the implications of this eclecticism for the history of southern Italy. Utilizing the rich array of surviving medieval documents for the region, including episcopal charters, royal decrees, and medical treatises, the study then reconstructs the economic, social, and scientific significance of the baths within medieval Amalfi. As monuments outside the traditional contexts of art production in southern Italy, the baths challenge long-standing characterizations of southern Italy's art and architecture, and point to the existence of a Mediterranean-wide balneal culture in which Byzantine, Islamic, and southern Italian communities participated.
APA, Harvard, Vancouver, ISO, and other styles
2

Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.

Full text
Abstract:
Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.
APA, Harvard, Vancouver, ISO, and other styles
3

Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

Full text
Abstract:
The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
APA, Harvard, Vancouver, ISO, and other styles
4

Efimova, Elena. "“National” and “international” in the architecture of French Renaissance." Исторический журнал: научные исследования, no. 4 (April 2020): 42–53. http://dx.doi.org/10.7256/2454-0609.2020.4.32637.

Full text
Abstract:
This article is dedicated to the problem of formation of national style in the architecture of French Renaissance. The indicated problem is the topic of intense discussion within the historiography of Renaissance. Leaning the concept of J. Burckhardt, who describes Renaissance as a specifically Italian phenomenon, a number of scholars identity French Renaissance with “Italianism”. On the other hand, there is a contradictory historiographical trend that acclaims national medieval tradition that views the revival of classical antiquity as a foreign and shallow phenomenon. An attempt is made to examine the problem from the perspective Renaissance itself, relying on the reasoning and assessments expressed by the three theoreticians of architecture: Sebastian Serlio, Philibert de l'Orme, and Jacques I Androuet du Cerceau. The conclusion is made that the theoreticians of French Renaissance were not prone to contrapose the shapes borrowed from antiquity to national tradition. They perceived antiquity as the common past of the entire contemporary to them culture. They did not see any preponderance of Italian Renaissance over the national culture. The contradiction between antiquity and Gothicism was interpreted as a contradiction between the ancient and the new, rather than foreign and native. In creation of the style of Renaissance architecture they resorted to synthesizing heritage of the antiquity with national medieval tradition.
APA, Harvard, Vancouver, ISO, and other styles
5

Stamp, Gavin. "High Victorian Gothic and the Architecture of Normandy." Journal of the Society of Architectural Historians 62, no. 2 (June 1, 2003): 194–211. http://dx.doi.org/10.2307/3592477.

Full text
Abstract:
High Victorian Gothic in England was an exotic style, and the importance of Italian Gothic precedents in its development has long been recognized, as has the interest in thirteenth-century French Gothic in the 1850s. What has received much less attention is the influence of the medieval buildings of Normandy. In this article, I examine the historical and cultural connections between England and Normandy, which were stimulated by the Napoleonic Wars and the threat of invasion, and were further encouraged by the ease of crossing the English Channel. Seeking the origins of English Gothic and Romanesque architecture, antiquaries and artists explored Normandy in the decades after Waterloo, anticipating the interest of architects. Whether the results of travel or study of a growing number of publications on the medieval architecture of Normandy, numerous midcentury buildings show intimate acquaintance with thirteenth-century churches in Normandy-old village churches with saddleback towers or distinctive spires, which, paradoxically, resemble High Victorian designs in their rugged austerity.
APA, Harvard, Vancouver, ISO, and other styles
6

Cesprini, Maurizio, and Ken Marquardt. "The Canova Association: “Historical Continuation” and the Rebirth of Two Northern Italian Villages." Journal of Traditional Building, Architecture and Urbanism, no. 1 (November 20, 2020): 271–76. http://dx.doi.org/10.51303/jtbau.vi1.350.

Full text
Abstract:
The Canova Association is an international non-profit organization founded in 2001 in the medieval village of Canova, in Oira di Crevoladossola (Verbano-Cusio-Ossola, Italy). The main purpose and the goal of the association are the re-evaluation of local stone architecture and raising awareness and appreciation of its importance, all of it through educational, cultural and artistic events and activities. During these years, Mauricio Cesprini and Ken Marquardt have witnessed the gradual transformation of this historic enclave into a habitable environment following the teachings of the local building tradition.
APA, Harvard, Vancouver, ISO, and other styles
7

Muehlbauer, Mikael. "An Italian Renaissance Face on a “New Eritrea”:." Journal of the Society of Architectural Historians 78, no. 3 (September 1, 2019): 312–26. http://dx.doi.org/10.1525/jsah.2019.78.3.312.

Full text
Abstract:
A whitewashed neo-Renaissance façade set into a high rock escarpment above the village of Abreha wa-Atsbeha, in East Tigray, Ethiopia, stands in stark contrast to its sunbaked highland surroundings. Behind this façade is a relatively large rock-cut structure, one of the oldest medieval church buildings in Ethiopia. An Italian Renaissance Face on a “New Eritrea”: The 1939 Restoration of the Church of Abreha wa-Atsbeha addresses how the restoration of this church conducted by Italian Fascist authorities represents the appropriation of local history by both Fascist Italy and Ethiopia's own imperial rulers. As Mikael Muehlbauer describes, while the façade classicizes the building, evoking both the Italianita of the Renaissance and the Romanitas of imperial Rome, earlier murals inside claimed it for Yohannes IV, the nineteenth-century Tigrayan emperor of Ethiopia.
APA, Harvard, Vancouver, ISO, and other styles
8

Pirchio, David, Kevin Q. Walsh, Elizabeth Kerr, Ivan Giongo, Marta Giaretton, Brad D. Weldon, Luca Ciocci, and Luigi Sorrentino. "Seismic risk assessment and intervention prioritization for Italian medieval churches." Journal of Building Engineering 43 (November 2021): 103061. http://dx.doi.org/10.1016/j.jobe.2021.103061.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kovalchuk, Lada Igorevna. "Specificity of arrangement of apse space in the Franciscan Church of San Lorenzo Maggiore in Naples (1260-1340)." Исторический журнал: научные исследования, no. 4 (April 2020): 146–54. http://dx.doi.org/10.7256/2454-0609.2020.4.32913.

Full text
Abstract:
This article explores the peculiarities of spatial planning and construction phases of apse in the Franciscan Church of San Lorenzo Maggiore in Naples. Gothic deambulatory with a crown of radial chapels in the Church of San Lorenzo Maggiore is a unique typology of apse structure for the architecture of Franciscans in Italy. The architectural monument is ranked with a number of other Franciscan churches in Naples, built under the patronage of the monarchs of the Kingdom of Naples from Anjou Dynasty. Analysis is conducted on engineering aspects and system of orders of the Neapolitan Church. The analysis of formal-stylistic features and taking and consideration of historical peculiarities of the architectural monuments, the author suggests possible influence of the architectural language of French Gothicism upon the plan of the Church of San Lorenzo Maggiore. The article revises historiography of the question of origin of oriental hue in the Church of San Lorenzo Maggiore. The author substantially broadens the vector of research problems and interpretations associated with examination of French influence upon the plan of the apse of the Church of San Lorenzo Maggiore. The novelty of consists in the analysis of apse of the Church of San Lorenzo Maggiore the context of logics of the development of deambulatory in French Gothicism, rather than borrowing of this shape from medieval Italian architecture.
APA, Harvard, Vancouver, ISO, and other styles
10

Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral." Resourceedings 2, no. 3 (November 12, 2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.

Full text
Abstract:
The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Italian Medieval architecture"

1

Mason, David Robert. "'New lamps for old' : English responses to the restoration of monuments in Italy, ca. 1860-1890." Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/4115.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lindsey, Renee J. "The Truth of Night in the Italian Baroque." UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.

Full text
Abstract:
In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
APA, Harvard, Vancouver, ISO, and other styles
3

Nelson, Caroline. ""By the Hand of a Woman": Gender, Luxury, and International Relations in Andrea Mantegna's Judith and Holofernes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/863.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

Full text
Abstract:
This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
APA, Harvard, Vancouver, ISO, and other styles
5

Gallotta, Emanuele. "L'église Sainte-Marie-Majeure de Ferentino et la dimension cistercienne de l'architecture du Latium méridional au XIIIe siècle." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL083.

Full text
Abstract:
La recherche porte sur l'étude historique et architecturale de l'église de Sainte-Marie-Majeure à Ferentino (province de Frosinone, Italie), l'un des plus importants édifices construits dans le Latium méridional au XIIIe siècle. Le contexte scientifique montre d'énormes désaccords relatifs à la période d'édification et, par conséquent, aux différentes références culturelles ayant inspiré l'architecture de l'église, à partir des abbayes de Fossanova (1208) et Casamari (1217). D'autre part, en raison de la rareté des sources médiévales qui nous sont parvenues, nous ne connaissons pas avec précision la chronologie relative et absolue du bâtiment. Le texte de synthèse, qui est supporté de deux volumes supplémentaires rassemblant les sources iconographiques et toute la documentation écrite (inédite ou non) sur Sainte-Marie-Majeure, se compose de trois parties. Après avoir retracé l'histoire de l'église, depuis ses origines jusqu'aux dernières restaurations, à partir de l'exposé critique de questions historiographiques, l'architecture de l'édifice et ses principales phases de construction sont analysées de manière exhaustive. Enfin, la dernière section contextualise notre étude de cas dans le cadre du renouvellement architectural du Latium méridional et, plus largement, dans l'histoire de l'architecture médiévale, sans se limiter à l'Italie. En sélectionnant tel édifice-clé, constituant un exemplum sous le point de vue architectural, la recherche a spécifié les modalités de réception et de transmission des modèles provenant de la Bourgogne et de l'Ile-de-France à l'architecture religieuse et civile dans la province ecclésiastique de Campagna et Marittima au XIIIe siècle
My research deals with the historical and architectural study of Santa Maria Maggiore in Ferentino (in the modern province of Frosinone), one of the most important buildings erected in southern Lazio during the thirteenth century. The existing scholarship on the church was out of date and suffered from large gaps that left the history of its construction unexplained. Neither the date of the site‟s foundation nor that of its completion are known because of the lack of medieval documentary sources. Consequently, the main disagreements about Santa Maria Maggiore had concerned the sources of inspiration for its architecture, as scholars generally compared it to the model of the Cistercian abbeys of Fossanova (1208) and Casamari (1217). My dissertation is accompanied by two additional volumes containing the images supporting the text and a catalogue of written sources including unpublished archival documents, and it is divided into three parts. The first traces the entire history of the building and begins with a critical exposition of related historiographical issues. The second section exhaustively analyses the architecture of the church and its building phases by reconciling documentary evidence and visual analysis of the church. The third section contextualizes the design of Santa Maria Maggiore within the territory of southern Lazio and the panorama of "Cistercian" architecture. By taking this exemplary monument as its subject, my research demonstrates the complex reception of architectural models from Burgundy and the Ile-de-France, analysing their subsequent reworkings in thirteenth-century religious and civil architecture in the ecclesiastical province of Campagna and Marittima
La ricerca affronta lo studio storico-critico della chiesa di Santa Maria Maggiore a Ferentino (FR), uno dei più importanti edifici costruiti nel Lazio meridionale durante il XIII secolo. Nonostante sia stata dichiarata Monumento Nazionale nel 1884, non era mai stata oggetto di uno studio sistematico ed è ancora oggi pressoché inedita. Il contesto scientifico, ormai desueto, soffre di grandi lacune sulle vicende costruttive della fabbrica, di cui non sono note né la data di fondazione né quella di completamento del cantiere a causa della scarsità di fonti documentarie medievali. Di conseguenza, i principali disaccordi hanno riguardato le influenze culturali fonte d‟ispirazione per l‟architettura di Santa Maria Maggiore, troppo genericamente ricondotte al modello delle abbaziali cistercensi di Fossanova (1208) e Casamari (1217). La dissertazione, accompagnata da due volumi supplementari che contengono le immagini di supporto al testo e il repertorio delle fonti documentarie, è suddivisa in tre parti: quella iniziale ripercorre l‟intera storia dell‟edificio a partire dall‟esposizione critica delle questioni storiografiche; la seconda sezione analizza in modo esaustivo l‟architettura della fabbrica e le fasi edilizie riconosciute; la terza parte, infine, contestualizza il caso studio nel quadro del Lazio meridionale e nel panorama dell‟architettura “cistercense”. Estendendo il campo di indagine, il lavoro ha acquisito un valore a scala territoriale poiché la ricostruzione delle vicende edilizie di Santa Maria Maggiore ha permesso l‟istituzione di raffronti con diverse altre architetture coeve sia italiane che francesi, al di là dei due magniloquenti monasteri di Fossanova e Casamari. A questi ultimi, infatti, la storiografia ha attribuito da sempre un ruolo privilegiato nell‟introduzione del linguaggio gotico ultramontano nel territorio a sud di Roma, di cui la chiesa ferentinese rappresenta una derivazione locale. Selezionando tale exemplum, la ricerca ha precisato le modalità di accoglienza dei modelli provenienti dalla Borgogna e dall‟Ilede-France, rintracciando le successive rielaborazioni nell‟edilizia duecentesca sia religiosa che civile nella Provincia ecclesiastica di Campagna e Marittima
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Italian Medieval architecture"

1

Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. London: Thames and Hudson, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

G, Wilkins David, ed. History of Italian Renaissance art: Painting, sculpture, architecture. 4th ed. London: Thames & Hudson, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

G, Wilkins David, ed. History of Italian renaissance art: Painting, sculpture, architecture. 5th ed. Upper Saddle River, New Jersey: Prentice Hall, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

The Italian piazza transformed: Parma in the communal age. University Park, Pa: Pennsylvania State University Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Art and architecture in Italy 1250-1400. 3rd ed. New Haven: Yale University Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

John, White. Art and architecture in Italy 1250-1400. 2nd ed. N.Y: Penguin, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Podʺi︠a︡polʹskiĭ, S. S. Istoriko-arkhitekturnye issledovanii︠a︡: Statʹi i materialy. Moskva: Indrik, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Art and architecture in Italy, 1250 to 1400. 2nd ed. Harmondsworth: Penguin, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

1951-, Tronzo William, ed. Medieval Naples: An Architectural & Urban History, 400-1400. NEW YORK: ITALICA PRESS, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Smith, Timothy B. Art as politics in late medieval and renaissance Siena. Burlington: Ashgate Publishing Company, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Italian Medieval architecture"

1

Ousterhout, Robert G. "Exporting a Culture/ Importing a Culture." In Eastern Medieval Architecture, 531–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190272739.003.0023.

Full text
Abstract:
The new political entities established in the East during the late tenth through twelfth centuries were heavily indebted to Byzantine culture. Christianized from Constantinople, Kievan Rus’ lacked a building tradition in permanent materials and imported both masons and brick technology from Byzantium. Serbia and Bulgaria had a strong Byzantine presence before securing their independence. While Bulgarian architecture followed closely that of Constantinople, Serbia, connected to Adriatic littoral, blended elements of the Italian Romanesque with Byzantine forms.
APA, Harvard, Vancouver, ISO, and other styles
2

Ousterhout, Robert G. "Rival Powers." In Eastern Medieval Architecture, 679–703. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190272739.003.0028.

Full text
Abstract:
Following the Ottoman conquest of Constantinople in 1453, Moscow ascended as the center of Orthodox Christianity, styling itself the “Third Rome.” While influenced by Italian architects and indigenous developments, later Russian architecture reflects the picturesque complexities of the Late Byzantine style. The Ottomans settled in Byzantine territory and relied on Byzantine masons to construct their earliest mosques. With the conquest, they began a competitive discourse with the Byzantine past, turning to the monumentality of Hagia Sophia as their chief source of inspiration. While both the Russians and the Ottomans looked to the Byzantines, their architectures developed in very different ways. Nevertheless, both might be regarded as Byzantium’s legitimate successors.
APA, Harvard, Vancouver, ISO, and other styles
3

Fronza, Vittorio. "Timber and Earth in the Architecture of Italian Early Medieval Fortified Sites (8th–10th Centuries AD)." In Fortified Settlements in Early Medieval Europe, 302–19. Oxbow Books, 2016. http://dx.doi.org/10.2307/j.ctvh1dh3x.29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Bevilacqua, Livia, and Giovanni Gasbarri. "Percorsi di architettura armena a Roma Le missioni di studio e la mostra fotografica del 1968 tra premesse critiche e prospettive di ricerca." In Eurasiatica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-469-1/003.

Full text
Abstract:
In 1966 a team of Italian scholars coordinated by Géza de Francovich inaugurated a series of study trips to the historic regions of Armenia, with the aim of collecting extensive photographic documentation of medieval churches and monasteries. The first result of these study trips was the photographic exhibition Architettura medievale armena (Rome, June-July 1968), a pioneering event that helped in spreading knowledge of Armenian art and architecture among a broader public in Italy and that became a springboard for new research projects in the eastern Mediterranean territories. This paper provides a critical reconstruction of the context and circumstances that led to the organisation of this exhibition.
APA, Harvard, Vancouver, ISO, and other styles
5

"6 Vasari’s City of God: Spirituality, Art and Architecture in Vasari’s ‘Lives’ and ‘Ragionamenti’." In The Spiritual Language of Art: Medieval Christian Themes in Writings on Art of the Italian Renaissance, 314–61. BRILL, 2014. http://dx.doi.org/10.1163/9789004283923_008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pupella-Noguès, Iris. "Fascist Monumentality in Bolzano and Trieste: Can Public History Help to Deal with it?" In Filologie medievali e moderne. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-542-1/004.

Full text
Abstract:
When the multicultural regions of Trieste and Bolzano became Italian, the liberal state followed by the Fascist regime imposed an ‘italianisation’ of the ‘allogeni’ and of the spaces using monumentality and architecture. After the Second World War, both regions proposed Public History projects to try to appease tensions embodied by remaining Fascist monuments. The paper, by presenting several multimedia public history projects and analysing the link between local powers, inhabitants and the role of historians in the memory-making processes, wants to ask how Public History can be useful in dealing with the remains of Fascist monuments.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Italian Medieval architecture"

1

Toscano, Maurizio, and Giuseppe Romagnoli. "Atlante dei siti fortificati della provincia di Viterbo, Italia (X-XV secolo). Fonti e metodi per la ricostruzione della rete insediativa bassomedievale." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11545.

Full text
Abstract:
Atlas of fortified settlements in the province of Viterbo, Italy (tenth-fifteenth centuries). Sources and methods for the reconstruction of the late-medieval settlement networkThis study addressed the historical phenomenon known as incastellamento, in the area of the current province of Viterbo, from a quantitative and geographical perspective. The time period considered was the tenth-fifteenth century. The paper describes the documentary sources, historical maps, aerial images, past studies and archaeological sources that are available to researchers, and which have been used, in good measure, to reconstruct the fortified settlement network. Moreover, the paper explains the methodologies used to identify, store and geocode the whole dataset, which so far comes to a total of 191 fortified settlements. In conclusion, we discuss the main characteristics of the online atlas, intended as an open and interoperable platform to consult, query and retrieve information from the dataset of late-medieval fortified settlements.
APA, Harvard, Vancouver, ISO, and other styles
2

Camiz, Alessandro. "Diachronic transformations of urban routes for the theory of attractors." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5639.

Full text
Abstract:
Alessandro Camiz ¹ ¹ Department of Architecture, Girne American University, Cyprus, Association for Historical Dialogue and Research, Home for Cooperation (H4C), 28 Marcou Dracou Street, Nicosia, Cyprus, 1102. E-mail: alessandrocamiz@gau.edu.tr Keywords (3-5): urban tissues, urban morphology, urban routes, theory, history Conference topics and scale: Tools of analysis in urban morphology Recent urban morphology studies consider urban tissues as living organisms changing in time (Strappa, Carlotti, Camiz, 2016), following this assumption the theory should examine more analytically what Muratori called ‘medievalisation’ (Muratori, 1959), a term describing some of the transformations of urban routes happened in the middle ages. The paper considers the diachronic deformation of routes, and other multi-scalar occurrences of the attraction phenomena (Charalambous, Geddes, 2015), introducing the notion of attractors and repellers. Archaeological studies already do consider attractors and repellers as a tool to interpret some territorial transformations, following the assumption that “the trajectory that a system follows through time is the result of a continuous dynamic interaction between that system and the multiple 'attractors' in its environment” (Renfrew, Bahn, 2013, p. 184). There are different elements that can act as attractors in an urban environment, such as bridges, city walls, city gates, water systems, markets, special buildings, and it is possible to consider each of these anthropic attractors as equivalent to a morphological attractor at the geographical scale. We can even interpret the ridge-top theory (Caniggia, 1976) as the result of attraction and repellence of geographic features on anthropic routes. The territorial scale analysis is the methodological base of the theory, but the attractors herein considered operate at the urban scale, deviating locally across time from a rectilinear trajectory and defining a specific urban fabric. The research interprets and reads the effects of attractors on urban routes and fabrics as a method for the reconstruction of Nicosia’s medieval city walls, in continuity between the Conzenian approach (Whitehand, 2012) and the Italian School of Urban Morphology (Marzot, 2002). References:, Muratori, S. (1959) Studi per un’operante storia urbana di Venezia (Istituto Poligrafico dello Stato, Roma). Caniggia, G. (1976) Strutture dello spazio antropico. Studi e note (Uniedit, Firenze). Marzot, N. (2002) ‘The study of urban form in Italy’, Urban Morphology 6.2, 59-73. Whitehand, J.W.R. (2012) ‘Issues in urban morphology’, Urban Morphology 16.1, 55-65. Renfrew, C., Bahn, P. (eds.) (2013) Archaeology: The Key Concepts, (London, Routledge). Charalambous, N., Geddes, I. (2015) ‘Making Spatial Sense of Historical Social Data’, Journal of Space Syntax 6.1, 81-101. Strappa, G., Carlotti, P., Camiz, A. (2016) Urban Morphology and Historical Fabrics. Contemporary design of small towns in Latium (Gangemi, Roma).
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Italian Medieval architecture' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography