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Journal articles on the topic 'San Giovanni del Sepolcro (Church)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Trška, Tanja. "Marco Boschini, Matteo Ponzone, and the Altar of the Scuola di San Giorgio degli Schiavoni in Venice." Confraternitas 27, no. 1-2 (2017): 62–78. http://dx.doi.org/10.33137/confrat.v27i1-2.28225.

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In the first decades of the seventeenth century the altar of the Scuola di San Giorgio e Trifone (also known as the Scuola di San Giorgio degli Schiavoni), at the time situated in the Venetian church of San Giovanni del Tempio, was adorned by an altarpiece by Matteo Ponzone (today in the church of Madonna dell’Orto), mentioned in 1664 by Marco Boschini as being “di Casa Stefani.” Boschini’s definition of Ponzone’s altarpiece as belonging to the Stefani family is explained by a 1582 request by the Guardian Grande Paulo (Paolo) de Stefano, who appealed to the general chapter for permission to co

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Sirocchi, Simone. "A Lost Confraternity: San Rocco in Modena and its Church." Confraternitas 29, no. 2 (2019): 22–39. http://dx.doi.org/10.33137/confrat.v29i2.32298.

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This article retraces the history of the Confraternita di San Rocco (Confraternity of St. Roch) in Modena from its foundation in the late fifteenth century to its abolition in the eighteenth century. Thanks to newly examined archival documents, the article details the building and decorative work supported by the confraternity for the construction and decoration of the oratory. The result is a varied picture of the craftsmen responsible for the work, which was carried out by minor, lesser-known artists such as the foremen Paolo Bisogni and Giovanni Battista Biavardi. The confraternity’s scarc

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Ciobanu, Petru. "Defensor vitae: San Giovanni Paolo II contro l’aborto." DIALOG TEOLOGIC XXIII, no. 45 (2020): 40–58. http://dx.doi.org/10.53438/aztd1099.

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The pontificate of John Paul II has remained in the history of mankind and of the Church as an important one from many points of view, known for his contribution to the construction of a more human world, closer to God. The intention of this study is to show that Pope Wojtyła was a true defensor vitae – a great defender of life –, having numerous interventions in favour of life, especially unborn life, life from the womb and threatened one, what the Second Vatican Council called an “abominable crime”, that is abortion. The article presents these interventions being structured in three parts, t

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Warren, John. "The First Church of San Marco in Venice." Antiquaries Journal 70, no. 2 (1990): 327–59. http://dx.doi.org/10.1017/s0003581500070827.

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In the past century there have been a number of proposed reconstructions of the First Church built in Venice to house the relics of Saint Mark, the Apostle. The proposal which follows differs from its predecessors in identifying the survival of the very large bulk of the original church. It holds that the ancient structure stands encapsulated within the surviving fabric (fig. 1) and thereby rediscovers, largely extant, the greatest Byzantine church of the Middle Ages, completed some time between 832 and 836 for Doge Giovanni Participacio (fig. 2). That church was generally held to have been de

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Tjatur Raharso, Alphonsus Tjatur Raharso. "Keterlibatan Klerikus Dalam Politik: Tinjauan Hukum Gereja Dan Kesaksian Hidup San Giovanni Xxiii." Seri Filsafat Teologi 33, no. 32 (2023): 82–121. http://dx.doi.org/10.35312/serifilsafat.v33i32.194.

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This research raises the theme of clerical involvement in politics, which still creates pro and con reactions. The questions answered in this research are what, how, and to what extent clerics may engage or are prohibited from engaging in politics. What are the reasons and purposes of the Catholic Church in prohibiting its clergy from engaging in politics? What are the legal consequences for the clerics involved in practical politics? Is there any good example for clerics in engaging in politics? This research uses the normative research method of Church law. The problem is approached using th

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Masini, Nicola, Raffaele Persico, Enzo Rizzo, et al. "Integrated techniques for analysis and monitoring of historical monuments: the case of San Giovanni al Sepolcro in Brindisi, southern Italy." Near Surface Geophysics 8, no. 5 (2010): 423–32. http://dx.doi.org/10.3997/1873-0604.2010012.

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Kuznetsova, Nataliya S. "THE IMAGE OF THE ALTAR OF ST. PETER'S BASILICA IN THE ROMAN CHURCHES OF THE 12-13TH CENT." Articult, no. 3 (2020): 56–64. http://dx.doi.org/10.28995/2227-6165-2020-3-56-64.

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The Main purpose of the study is an analysis of influence of the image of St. Peter's Basilica on the Roman church architecture of the 12th-13th centuries. It is possible to search the special type of the presbytery, characterized by uniting of the altar on the pedestal and the reliquary “confession” in the general vertical composition. The congregation of these churches had opportunities to see the process of worship and approach the saint relicts. The altar stood so that the Priest served the mass facing the worshippers, as it was in San Pietro. So, this important monument of Rome could be a

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Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.

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In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut

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Bodner, Neta. "Why are there Two Medieval Copies of the Holy Sepulchre in Pisa? A Comparative Analysis of San Sepolcro and the Baptistery." Viator 48, no. 3 (2022): 103–24. https://doi.org/10.1484/J.VIATOR.5.116350.

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Multiple cities in the Middle Ages built architectural copies of monuments from the Holy sites in Jerusalem. Unusually, the city of Pisa founded not one but two architectural representations of a single Jerusalem prototype—the Holy Sepulcher’s Rotunda of the Resurrection. Both Pisan homages were begun in the twelfth century. The foundation of these monuments—a baptistery and a pilgrimage church—was influenced by Pisa’s participation in the First Crusade and by the presence of Hospitaller Knights in Pisa, two factors that are key to the following analysis. In this

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Sneider, Matthew Thomas. "Sacred Territory, Sacred Brotherhood: Confraternities in the Bolognese Contado." Confraternitas 21, no. 1 (2010): 3–22. http://dx.doi.org/10.33137/confrat.v21i1.14248.

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This article focuses on the activities of confraternities in San Giovanni in Persiceto—a small town in the contado of Bologna—in the seventeenth and eighteenth centuries. It considers their role in the spiritual lives of the brothers and their place in local religious culture. It examines relations between the confraternity and the larger church. Its argument is that the confraternities played an integrative role in what was an often divided community, but that this role was made possible by relations with "lords superior" outside the community—lords superior who intervened to enforce devotion

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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblema

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Smith, Janet Charlotte. "The Side Chambers of San Giovanni Evangelista in Ravenna: Church Libraries of the Fifth Century." Gesta 29, no. 1 (1990): 86–97. http://dx.doi.org/10.2307/767103.

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Duda, Piotr. "La famiglia è la scuola di solidarietà secondo l’insegnamento di San Giovanni Paolo II." Wrocławski Przegląd Teologiczny 29, no. 2 (2021): 249–72. http://dx.doi.org/10.52097/wpt.3811.

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The problem of inculcating solidarity in family members is seminal for the formation of good pro-social attitudes. The Magisterium of the Church and St. John Paul II in particular define solidarity as “being one with the other, rather than one against the other;” the same virtue forms a part of a system of mutually conditioning values and principles that need to correspond with dignity, love, truth, and justice all of which is based on spousal solidarity. This in turn provides the foundation for building solidarity within the family, which consequently leads to the realisation of solidarity in

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Davies, Paul. "Saving the Soul of Giovanni di Bicci de’ Medici: Function and Design in the Old Sacristy of San Lorenzo." Architectural History 62 (2019): 1–37. http://dx.doi.org/10.1017/arh.2019.1.

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AbstractUsing Giovanni di Bicci de’ Medici's mausoleum in San Lorenzo in Florence as a case study, this article asks why high-ranking members of Florentine society increasingly opted for burial in a sacristy in the years after c. 1350. Countering the argument that the attraction for patrons was primarily one of size, it argues that sacristies were seen as ideal burial places in which to convey the souls of the departed through purgatory, since they were both repositories for collections of saints’ relics that might intercede on the deceased's behalf and the busiest spaces in a church, where pr

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Valluzzi, Maria Rosa, Michele Secco, Luca Sbrogiò, Valeria Razzante, and Alexandra Chavarria Arnau. "The Church of San Giovanni Evangelista in Castelseprio – multi-disciplinary strategies for the characterization of the masonry structures." MATEC Web of Conferences 403 (2024): 05011. http://dx.doi.org/10.1051/matecconf/202440305011.

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The remains of the archaeological site of Castelseprio (Varese province, Italy) are listed under the UNESCO World Heritage as proof of one of the seven settlements of the Lombards in Italy. Freestanding elements belonging to the apse and the lateral walls of the church of San Giovanni Evangelista are still preserved nowadays, reaching heights around 5 and 10 m, respectively. The condition of these walls, both in terms of slenderness and incompleteness, constitutes a possible vulnerability under horizontal actions that would need to be assessed for conservation. In particular, the presence of m

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Stefaniak, Regina. "Replicating Mysteries of the Passion: Rosso's Dead Christ with Angels." Renaissance Quarterly 45, no. 4 (1992): 677–738. http://dx.doi.org/10.2307/2862634.

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During his sojourn in Rome from 1524 to 1527, Rosso painted a panel of a dead Christ with angels for his friend Leonardo Tornabuoni, bishop of Borgo San Sepolcro. Vasari saw the painting in the house of Giovanni della Casa at mid-century, but subsequently it was lost from general sight until the 1950s, when it was acquired by the Boston Museum of Fine Arts (Fig. 1). The panel has been assessed by art historians as one of signal importance, at once a high water mark in Rosso's own work and masterpiece of the early Roman maniera, a painting remarkable for its great beauty and artfulness, compose

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De Nicolo, Francesco. "Obras y artistas italianos en Arequipa entre los siglos XIX y XX." Illapa Mana Tukukuq, no. 18 (December 21, 2021): 32–43. http://dx.doi.org/10.31381/illapa.v0i18.4419.

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El ensayo pretende investigar la presencia artística italiana en Arequipa, entre los siglos XIX y XX. Las obras y artistas procedentes de la península italiana han desempeñado un papel determinante en la reconstrucción de la ciudad y en la orientación del gusto de la élite local. Destacan, de modo particular, las obras de muchos arquitectos, como Martino Pietri, quien realiza la Iglesia de San Camilo, así como de Teófilo Fioretti, Giovanni Albertazzi y otros empeñados en la reconstrucción tras el terremoto del 1868. Entre las obras importadas de Italia hay que recordar, en cambio, el grupo del

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Vacca, G., and A. Dessi. "GEOMATICS SUPPORTING KNOWLEDGE OF CULTURAL HERITAGE AIMED AT RECOVERY AND RESTORATION." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2022 (May 30, 2022): 909–15. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2022-909-2022.

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Abstract. The study presented aims a practical contribution to the use of the Terrestrial Laser Scanner and the Close Range Photogrammetry geomatic techniques and to their integration for the knowledge and development of the historical-architectural heritage, both in the step of planning a restorative conservation project, and in the subsequent step of the restoration works. In particular, these techniques and their integration were applied at the process of study, planning and execution of the restoration of the San Giovanni Battista church in Fonni (Sardinia, Italy), founded in the 16th cent

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Veress, Ferenc. "Az eucharisztia tiszteletének szimbolikus-építészeti formái." Építés - Építészettudomány 48, no. 3-4 (2020): 197–225. http://dx.doi.org/10.1556/096.2020.008.

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Tanulmányomban a templomhomlokzat és az oltárépítmény felépítésének, tagoló rendszerének párhuzamaira kívántam felhívni a figyelmet. Mind a homlokzatoknak, mind az oltárarchitektúráknak a tervezői építészek voltak, így természetes, hogy hasonló motívumokat használtak fel mind a két esetben. A tridenti zsinat utáni katolikus megújulás fontos szereplője, Borromei Szent Károly, új tabernákulumformát és tértípust hozott létre a lombard építész, Pellegrino Tibaldi közreműködésével. Pellegrinónak kulcsszerepe volt a jezsuita templomtípus megteremtésében, tervei nyomán nem csupán Milánóban, hanem Tor

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Pintarić, Mario, and Damir Tulić. "Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista." Ars Adriatica 8, no. 1 (2018): 61–80. http://dx.doi.org/10.15291/ars.2755.

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The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with

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Kieven, Elisabeth. "An Italian Architect in London: The Case of Alessandro Galilei (1691–1737)." Architectural History 51 (2008): 1–31. http://dx.doi.org/10.1017/s0066622x00003002.

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‘I will carry with me the best architect in Europe.’ With these bold words Robert, first Viscount Molesworth, announced to his wife his arrival in Ireland in the company of the young Italian architect and engineer Alessandro Galilei in May 1717. Lord Molesworth could not know that, twenty years later, Galilei would be indeed one of the best-known architects in Europe, after having built in Rome, to the order of Pope Clement XII Corsini (1730–40), the facade of San Giovanni in Laterano (St John Lateran), the Cappella Corsini in the same church and the facade of San Giovanni dei Fiorentini.Galil

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Fein, Ariel. "Kufic Epigraphy between Norman Sicily and Ifriqiya." Muqarnas Online 40, no. 1 (2024): 43–67. http://dx.doi.org/10.1163/22118993_0040_004.

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Abstract Current scholarship on the role of Islamic art in the formation of Norman Sicilian material cultures argues for the importing of artistic traditions from Fatimid Egypt. This Palermo—Cairo axis overshadows the cultural ties that linked Sicily with nearby Ifriqiya (modern-day Tunisia and Algeria), narrowly separated by the Strait of Sicily. This article explores the epigraphic and visual ties between Sicily and Ifriqiya through extant Kufic epigraphs. It presents for the first time the inscriptions of the Santa Maria di Terreti Church near Reggio Calabria, Italy, and the San Giovanni de

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CAVALLO, G., R. CARDANI VERGANI, L. GIANOLA, and A. MEREGALLI. "ARCHAEOLOGICAL, STYLISTIC AND SCIENTIFIC RESEARCH ON 11TH-13TH CENTURY AD PAINTED FRAGMENTS FROM THE SAN GIOVANNI BATTISTA CHURCH IN CEVIO (SWITZERLAND)." Archaeometry 54, no. 2 (2011): 294–310. http://dx.doi.org/10.1111/j.1475-4754.2011.00613.x.

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Sbrogiò, Luca, Lorenzo Tavano, Ylenia Saretta, et al. "Dynamic-Based Limit Analysis for Seismic Assessment of Free-Standing Walls of San Giovanni Church in Castelseprio UNESCO World Heritage Site." Heritage 7, no. 1 (2024): 448–75. http://dx.doi.org/10.3390/heritage7010022.

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Free-standing archaeological walls are significantly exposed to horizontal actions (e.g., earthquakes) as they lack connections provided by floors or roofs. In such cases, the dynamic response governs the activation of local mechanisms of collapse, determining the shape of the macroblocks and their position. Engineering models of archaeological walls are developed according to the results of extensive visual inspections and on-site testing, including modal identification for calibration purposes. A modal response spectrum analysis on the calibrated model identifies the zones where the tensile

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Baggio, Carlo, Valerio Sabbatini, Silvia Santini, and Claudio Sebastiani. "Comparison of different finite element model updates based on experimental onsite testing: the case study of San Giovanni in Macerata." Journal of Civil Structural Health Monitoring 11, no. 3 (2021): 767–90. http://dx.doi.org/10.1007/s13349-021-00480-1.

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AbstractUnderstanding the behavior of historic structures that have undergone structural changes, restorations, and damage over time is still a significant challenge for structural engineers, particularly in those countries subject to high seismic risk, such as Italy. The study of built heritage for its prevention and conservation is an active research topic, due to the numerous uncertainties present in historic structures. Finite element modelling has become the most common and accessible method to study the behavior of complex masonry structures, however, the gap between numerical and experi

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Dziuba, Andrzej F. "Apostolstwo i solidarność : Zakon Rycerski Grobu Bożego w Jerozolimie." Prawo Kanoniczne 39, no. 3-4 (1996): 199–214. http://dx.doi.org/10.21697/pk.1996.39.3-4.07.

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L’Ordine di antica origine, costituito, riordinato, ampliato ed arricchito di privilegi dai Sommi Pontefici. Rioganizzato da Pio IX (1847 e 1868) e da Leone XIII (1888); San Pio X (1907) riservo al Sommo Pontefice il Gran Magistero, e Pio XI uni ad esso L’Opera della Preservazione della Fede in Palestine. Successivamente Pio XII (1940) diede all’Ordine un Cardinale come „Patrono”; il 14 sett. 1949 istitui un Cardinale come „Gran Maestro dell’Ordine”, affidandogli il governo del medesimo, e fïssando la Sede centrale dell’Ordine Equestre in Roma, mentre la sede storica è a Gerusalemme. Giovanni

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Salatino, Giorgia, Maria Antonietta Zicarelli, Michela Ricca, et al. "A Multi-Analytical Diagnostic on an Outdoor Wall Painting: The Study on the Déesis of St. Maria Annunziata’s Church, Motta San Giovanni (Reggio Calabria, Italy)." Applied Sciences 13, no. 18 (2023): 10439. http://dx.doi.org/10.3390/app131810439.

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This article concerns the diagnostic campaign aimed at analyzing the mural painting representing the iconographic theme of the Deesis of the Church of St. Maria Annunziata, Motta San Giovanni, in the province of Reggio Calabria. In 1951, a flood caused the collapse of the building and the consequent breaking of the apse into two parts. The present study focused on the left side of the apse, hosting the figures of Christ and Mary, in order to plan the best conservation intervention strategy. For this purpose, non-invasive investigations and laboratory analytical methods were conducted in order

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Farbaky, Péter. "Giovanni d’Aragona (1456‒1485) szerepe Mátyás király mecénásságában." Művészettörténeti Értesítő 70, no. 1 (2022): 47–91. http://dx.doi.org/10.1556/080.2021.00002.

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King Matthias Corvinus of Hungary (1458‒1490), son of the “Scourge of the Turks,” John Hunyadi, was a foremost patron of early Renaissance art. He was only fourteen years old in 1470 when he was elected king, and his patronage naturally took some time and maturity to develop, notably through his relations with the Neapolitan Aragon dynasty. In December 1476, he married Beatrice, daughter of Ferdinand of Aragon, who brought to Buda a love of books and music she had inherited from her grandfather, Alphonse of Aragon.I studied the work of Beatrice’s brother John of Aragon (Giovanni d’Aragona), pr

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Pavlin, Vojko. "Goričan Mihael Rabatta, avtor potopisa <i>Iter sancti sepulcri</i>." Clotho 6, no. 1 (2024): 11–25. https://doi.org/10.4312/clotho.6.1.11-25.

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Michele Rabatta went to the Holy Sepulchre with his friend Morando Porcia in 1396 and left a chronicle of their journey, which is preserved in the State Archives in Gorizia (Archivio di Stato di Gorizia). The transcription of his travelogue Iter sancti sepulcri was published in 2007 in Pordenone by the Accademia San Marco. The travel diary describes a journey that lasted three months, from 27 August to 28 November 1396. Drawings and sketches of some of the places have been preserved. The text draws particular attention to the indulgences that were awarded to pilgrims visiting Jerusalem and oth

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Tulić, Damir. "Spomenik ninskom biskupu Francescu Grassiju u Chioggi: prilog najranijoj aktivnosti venecijanskog kipara Paola Callala." Ars Adriatica, no. 4 (January 1, 2014): 335. http://dx.doi.org/10.15291/ars.507.

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The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerriero’s ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callalo’s earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was

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Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.

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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this pr

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Hilje, Emil. "Još jednom o datiranju poliptiha Vittorea Carpaccia iz zadarske katedrale: tragom dokumenta iz 1497. godine." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 7–20. http://dx.doi.org/10.31664/ripu.2023.47.01.

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The polyptych for the altar of St Martin in the Zadar Cathedral, commissioned from Vittore Carpaccio by Canon Martin Mladošić, is one of those works from the painter’s oeuvre whose chronology is still not agreed upon. Various authors dated the Zadar polyptych to almost the entire range of the painter’s activities, from those who considered it a youthful work to those who considered it a late work, created at the very end of his career. The document that was recently found in the Zadar archive sheds a completely new light on the issue of dating the polyptych, excluding all dating in the early y

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Smith, Graham. "Gaetano Baccani's "Systematization" of the Piazza del Duomo in Florence." Journal of the Society of Architectural Historians 59, no. 4 (2000): 454–77. http://dx.doi.org/10.2307/991621.

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Emilio de Fabris's completion of the west front of Santa Maria del Fiore is the best-known of the architectural interventions carried out during the nineteenth century in the Piazza del Duomo and Piazza di San Giovanni in Florence. But this initiative was preceded by an earlier one that was more radical in character, insofar as it transformed the area around the Campanile and Duomo. A proposal of November 1823 by the architect Gaetano Baccani resulted in the demolition of a large part of the late medieval cathedral canonry and the creation of an extensive new piazza on the south side of Santa

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Louzao Villar, Joseba. "La Virgen y lo sagrado. La cultura aparicionista en la Europa contemporánea." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 152. http://dx.doi.org/10.18239/vdh_2019.08.08.

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RESUMENLa historia del cristianismo no se entiende sin el complejo fenómeno mariano. El culto mariano ha afianzado la construcción de identidades colectivas, pero también individuales. La figura de la Virgen María estableció un modelo de conducta desde cada contexto histórico-cultural, remarcando especialmente los ideales de maternidad y virginidad. Dentro del imaginario católico, la Europa contemporánea ha estado marcada por la formación de una cultura aparicionista que se ha generadoa partir de diversas apariciones marianas que han establecido un canon y un marco de interpretación que ha ali

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Conte, Floriana. "«Chi si aspetterebbe un Pordenone a Gallipoli?»." Altersstil. Late in the Arts, no. 1 (December 20, 2022). http://dx.doi.org/10.30687/va/2385-2720/2022/08/007.

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The Saint Francis of Assisi with three angels crowning him in a day landscape and two donors in prayer has been known at least since the end of the seventeenth century in the church of San Francesco in Gallipoli, in the province of Lecce (currently the Saint Francis is relocated in the Diocesan Museum - section of Gallipoli “Mons. Vittorio Fusco”). In 1951 Giovanni Urbani brought it to the national attention of art history studies as the work of one of Titian’s greatest contemporaries, Giovanni Antonio de’ Sacchis known as Pordenone, based on an intuition of Sabino Jusco. Yet the provenance of

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"Spiritually overqualified: Robert Rauschenberg and ‘The Happy Apocalypse’ commission." Burlington Contemporary Journal, no. 12 (June 30, 2025). https://doi.org/10.31452/bcj12.modigliani.rauschenberg.

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The Happy Apocalypse (1999), a lesser-known and unrealised commission by Robert Rauschenberg (1925–2008) for the Padre Pio Pilgrimage Church in San Giovanni Rotondo, is a prescient vision of the climate emergency. For the project, Rauschenberg planned to print a collage on a large curtain at the entrance to the recently built church, designed by Renzo Piano (b.1937), which combined images of human-made monuments and natural disasters. At the centre of the design was a satellite dish, intended to usher in the faithful. In this article, Rauschenberg’s Happy Apocalypse is discussed in relation to

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Predari, Giorgia, and Angelo Massafra. "Conservation principles and structural performance of Modern heritage: the church of San Giovanni in Bosco in Bologna." Rivista Tema 8, N. 1 (2022) (2022). http://dx.doi.org/10.30682/tema0801d.

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The knowledge of the design and construction practice of peculiar works that belong to the Modern heritage is an essential prerequisite for its conscious conservation. In the transition phase between Modern Italian construction and the beginning of prefabrication in the late 1960s, a significant episode is the construction of the church of San Giovanni Bosco in Bologna between 1963 and 1969, one of the most recent, and the last Bolognese work, by the architect Giuseppe Vaccaro. On the one hand, the church presents some technical features that confirm the construction practice consolidated duri

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Tulić, Damir, and Mario Pintarić. "Antonio Michelazzi i Francesco Cabianca: nova djela u Italiji i Hrvatskoj." Ars Adriatica 10, no. 1 (2020). http://dx.doi.org/10.15291/ars.3196.

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New scholarly insights about the sculptor and altar builder Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771) have revealed him as a far more complex creative personality than it has been known so far. In this paper, the authors have attributed to him the marble statues of St John the Baptist and St Mark on the high altar of the parish church of San Biagio in Cinto Caomaggiore. Michelazzi’s authorship of the marble altar of the Holy Cross in the parish church of the Assumption of Mary in Rijeka has also been confirmed, based on a certificate from 1740 on the receipt of 150 gold coins

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Dionigi, Renzo, and Sara Fontana. "“HISTORIE DIPINTE” E “IMMAGINI PARLATE” SAN CARLO BORROMEO NEGLI AFFRESCHI DI BIASCA." Istituto Lombardo - Accademia di Scienze e Lettere • Rendiconti di Lettere, August 6, 2021. http://dx.doi.org/10.4081/lettere.2020.763.

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The ancient church of Saint Peter in Biasca, in Canton of Ticino, preserves a pictorial cycle on the Life of St. Charles Borromeo, commissioned in 1620 by the parish priest Giovanni Basso to the painter Alessandro Gorla from Bellinzona. The twelve panels, complete with captions, which depict in an ideal order and with a lively language some episodes in the life of the Saint, can be considered an unicum, a direct reference to the presence of St. Charles in the Three Ambrosian Valleys, and a testimony of his reforming pastoral action, implemented according to the resolutions of the Council of Tr

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Dionigi, Renzo, and Sara Fontana. ""HISTORIE DIPINTE" E "IMMAGINI PARLATE" SAN CARLO BORROMEO NEGLI AFFRESCHI DI BIASCA." August 6, 2021. https://doi.org/10.4081/lettere.2020.763.

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The ancient church of Saint Peter in Biasca, in Canton of Ticino, preserves a pictorial cycle on the Life of St. Charles Borromeo, commissioned in 1620 by the parish priest Giovanni Basso to the painter Alessandro Gorla from Bellinzona. The twelve panels, complete with captions, which depict in an ideal order and with a lively language some episodes in the life of the Saint, can be considered an unicum, a direct reference to the presence of St. Charles in the Three Ambrosian Valleys, and a testimony of his reforming pastoral action, implemented according to the resolutions of the Council of Tr

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Ruiz, Jiménez Juan. "Música de Francisco Guerrero, Tomás Luis de Victoria y Giovanni Pierluigi da Palestrina en el paisaje sonoro de Goa (1588)." Paisajes sonoros históricos (c.1200-c.1800), December 17, 2023. https://doi.org/10.5281/zenodo.10397530.

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En el último cuarto del siglo XVI, la música de Francisco Guerrero, Tomás Luis de Victoria y Giovanni Pierluigi da Palestrina dominaba el paisaje sonoro del colegio de San Pablo en Goa (India), interpretada principalmente con los impresos italianos de estos compositores enviados a través de la red de contactos de la comunidad jesuítica. Igualmente eran interpretadas en la iglesia composiciones en español e italiano para reemplazar ocasionalmente a los motetes. In the last quarter of the 16th century, the music of Francisco Guerrero, Tomás Luis de Victoria and Giovanni Pierluigi da Palestrina d

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Arrigo Caserta, Fawzi Doumaz, Antonio Costanzo, et al. "Assessing soil-structure interaction during the 2016 Central Italy seismic sequence (Italy): preliminary results." Annals of Geophysics 59 (December 5, 2016). http://dx.doi.org/10.4401/ag-7250.

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<p><em>We used the moderate-magnitude aftershocks succeeding to the 2016 August 24<sup>th</sup>, Mw = 6.0, Amatrice (Italy) mainshok to asses, specially during an ongoing seismic sequence, the soil-structure interaction where cultural Heritage is involved. We have chosen as case study the</em><em> San Giovanni Battista</em><em> church (A.D. 1039) in Acquasanta Terme town, about 20 Km northeast of Amatrice. First of all we studied the soil shaking features in order to characterize the input to the monument. Then, using the recordings in the church

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Navone, Nicola. "Un oratorio e una cappella in Ticino." ArchAlp 2023 Vol. 11, no. 11 (2024). http://dx.doi.org/10.30682/aa2311l.

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This text presents the oratory of San Bartolomeo (1991-1996), built in Porta (Brissago) following the design by Raffaele Cavadini, and the chapel realised in Val Malvaglia (2017-2019) by Martino Pedrozzi. Since it is not possible here to fill the gap in critical studies on the sacred architecture in Ticino since the second half of the 20th century – except for two well-known works by Mario Botta: the church of San Giovanni Battista in Mogno, Val Lavizzara (1986-1996) and the chapel of Santa Maria degli Angeli on Monte Tamaro (1990-1996) –, we have chosen to focus on these two works because of

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Bartolini, Simone, and Marco Pierozzi. "ASTRONOMY AND SOLAR SYMBOLOGY IN THE BASILICA OF SAN MINIATO AL MONTE AND IN THE BAPTISTERY OF SAN GIOVANNI IN FLORENCE." March 23, 2016. https://doi.org/10.5281/zenodo.220972.

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The Basilica of San Miniato al Monte is one of the oldest churches in Florence: its construction began in 1018 by the Bishop Hildebrand who wanted to celebrate St. Minias, the patron Saint of the city. The Basilica is one of the finest examples of Romanesque in Tuscany and presents intriguing astronomical and symbolic allusions that, however, largely remain undiscovered. This article presents the study on the relationship between architecture, religious symbols and astronomical elements of the church of San Miniato al Monte. In order to identify possible correlations between the position of th

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Lombardo, Tiziana, Marta Caroselli, Camilla Martinucci, Erwin Hildbrand, Patrizia Moretti, and Patrick Cassitti. "Exploring Carolingian and Romanesque cycles: a study of the detached wall paintings from the Church of St. Johann in Müstair." Heritage Science 12, no. 1 (2024). http://dx.doi.org/10.1186/s40494-024-01465-1.

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AbstractTwenty-six fragment of wall paintings detached from the upper register of the Carolingian and Romanesque cycles of the church of St. John in Müstair (Switzerland) have been part of the Swiss National Museum collection since the beginning of the twentieth century. As some of these objects were in a critical state of conservation, a research project was launched to assess and document their conditions, and to gain knowledge about painting materials and execution techniques, in view of planning a conservation project. In a first phase, non-destructive analyses were carried out, using hand

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Marzi, Tanja, Clara Bertolini-Cestari, and Olivia Pignatelli. "Learning from tradition: a case study of the diagnosis, dendrochronological dating, and intervention on a 16th-century timber roof structure in the western Italian Alps." Rivista Tema SI, no. 2022 (2023). http://dx.doi.org/10.30682/tema08sit.

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The paper presents a significant case study: the Church of San Giovanni Battista in Salbertrand dates back to the 16th century and constitutes one of the most interesting examples of religious architecture in the Susa Valley of the western Italian Alps. Its historic timber roof structure was once at risk of demolition, but in 2000 finally became the object of necessary preservation and reinforcement works. Here, the interdisciplinary studies carried out for the diagnosis and assessment of the state of conservation are presented, starting with the identification of the wood species used, the ge

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Anabela Marcos. "Monteverdi and the architecture of emotions." Royal Conservatoire Research Portal, no. 1 (November 2, 2018). http://dx.doi.org/10.22501/koncon.301178.

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Name: Anabela Marcos Main Subject: Singing Research supervisors: Johannes Boer and Erwin Roebroeks Title of Research: Monteverdi and the architecture of emotions Research Question: In what way could the formal and the expressive elements in Monteverdi's music be related to painting and architecture of his contemporaries? Summary of results: In the preface of his Eighth Book of Madrigals, Madrigali Guerrieri et Amorosi, Claudio Monteverdi announced one of the fundaments of his musical construction: the power of the contrasting passions. The humanist theme, that inspired not only musicians but a

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