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Journal articles on the topic 'San Lorenzo (Church : Florence, Italy)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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.

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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

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2

Stine, Darin. "A Reconsideration of Michelangelo's Unrealised Façade for the Basilica of San Lorenzo in Florence." Architectural History 62 (2019): 39–67. http://dx.doi.org/10.1017/arh.2019.2.

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AbstractThis article reconsiders Michelangelo's unrealised façade project for the church of San Lorenzo in Florence. While surviving evidence, particularly the extant wooden model preserved today in the Casa Buonarroti, gives a good indication of the façade's planned appearance, we are still unclear about how Michelangelo intended it to attach to the church. By reassessing surviving graphic and written sources for the commission, the article argues for a reconstruction of Michelangelo's design as a narthex. It draws further support from an analysis of the intended building site on Piazza San L

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3

Salmon, Frank. "The Site of Michelangelo's Laurentian Library." Journal of the Society of Architectural Historians 49, no. 4 (1990): 407–29. http://dx.doi.org/10.2307/990568.

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In his monographic article on Michelangelo's Laurentian Library in Florence, first published in 1934, Rudolf Wittkower relegated the history of its siting within the canonica (claustral buildings) of San Lorenzo to a third appendix. Since then a number of scholars have given detailed consideration to the site history, realizing it to be a significant aspect of Michelangelo's early career as an architect. The present paper maintains that some study of the canonica as Michelangelo probably encountered it should be prerequisite to any account of the site and presents new observations, measurement

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Morrow, Johnica J., Allen Myhra, Dario Piombino-Mascali, et al. "Archaeoentomological and archaeoacarological investigations of embalming jar contents from the San Lorenzo Basilica in Florence, Italy." Journal of Archaeological Science: Reports 10 (December 2016): 166–71. http://dx.doi.org/10.1016/j.jasrep.2016.09.021.

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5

Schiller, Anne. "How Do You Solve a Problem Like Saint Orsola?: Urban Space and Neighborhood Renewal in Florence's Historic Center." Human Organization 78, no. 4 (2019): 288–97. http://dx.doi.org/10.17730/0018-7259.78.4.288.

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Drawing upon results of fieldwork conducted from 2005 to 2018 in Florence, Italy, the article discusses renovation of a medieval convent and other urban renewal activities in the city center. It examines how the projects intersect with broader concerns regarding identity, change, and workways in the San Lorenzo neighborhood. San Lorenzo has deep associations with trade, including outdoor vending. Hundreds of men and women work in its homonymous open-air market. Notwithstanding vending's historical prominence, questions have arisen regarding whether the outdoor market today is an environment co

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6

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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7

Pesce, Giovanni L., Egle Micheletto, Gianluca Quarta, Sofia Uggè, Lucio Calcagnile, and Anna Decri. "Radiocarbon Dating of Mortars from the Baptismal Font of the San Lorenzo Cathedral of Alba (Cuneo, Italy): Comparison with Thermoluminescence Dating of Related Bricks and Pipes." Radiocarbon 55, no. 2 (2013): 526–33. http://dx.doi.org/10.1017/s0033822200057659.

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The San Lorenzo Cathedral of Alba is a Romanesque church (rebuilt in Gothic epoch) located in northwest Italy. Since 2007, this church has been subjected to renovations and archaeological excavations that led to the finding of the lower part of the basin and the water drainage pipe of a baptismal font of unknown age. Thermoluminescence and radiocarbon dating have been carried out respectively on some ceramic elements and lime mortar samples used in both the pipe and basin of the font. Thermoluminescence results suggest that some of the bricks may have been reused from previous structures while

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8

Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.

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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the

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9

Colucci, Elisabetta, Valeria De Ruvo, Andrea Lingua, Francesca Matrone, and Gloria Rizzo. "HBIM-GIS Integration: From IFC to CityGML Standard for Damaged Cultural Heritage in a Multiscale 3D GIS." Applied Sciences 10, no. 4 (2020): 1356. http://dx.doi.org/10.3390/app10041356.

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This study describes the technical-systemic and conceptual-informative interoperability tests for the integration of a Historic Building Information Modeling (HBIM) model in a 3D Geographic Information System (GIS) environment aimed to provide complete and useful documentation for multiscale analyses on cultural heritage particularly exposed to risks. The case study of the San Lorenzo Church in Norcia (Italy) has been chosen given the urgent need to update the existing documentation for its protection and conservation issues, due to the extensive damage suffered after the series of earthquakes

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10

Valentini, Federica, Pasquino Pallecchi, Michela Relucenti, et al. "SiO2 Nanoparticles as New Repairing Treatments toward the Pietraforte Sandstone in Florence Renaissance Buildings." Crystals 12, no. 9 (2022): 1182. http://dx.doi.org/10.3390/cryst12091182.

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In this work, the consolidation efficiency of SiO2 nanoparticles (synthesized in the Chemistry laboratories at the Tor Vergata University of Roma) was tested on Pietraforte sandstone surfaces belonging to the bell tower of San Lorenzo (Florence, Italy) and was fully investigated. Nanoparticles (synthesized in large-scale mass production) have been characterized by XRD—X-Ray Diffraction; Raman and FTIR—Fourier Transform Infrared spectroscopy; SEM—Scanning Electron Microscopy; while the Pietraforte sandstone morphology was examined by Porosimetry, capillary absorption test, surface hardness test

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11

Licht, Meg. ""I Ragionamenti"-Visualizing St. Peter's." Journal of the Society of Architectural Historians 44, no. 2 (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

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12

Meattini, Icro, Giulio Francolini, Vanessa Di Cataldo, et al. "Abstract PD3-03: Preoperative robotic radiosurgery for early breast cancer: results of the phase II ROCK trial (NCT03520894)." Cancer Research 83, no. 5_Supplement (2023): PD3–03—PD3–03. http://dx.doi.org/10.1158/1538-7445.sabcs22-pd3-03.

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Abstract Introduction. Breast-conserving surgery (BCS) followed by postoperative radiotherapy (RT) still represents the standard of care for early breast cancer (BC) patients. Hypofractionated schedules in maximum 15 fractions are currently accepted as the gold standard for external beam whole and partial breast irradiation (PBI). PBI for selected early BC patients allowed a shorter overall treatment duration and an improved patient compliance as compared to old-fashioned RT schedules. Preoperative PBI, due to the advantage of treating a well-defined volume, has been gaining attention in this

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13

Carlson, Michael. "The End of the Ars Nova in Italy: The San Lorenzo Palimpsest and Related Repertories. Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, and John Nádas, eds. La Tradizione Musicale 21; Studi e Testi 12. Florence: SISMEL Edizioni del Galluzzo, 2020. xvi + 314 pp. €54." Renaissance Quarterly 76, no. 1 (2023): 324–26. http://dx.doi.org/10.1017/rqx.2023.175.

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14

MARCHI, LUCIA. "Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti and John Nádas, eds., The End of the Ars Nova in Italy: The San Lorenzo Palimpsest and Related Repertories, La Tradizione Musicale 21. Florence: Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2020. xv + 313 pp. €54. ISBN 978 88 9290 046 2. Also freely available as Open Access at www.sismel.info/books/TM21_The_End.pdf." Plainsong and Medieval Music 30, no. 2 (2021): 179–81. http://dx.doi.org/10.1017/s0961137121000140.

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15

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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16

Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.

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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractu

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17

Vandiver, Pamela B. "A Ceramic Plaque Representing a Part of the Moses Panel by Lorenzo Ghiberti in the East Baptistery Doors (Florence, Italy)." MRS Proceedings 1047 (2007). http://dx.doi.org/10.1557/proc-1047-y06-01.

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AbstractA ceramic plaque was studied that depicts the figurative part of the lower half of the Moses Panel from the gilt bronze doors that Lorenzo Ghiberti and his workshop installed on the east side of the San Giovanni Baptistery in Florence, Italy. The doors were completed in 1452, and thermoluminescence dating of two areas of the ceramic relief panel gave a broad, but consistent fifteenth century date. No differences were found in the composition, microstructure or phase assemblage of the two stylistically distinct parts of the ceramic panel. Microscopy and radiography were used to reconstr

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18

Fadda, Elisabetta. "La circolazione dei modelli: calchi da Michelangelo tra Emilia e Veneto, nella seconda metà del Cinquecento." 28 | 2019, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/01/004.

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In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues w

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19

Fadda, Elisabetta. "Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century." Body of Art, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/05/004.

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In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues w

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20

Donetti, Dario. "Architettura e frammentismo, o lo stile tardo di Giuliano da Sangallo." Altersstil. Late in the Arts, no. 1 (December 20, 2022). http://dx.doi.org/10.30687/va/2385-2720/2022/08/001.

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Giuliano da Sangallo was an artist originally trained as a legnaiuolo and a sculptor, but it is especially as an architect that we remember him, particularly for his service to two generations of the Medici, from Lorenzo the Magnificent to Leo X. His late style is emblematic of the methodological questions developed by historiography around the concept of Altersstil. It was both the product of highly personal, even idiosyncratic, formal preferences and a trigger for new trends that emerged in the architecture of sixteenth-century Italy. Indeed, the erudite, seductive language displayed in the

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21

Reis, Rosalinda. "GETTING A TOUCH OF CULTURE: TOP PLACES TO VISIT IN EUROPE." International Journal of Tourism & Hospitality Reviews 8, no. 2 (2021). http://dx.doi.org/10.18510/ijthr.2021.822.

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Every continent has its unique beauty, and Europe isn’t an exception. Here you will find a variety of tourist destinations ranging from beaches, beautiful sceneries, cultural and art centers among others. It’s no wonder Europe has always been voted among the best continents to visit. So, if you are planning for a romantic getaway, cultural tour, family vacation, or a getaway with your friends, this content has something to offer and more in what you are looking for. However, with 51 countries and thousands of destinations to discover, narrowing down on a single destination can be overwhe

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