Academic literature on the topic 'San Pietro di Sorres (Church)'

AbstractThis study analyzes the campo of San Pietro di Castello from its mythologized origins to the Renaissance, paying particular attention to the architectural and political forces that shaped it. Although San Pietro was Venice’s cathedral from the ninth to the nineteenth centuries, civic leaders marginalized the site, which incarnated the contentious relationship between the Roman Church and the Venetian republic. The essay places the campo at the center of inquiry because the episcopal complex’s significance is best discerned through diachronic analysis of the urban landscape. The building activities of its medieval and Quattrocento patrons generated a heterogeneous campo that incorporated morphological elements from two Venetian urbanistic types: the parish campo and the monastic island. Its sixteenth-century patriarchs created a new architectural vision of the campo, contesting its slippage from the center of Venetian life and forging a distinctive ensemble that differs markedly from the better-known piazzas at San Marco and Rialto.

In the present paper, a non-linear numerical study on the 13th century masonry bell tower of the church of San Pietro di Coppito is described. The aim is to have an insight into the causes at the base of the partial collapse suffered by the structure during the L’Aquila earthquake in 2009. To this aim, two different numerical analyses have been performed namely non-linear static (pushover) and limit analysis. In both cases, the same full 3D detailed FE model of the structure is adopted, changing the seismic load direction and assuming different distributions of the equivalent static horizontal load. When dealing with the FEM incremental analysis, a commercial code is utilized assuming for masonry a smeared crack isotropic model. For limit analysis, a non-commercial full 3D code developed by the authors is utilized. It provides limit good estimates of limit loads and failure mechanisms, to compare with standard FEM results. From numerical re-sults, the role played by the actual geometry and by the masonry mechanical characteristics of the tower is envisaged, as well as a detailed comparison of failure mechanisms provided by the incremental FEM and limit analysis is provided. In all cases, the numerical analysis has given a valuable picture of damage mechanisms which can be compared with actual damage patterns so providing useful hints for the introduction of structural monitoring.

Giuseppe Zander was the "Proto" of the "Fabbrica di San Pietro": the architect who undertook the restoration of the most important complex of Christianity, after being a member of the Pontifical Commission of Sacred Art in Italy.In this capacity, the approach to the monument for Zander was of absolute respect, the knowledge of the architectural work was acquired through real sketches, annotations on the formal and constructive aspects, the building phases, the materials used, the degradation. The direct investigation was accompanied by the theoretical study with the bibliographic and archival research, from which derived the critical synthesis contained in his notebooks. From these studies emerges the full mastery of the subject and the opportunity to understand the context by an audience not necessarily made of experts, using a simple and immediate language, but at the same time cultured, full of classic quotations, from which emerges his figure of humanist.His designer activity as a restorer remains in all his projects, from which the mentioned concepts are outlined, with his careful theoretical reflection that precedes the restoration project, in which he acquires the values of the past architecture transposing them into modern forms through the use of modern techniques and technologies, in perfect union with construction techniques and local typological habits.Among many projects, we focus on the restoration of the "Collegiate Church of San Pietro" in Minturno (1966-67), in which we find the synthesis of the methodological path of Giuseppe Zander.

Perhaps the most striking features of the history of Renaissance Venice are its highly commercialised economy and its precocious sense of secular state sovereignty. These characteristics owed much to the city’s independence of and isolation from rural and seigneurial influences in the thirteenth and fourteenth centuries. However, the high level of business activity and the confident awareness of statehood could also be related to the weakness of ecclesiastical influence in economic and political affairs. This was the case long before the spectacular conflict of 1606 when Venice was placed under the Interdict. The location of the Cathedral had always been a telling symbol of the place of the Church in Venetian life. It stood at San Pietro di Castello in an isolated area of the city. It is easy to overlook the fact that the centre of religious life, Saint Mark’s, was the Doge’s private chapel: a constant reminder of the intimate relationship between religious and political power, a material manifestation of the divine favour attached to Venice’s wealth and authority, both of which were unmistakably worldly.

A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.

AbstractThe paper deals with the results of an archaeo-geophysical approach adopted for the study and the reconstruction of the architectural plan of the medieval monastery of San Pietro a Cellaria in Calvello (Basilicata, Southern Italy). The monastery is a remarkable witness to Benedectine architecture of the 12-13th century in Basilicata, built by monks of the Congregation of S. Maria di Pulsano, who were active mainly in southern Italy. The historical data and the diachronic architectural study, based on the analysis of building techniques, provide evidence for a long and intense history, during which the monastery underwent several architectural changes, including the demolition of buildings and the superposition of other constructional elements. The only preserved medieval remains are a church with a nave; the adjacent structures are more recent. This preliminary data prompted a research project to shed new light on the as yet unknown history of the medieval monastery. Specifically, a remote sensing approach around the monastery including aerial survey by unmanned aerial vehicle (UAV), ground-penetrating radar (GPR) and geomagnetic survey in gradiometric configuration (MAG), was adopted in order to verify the possible existence of buried masonry structures and other possible features of archaeological interest, including channels and aqueducts. The GPR time slices were constructed from closely spaced parallel profiles. The time slices, computed by averaging radar reflections over vertical time windows several nanoseconds thick, are used to map subsoil features associated with the structures, probably of anthropogenic origin. To facilitate the interpretation of the results, a threedimensional image was constructed using closely spaced parallel profiles, which are linearly interpolated. The MAG survey was carried in gradiometer configuration, in order to study magnetic properties of the shallow subsoil. Ground-penetrating radar gives details about archaeological structures in a limited area where survey was possible, while gradiometer survey confirms GPR results and improves archaeological knowledge in the areas where GPR survey was impossible. This multi-sensor remote sensing program revealed a wide variety of archaeological features of interest, which may be targeted accurately with excavations in the future.

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Hermetic definitions about the Church can not to express the fullness of her Mystery. Overcoming the vision of juridical emphasis, the ecclesiology developed from the Second Vatican Council takes the theological way of the first millennium and rescues aspects, images and notions that complement each other. The Church recognizes herself as being a mystery: desired by God, she has her foundation, life and destiny in the Trinity. Your life should express Trinitarian communion. It is the new People of God who walk in communion with each other and with God towards the heavenly homeland. Evidently, this vision rescued and renewed in the Council brings with it new ecclesial relations ad intra and ad extra. The Ecclesiology of Communion, along with other important images and definitions, still seems to lack more attention and also remains with an immense open field of practical applications in the ecclesial life. The present dissertative text intends to explore the foundations and relevance of this ecclesiology for the present time and the possible implications already observed in some scenarios of the Church. For this purpose, the author offers the results of the research in three moments: first, he presents the fundamental biblical concepts that relate to the ecclesiology of communion: community, communion and People of God. Next, the contrast between the juridical ecclesiology characteristic of the second millennium and the paradigm shift present in the Dogmatic Constitution Lumen Gentium, as well as some advances achieved in the trinitarian and ecclesiological theologies in the post-Council, is made. Finally, the focus is on some of the ecclesial articulations developed in recent years: the dialogue movement in the internal and external spheres of the Church, the reception in Latin America, as well as the perspectives opened from the pontificate of Pope Francis
Definições herméticas a respeito da Igreja não conseguem expressar a totalidade do seu Mistério. Superando a visão de ênfase jurídica, a eclesiologia desenvolvida a partir do Concílio Vaticano II se coloca na via teológica do primeiro milênio e resgata aspectos, imagens e noções que se complementam. A Igreja se reconhece como sendo mistério: desejada por Deus, ela tem seu fundamento, vida e destino na Trindade. Sua vida deve expressar a comunhão trinitária. Trata-se do novo Povo de Deus que caminha em comunhão entre si e com Deus rumo à pátria celeste. Evidentemente, esta visão resgatada e renovada no Concílio traz consigo novas relações eclesiais ad intra e ad extra. A Eclesiologia de Comunhão, ao lado de outras importantes imagens e definições, ainda parece carecer de maior atenção e também permanece com um imenso campo aberto de aplicações práticas na vida eclesial. O presente texto dissertativo pretende explorar os fundamentos e a relevância desta eclesiologia para a atual época e as possíveis implicações já observadas em alguns cenários da Igreja. Para tal intento, o autor dispõe o resultado da pesquisa em três momentos: primeiramente, apresenta os conceitos bíblicos fundamentais que se relacionam com a eclesiologia de comunhão: comunidade, comunhão e Povo de Deus. Em seguida, é feito o contraste entre a eclesiologia jurídica característica do segundo milênio e a mudança de paradigma presente na Constituição Dogmática Lumen Gentium, além de alguns avanços alcançados nas teologias trinitária e eclesiológicas no pós-Concílio. Por fim, o olhar é voltado para algumas das articulações eclesiais desenvolvidas nos últimos anos: o movimento de diálogo nos âmbitos interno e externo da Igreja, a recepção na América Latina, bem como as perspectivas abertas a partir do pontificado do Papa Francisco

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:48:16Z No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5)
Made available in DSpace on 2018-12-04T11:48:16Z (GMT). No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) Previous issue date: 2018-10-11
According to Sacrosanctum Concilium 13, pious exercises should be recommended, but with determination that there should be harmonization with the liturgy. The Popular Piety can not substitut, in any way, the official liturgical practices of the Church. In this study we make analysis of the current reality, which will be based on ‗Liquid Modernity‘, expression of the Polish Sociologist Zygmunt Bauman. With this expression, Bauman identify the moment we are living, in which everything is predicted to be fleeting, including the human relations. In this context, the harmonization between Liturgy and Popular Piety is impaired, causing a mismatch between liturgical practices, with their stable norms, and popular devotions, prone to change more easily. However, pious exercises should be encouraged, even with the variants of the present time. For this analysis, the theoretical foundations are sought in the Directory on Popular Piety and the Liturgy, documents of the Popes, in the set of works written by Bauman and many others that help in understanding of the relation between the Popular Piety and the Liturgy in this period of history which Bauman classifies as ‗Liquid Modernity
De acordo com a Sacrosanctum Concilium 13, os exercícios piedosos devem ser recomendados, porém com a determinação de que de haja harmonização com a Liturgia. A Piedade Popular não pode substituir, de forma alguma, as práticas litúrgicas oficiais da Igreja. Nesse estudo fazemos uma análise da realidade atual, que será pautada pela ‗Modernidade Líquida‘, expressão do sociólogo polonês Zygmunt Bauman. Com esta expressão, Bauman identifica o momento que estamos vivendo, em que tudo está previsto para ser passageiro e fugaz, inclusive as relações humanas. Neste contexto, a harmonização entre Liturgia e Piedade Popular fica prejudicada, causando um descompasso entre as práticas litúrgicas, com suas normas estáveis, e as devoções populares, propensas a se alterarem mais facilmente. Contudo, os piedosos exercícios devem ser incentivados, mesmo com as variantes do tempo atual. Para esta análise, os fundamentos teóricos são buscados no Diretório sobre a Piedade Popular e a Liturgia, documentos dos papas, no conjunto de obras escritas por Bauman e tantas outras que auxiliam na compreensão da relação entre a Piedade Popular e a Liturgia neste período da história que Bauman classifica como ‗Modernidade Líquida

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The purpose of this study was to analyze two official documents of Christianity promulgated in the 1960s and 1970s, namely the Pastoral Constitution Gaudium et Spes in Catholicism and the Lausanne Covennant in Protestantism, with a focus on poverty in Latin America, using a bibliographical and documentary research methodology. Main theoretical references included the sociology of Max Weber in analyzing the motivations behind the documents, and the missiology of David Bosch to study the historical and theological contexts. The dissertation is structured in three chapters. In the first, we analyse the context that defines the conception of Christianity regarding the mission of the church in the nineteenth century, as well as the way in which the two Christian perspectives viewed the question of poverty. The second chapter analyzes the two documents and their social, political, and economic context of the mid-twentieth century and identifies the conception of poverty within the mission context in a new paradigm, missio Dei, which classifies poverty as an institutional and structural problem in both Christian perspectives. In the third chapter, we analyze the theoretical implications and the contradictions that the new paradigm brings to the question of the poverty of the Latin American populations, the practical repercussions with the organization of the Ecclesial Base Communities, Liberation Theology and Theology of the Integral Mission
O presente estudo teve como objetivo realizar uma análise de dois documentos oficiais do cristianismo promulgados nas décadas de 1960-1970, a saber, a Constituição Pastoral Gaudium et Spes no catolicismo, e o Pacto de Lausanne, no protestantismo, tendo como eixo a questão da pobreza na América Latina, pela metodologia da pesquisa bibliográfica e documental. Utilizou-se como referenciais teóricos principais a sociologia de Max Weber para análise das motivações por trás dos documentos e a missiologia de David Bosch que orientaram o estudo dos contextos históricos e teológicos. A dissertação foi estruturada em três capítulos. No primeiro, foram verificados os contextos que definiram a concepção do cristianismo quanto à missão da Igreja no século XIX, e analisada a maneira como as duas vertentes cristãs se posicionavam quanto à questão da pobreza. O segundo capítulo analisa os dois documentos e seu contexto social, político, econômico de meados do século XX e identifica a concepção de pobreza dentro do contexto de missão em novo paradigma, a missio Dei, para ambas as vertentes cristãs, identificando a pobreza como um problema institucional e estrutural. No terceiro capítulo, são analisadas as implicações teóricas e as contradições que o novo paradigma acarreta para a questão da pobreza das populações latino-americanas, as repercussões práticas com a organização das Comunidades Eclesiais de Base, da Teologia da Libertação e da Teologia da Missão Integral

Between 1843 and 1845 Pope Gregory XVI entrusted the two Tuscan Olivetan monasteries, Monte Oliveto Maggiore in the Sienese area and San Bartolomeo in Florence, to the jurisdiction of the Archbishop of Florence Ferdinando Minucci with the task of conducting an apostolical visit. At the same time, the Tuscan government, following the legislation of Pietro Leopoldo, instructed the Archbishop himself to conduct a visit to the same monasteries in the name and on behalf of the State. The essay analyses the story by cross-examining the ecclesiastical sources with those of the Government. An episode emerges that testifies to the persistence of dynamics typical of the ancient regime regarding the relations between State and Church in the context of the Restoration age.