Journal articles on the topic 'San pietro in Vaticano (Basilica)'

È possibile rialzare all'età di Costantino la datazione di due mosaici situati sull'arco di trionfo e sull'abside della basilica vaticana di San Pietro, sulla base della reinterprctazione delle loro iscrizioni. Sulla facciata della chiesa possiamo anche ricostruire il soggetto apocalittico di un terzo importante mosaico e attribuirlo al periodo di Papa Leone Magno (440–61). Alcune sillogi del VII secolo d.C. ci informano circa la presenza dell'immagine di Costantino accompagnata da una lunga iscrizione in cui si fa allusione alla sua guarigione miracolosa dalla lebbra e al suo battesimo. Questo testo ha evitato la discussione sull'origine dell'AchisSilvestri, che ha una notevole importanza in quanto è il primo documento che attesta chiaramente questa leggenda. Inoltre esso è significativamente connesso a Papa Leone Magno — nel contesto del dibattito circa la supremazia del papa di Roma — e probabilmente con la famiglia di Costantino stesso. Infatti il mosaico fu pagato da Flavius Avitus Marinianus, pretoriano prefetto del 422 e console un anno più tardi, e da sua moglie, Anastasia, che fu probabilmente una stranipote dell'imperatore Costantino.

The name of Sixtus IV is associated with three Sistine Chapels: in the Vatican Palace, in the former convent of San Francesco in Savona, and in the old Basilica of San Pietro in Rome (also known as the Choir Chapel and Immaculate Chapel). The former is well studied by scientists. While remaining two chapels are much less discussed in the literature since their Quattrocentist setting has largely been lost. The article compares these three major artistic orders and for the first time shows how different their ecclesiastical and social significance were, and how distinctively the outstanding personality of Sixtus IV was manifested in each of them. In the Vatican chapel are depicted his religious, political and philanthropic activities. The funeral chapel in San Pietro was designed to provide the customer with a happy afterlife and perpetuates Sixtus IV as a real Pope-King. The Chapel of the Immaculate Conception located far from Rome became the mausoleum for the pontiff's parents and provides the most complete picture of his personal qualities. In this monument Sixtus IV is shown as an attentive son, but also practically dared to put himself on a par with the saints. С именем Сикста IV связаны три Сикстинские капеллы: в Ватиканском дворце, бывшем монастыре Сан-Франческо в Савоне и старой базилике Сан-Пьетро в Риме (также известная как капелла хора и капелла Непорочного зачатия). Первой из них посвящено множество исследований. Две другие представлены в литературе значительно более скромно (их кватрочентистская декорация во многом была утрачена). В статье путем сопоставления этих трех крупных художественных заказов впервые показано, насколько разными были их церковное и общественное значение и как самобытно в каждом из них проявилась выдающаяся личность Сикста IV. В ватиканской капелле запечатлена его религиозно-политическая и меценатская деятельность. Погребальная капелла в Сан-Пьетро, призванная обеспечить заказчику счастливую загробную участь, увековечивает его в памяти потомков как настоящего Папу-Короля. Удаленная от Рима капелла Непорочного зачатия, ставшая мавзолеем родителей понтифика, дает наиболее полное представление о его личных качествах. В этом памятнике Сикст IV не только проявил трогательную сыновью заботу, но и практически дерзнул поставить себя в один ряд со святыми.

The Basilica of San Pietro is a Romanic architecture located in the municipality of Tuscania in the Lazio Region about 100 km far from Rome. In 1971 the apse dome collapsed during the earthquake and the important fresco of a Christ Pantocrator was destroyed. In 1975 the dome was reconstructed using reinforced concrete.In 2010 an integrated survey of the Church has been performed using LiDAR techniques integrated with photogrammetric and topographic methodologies in order to realize a complete 2D documentation of the Basilica of San Pietro. Thanks to the acquired data a complete multi-scale 3D model of the Church and of the surroundings was realized.The aim of this work is to present different strategies in order to realize correct documentations for Cultural Heritage knowledge, using typical 3D survey methodologies (i. e. LiDAR survey and photogrammetry).After data acquisition and processing, several 2D representations were realized in order to carry out traditional supports for the different actors involved in the conservation plans; moreover, starting from the 2D drawing a simplified 3D modeling methodology has been followed in order to define the fundamental geometry of the Basilica and the surroundings: the achieved model could be useful for a small architectural scale description of the structure and for the documentation of the surroundings. For the aforementioned small architectural scale model, the 3D modeling was realized using the information derived from the 2D drawings with an approach based on the Constructive Solid Geometry. Using this approach the real shape of the object is simplified. This methodology is employed in particular when the shape of the structures is simple or to communicate new project ideas of when, as in our case, the aim is to give an idea of the complexity of an architectural Cultural Heritage. In order to follow this objective, a small architectural scale model was realized: the area of the Civita hill was modeled using the information derived from the 1:5000 scale map contours; afterwards the Basilica was modeled in a CAD software using the information derived from the 2D drawings of the Basilica. Finally, a more detailed 3D model was realized to describe the real shape of the transept. All this products were realized thanks to the data acquired during the performed survey. This research underlines that a complete 3D documentation of a Cultural Heritage during the survey phase allows the final user to derive all the products that could be necessary for a correct knowledge of the artifact.

Abstract Scrolling through Elenco dei manoscritti arabi islamici della Biblioteca vaticana (The List of Islamic Arabic manuscripts in the Vatican Library) by Giorgio Levi Della Vida (1935, p. 65), I was intrigued by manuscript Vat. Ar. 594, entitled Riwāyāt ḍiḥkiyya (Humorous Tales), dating back to the 17th century. After examining its content, I was attracted to: a) its predominant use of Egyptian; b) its avant-garde intent to teach (what’s more, in Italy), the vernacular rather than classic or standard Arabic for communication purposes; c) I was amused by the ironic, moral and satirical nature of the text and its dialogue reworkings; d) I was struck by the originality of the description of its protagonists that unfold and end with sui generis moral advice. For these reasons, I decided to study his fables (143r-187v), setting myself three main objectives: to illustrate a) the representations of the protagonists; b) some characteristic linguistic elements of 17th century Egyptian; c) Italian-inspired avant-garde use of colloquial neo-Arabic for language teaching purposes, found in the works written in Rome at San Pietro in Montorio school.

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 model for the other churches of the Middle Ages. Among the churches of this period, such features have the altar space of San Giovanni in Laterano, as well as the basilicas of San Giorgio in Velabro, Santa Maria Assunta in Anagni and Santi Giovanni e Paolo in Ferentino. All these buildings was connected with the Power of Papa.

Conservation techniques within the framework of structural health monitoring, particularly through dynamic measurements and operational modal analysis, are becoming popular for condition-based maintenance and decision-making in historic structures. Nonetheless, while effective for giving insight into the overall behaviour of structures, these techniques may fail at detecting local damages with limited effects on the modal features of the system. In this regard, the analysis of propagating waves throughout the structure poses an attractive alternative for data-driven damage identification. Specifically, some encouraging results have been reported on the application of seismic interferometry to reinforced concrete structures, albeit the number of works concerning ambient vibrations is far scarce, and practically nonexistent in the realm of historic structures. In this light, this article explores the synergistic application of operational modal analysis and ambient noise deconvolution interferometry for the structural identification of historic structures through three different case studies, namely the Sciri Tower in Perugia, the Consoli Palace in Gubbio and the bell-tower of the Basilica of San Pietro in Perugia. The first case study represents a typical example of a masonry tower inserted into a building aggregate, while the second one constitutes a particular case of a monumental masonry palace. The presented results and discussion cover diverse aspects of the identification of wave velocities, signal processing strategies, effects of dispersion and robustness of the identification. Finally, the case study of the bell-tower of the Basilica of San Pietro illustrates the application of operational modal analysis and deconvolution interferometry for damage identification. To do so, two different ambient vibration tests conducted before and after the 2016 Central Italy seismic sequence are studied. The results show concentrated reductions in the wave velocities in the area of the belfry, which demonstrates that deconvolution interferometry constitutes a complementary technique to operational modal analysis for damage localization and, to some extent, damage quantification.

IL MARMO NERO DI CARLO MAGNO: L'ORIGINE DELL'EPITAFFIO DI PAPA ADRIANO IQuesto articolo presenta nuove evidenze che identificano l'origine del marmo nero dell'epitaffio di papa Adriano I, conservato attualmente nel portico di San Pietro in Vaticano. L'epitaffio fu commissionato da Carlo Magno dopo la morte di Adriano (avvenuta il 26 dicembre del 795) ed è il più eminente esempio attualmente esistente di epigrafia carolingia. È un pezzo maestro del rinascimento carolingio. Questo articolo dimostra attraverso analisi paleontologiche, petrologiche e geochimiche che la pietra per l'epitaffio fu cavata nei pressi del flume Meuse, vicino Namur in Belgio, in un'area situata all'interno delle estese proprietà della famiglia Carolingia. Inoltre, si deduce che la pietra nera fu scelta con il consapevole intento d'imitare le espressioni classiche delle risorse imperiali, e che unitamente all'indubbia qualita dell'epigrafe e del testo poetico, la scelta del marmo può essere interpretata come una testimonianza di eredità culturale e ambizione imperiale da parte del suo patrono, che fu incoronato Imperatore in Roma nel natale dell'800, in un luogo dal quale era possibile vedere l'iscrizione, cinque anni dopo la morte di Adriano.

Sommarii:Questo articolo identifica una ragione finora non riconosciuta circa la crescente presenza imperiale a Roma dall'ascesa di Onorio nel 395 d.C. fino all'assassinio di Valentiniano III nel 455, nella forma della trasformazione dell'ufficio imperiale stesso, che stava prendendo piede in questo periodo, come risultato della ripetuta ascesa degli imperatori-bambini nel Occidente tardo-romano. Questi prolungati governi dei minori, che si verificano a un certo punto nella storia tardo-romana quando la crescita della cerimonializzazione e owiamente della cristianizzazione andarono a costituire un importante parte del ruolo delrimperatore, portarono con loro anche una piu grande necessita che la citta di Roma agisse come stage politico chiave per l'esposizione del cerimoniale imperiale, in particolare tanto il supporto della ricchezza deH'aristocrazia senatoria fondata a Roma, divenne ancora piu cruciale quanta le fonti delle entrate imperiali andarono perdute all'impero d'Occidente per via delle invasioni barbariche. In aggiunta, la fondazione del mausoleo di Onorio, adiacente alia basilica di San Pietro, e l'estesa costruzione delle chiese e gli sforzi decorativi della famiglia imperiale durante il regno di Valentiniano III, illuminarono le credenziali cristiane dell'imperatore d'Occidente, e contestano la vecchia visione che i vescovi di Roma avevano gia preso il soprawento sul ruolo delrimperatore' all'interno della citta a partire dal V secolo d.C.

AbstractThis paper presents a novel method for rapidly addressing the earthquake-induced damage identification task in historic masonry towers. The proposed method, termed DORI, combines operational modal analysis (OMA), FE modeling, rapid surrogate modeling (SM) and non-linear Incremental dynamic analysis (IDA). While OMA-based Structural Health Monitoring methods using statistical pattern recognition are known to allow the detection of small structural damages due to earthquakes, even far-field ones of moderate intensity, the combination of SM and IDA-based methods for damage localization and quantification is here proposed. The monumental bell tower of the Basilica of San Pietro located in Perugia, Italy, is considered for the validation of the method. While being continuously monitored since 2014, the bell tower experienced the main shocks of the 2016 Central Italy seismic sequence and the on-site vibration-based monitoring system detected changes in global dynamic behavior after the earthquakes. In the paper, experimental vibration data (continuous and seismic records), FE models and surrogate models of the structure are used for post-earthquake damage localization and quantification exploiting an ideal subdivision of the structure into meaningful macroelements. Results of linear and non-linear numerical modeling (SM and IDA, respectively) are successfully combined to this aim and the continuous exchange of information between the physical reality (monitoring data) and the virtual models (FE models and surrogate models) effectively enforces the Digital Twin paradigm. The earthquake-induced damage identified by both data-driven and model-based strategies is finally confirmed by in-situ visual inspections.

Durante il terzo pellegrinaggio in Polonia del papa Giovanni Paolo II si svolgerà il II Congresso Eucaristico Nazionale. Gli iniziatori dell’idea dei Congressi furono persone (tra le altre Signorina Tamisier e San Pietro Eymard), la cui spiritualità era caratterizzata da spirito di penitenza, devozione alla Madonna ed al Sacro Cuore di Gesù. Ë sintomatico il fatto che questa idea sia nata tra i cattolici laici in Francia alla fine del XIX secolo. I primi Congressi ebbero luogo in Francia, ma dopo aver ottenuto l’appoggio della Santa Sede si diffusero in tutti continenti, cosi che nel 1985 si erano già svolti 43 Congressi internazionali. Molti paesi, tra gli altri la Francia,' l’Italia, la Germania, la Polonia, gli Stati Uniti hanno organizzato Congressi eucaristici nazionali. Per esempio soltanto in Italia nel 1983 si erano già svolti 20 Congressi eucaristici nazionali. In Polonia si è riuscito ad organizzare soltanto un Congresso nazionale, a Poznań nel 1930, ed i preparativi per l’oganizzazione in Polonia di un Congresso eucaristico internazionale sono stati interrotti dalla II guerra mondiale. Congressi eucaristici su scala ridotta furono organizzati in Polonia da diocesi e parrocchie. Nel periodo tra le due guerre mondiali, nel quale furono organizzati tutti questi Congressi, se ne svolseno più ii 25. La tem atica dei Congressi e le loro parole d’ordine furono molto diverse, ma sebbene fossero sempre legate all’Eucarestia, molto spesso toccarono perô la problematica della giustizia sociale. Soltanto dopo il Concilio Vaticano II la Chiesa ha le norme canonico-liturgiche, che determinano più da vicino che cosa siano e come vadano organizzati i Congressi eucaristici.

Generally speaking, paleochristian memoriae have emerged out of the funeral traditions of the pagan world of Antiquity with its particular expression of the cult of deceased, sustained with the culture that had come out of Christian theology and aesthetics. It came together withnew architectural forms some of which were characterized with cross-like forms, not only as a general symbol of new faith, but also as the spatial projection, model after which one had to build. It is defined by two axes that cross at the right angle, the framework of the overall architecturalcomposition, factor of building’s extension in its entire length and width, as well as the height of the building that is dominated and marked by a dome. This particular structure of the building expresses its own essence, memorial use and the Christian paradigm. Through form and function, these buildings have become a distinguished phenomenon of the Christian civilization, valued in the architecture from the late antiquity to Romanesque period.Mature form of the space intended for the cult of the deceased, particularly when small cruciform churches are in question, is remarkably expressed in the preserved chapel of St. Lawrence, widely known as the mausoleum of Galla Placidia, one of two identical buildings once located at the ends of the narthex of the Ravennate church of the Holy Cross. The lower space of Theodoric’s mausoleum in Ravenna is also cruciform, however one should also remember emperor Justinian’s cruciform tombin Constantinople church of the Holy Apostles. It was demolished in the 15 century, together with the whole complex, and is known only through historical sources.Together with the Ravennate memoriae, such tombs could have – directly or indirectly – influence the formation of the cruciform memoriae in the Adriatic cultural landscape from Late Antiquity to Romanesque period.This paper elaborates the group of approximately fifteen buildings that demonstrate – through their forms and funerary functions – perseverance of particular cruciform plan of a memoriae within the Adriatic ambiance. A particularly numerous group is that of southern Istria, which consists of the Pula cathedral baptistery, two chapels by the basilica of Sta Maria Formosa and St. Mathew’s chapel in Pula, that of St. Catharine on a nearby islet and the supposed cruciform church of St. Andrew on an island in front of Rovinj. To such a concentration of the paleochristian memoriae one should link two early-mediaeval chapels, that of St. Clement in Pula and St. Thomas’ near Rovinj. The latter’s forms were already commented by Ivan Matejčić to follow and repeat paleochristian features. Among these features there are three protruding apses similar to those of St. Catharine’s. Therefore, it seems that the forms and themeasures of pre-Romanesque chapels were taken from those of the nearby Byzantine buildings, rather than from the distant Carolingian examples in Italy or France. Earlier and later southern Istrian memoriae are treated here as a typological group with emphasized regional features and continuity. Their forms differ only in some less important details, e.g. facades being either flat or articulated with lesenes. Their common features are, on the other hand, elementary architectural composition, spatial structure that consists of four branches and the dome hidden in the drum, as well as their dimensions and proportions. An element ofparticular interest is the octagonal upper part of the dome on Pula baptistery, that on St. Catharine’s on an islet in front of Pula as well as one on St. Andrew’s on an islet in front of Rovinj. These are probably reconstructions of the older solution. Within the supposedly later construction, there is a dome, a trula, as Pietro Kandler has named it, relating it with the Longboard architecture. It is carried by squinches.This solution is, actually, the Byzantine tradition in the area of Ravennate influences. A similar dome is constructed above the cruciform chapel consecrated to St. Mary Mater Domini (Theotokos), built next to the church of St. Felix and Fortunato in Vicenza, in 6 century. It seems that the same tradition was followed by very similar buildings, Paduan chapel of San Prosdocimo, and the memory erected by Santi Apostoli in Verona. On the other hand, St. Clement’s in Pula did not have a dome of such type and this church had yet another significant difference from the other Istrian chapels, the rectangular extension of areas in front of the apses. Another example that stands out from the group is the church of St. Euphemia at Saline bay in Lim channel. It is an Early Romanesque chapel with three apses at the rear. Lateral branches are reduced; they are much shorter than the front one, and give an impression of a transept rather than cruciform branches, as in other churches of the group. The upper part of the walls give no evidence of neither vaults nor a dome.Differently from the typological unity of the paleochristian and early mediaeval Istrian memoriae, those in Dalmatia show significant variability of the theme, already noticeable at the physiognomy of the earlier examples. For instance, the small baptistery in Baška on the island of Krk is an orderly cruciform building with relatively short branches and unarticulated flat walls, similar to Pula baptistery. The ground plan of St. Martin’s on the island of Cres is considerably different. It was a considerably larger building, probably in a memorial function related to a nearby villa rustica. It also has the rectangular extension in front of the apse, like St. Clement’s at Pula. Its walls show no traces of vaulted constructions. In a later phase, it was probably used as a parish church, like some examples of Dalmatian triconchal churches. A particular articulation of the walls, different from all of the Istrian and Dalmatiancruciform memoriae, was that of St. Cyprian’s chapel at Gata. Its short branches are rectangular on the outside, while on the inside they have inscribed round apses. Therefore, the outer surfaces have narrow round niches as relief of the thickened angles. Memory of the Holy Cross at Nin also has a round apse inscribed in the rectangular body of its rear branch. However, it is flanked by two smaller protruding apses, i.e. three in total. Other branches are vaulted with a half-dome on angular squinches that are also constructed below the drum with the dome inside. Ivo Petricioli has long ago suggested that its proportions indicate influences of the early mediaeval Byzantine architecture. This is further corroborated by its outer surfaces articulated with shallow niches. These features do not appear in Carolingian architecture, so it seems that the Holy Cross should be dated into the 10th or the 11th century. It also should be related tothe influences from nearby Zadar - contemporary capitol of the Byzantine Theme of Dalmatia - with the church of St. Vitus whose features, both general form and details, are of the same type of the building. Furthermore, they should be compared with the chapel of St. Donatus at Kornić on Krk Island. This small church is of apparently different groundplan, but one could still consider it a cruciform type. Its front and rear branches are rectangular, and there are indications that the rear branch had a round apse inscribed, similarly to the memory of the Holy Cross at Nin. However, its lateral branches are relatively small round apses, protruding from the sides of the chapel. Among them, there is a relativelyspacious central section with the dome constructed on the squinches. Miljenko Jurković has plausibly dated the church in 12th century, while I believe that it confirms the continuity of the paleochristian cruciform type of the Christian memory in Istria and Dalmatia from Late Antiquity to theRomanesque period. This is proven by some contemporary constructions, such as the chapel of an unknown title at Crkvina near Kašić, near Biljani Donji, that has also been dated in Romanesque period. In spite of some individual differences all of the memoriae compared in this paper, both groups are assembled by numerousness and similarities of both cruciform plans and funerary functions. Also, the influence of Adriatic Byzantine centres, particularly that of Ravenna, Pula and Zadar, is noticeable in formation of the regional characteristics of memorial architecture in the cultural ambiance of Istria and Dalmatia, within the context of long-lasting continuity of its forms and functions, from Late Antiquity to Romanesque period.

Il presente testo nasce da alcune considerazioni compiute nel corso della totale revisione dell'opera edita e manoscritta di Antonio Bosio e si focalizza, in senso più ampio, sul fenomeno della nascita dell'archeologia cristiana nel corso del XVI secolo. Partendo da alcuni spunti storici offerti appunto dall'opera di Bosio, vengono presentate alcune vicende relative al cantiere della basilica di San Pietro durante la seconda metà del Cinquecento, testimoniate soprattutto da Tiberio Alfarano. L'obiettivo è quello di riconsiderare il ruolo degli scavi e dei lavori architettonici della Basilica Vaticana nella nascita dell'archeologia cristiana, qualche anno prima dell'accidentale scoperta della catacomba anonima di via Anapo, evento ad oggi considerato l'inizio della disciplina.

Sin dai primi studi sul cantiere e sul processo costruttivo delle architetture antiche, esempi storicamente ben documentati di età medievale e moderna sono stati presi come riferimento e termine di paragone, al fine di comprendere più approfonditamente l'industria delle costruzioni nell'antica Roma. Questo contributo riflette circa la possibilità di utilizzare due casi di studio parzialmente simili per dimensioni, ubicazione e tecniche costruttive: la Basilica di San Pietro, di età rinascimentale e barocca, in comparazione con l'antico complesso di Domiziano, estensione dei Palazzi Flavi sul Palatino. I primi risultati, che si iscrivono in un progetto di studio sul Complesso domizianeo, aggiungono nuovi elementi alla ricostruzione teorica del cantiere e del ciclo costruttivo. Si analizzano diversi aspetti di questi due progetti architettonici di grandi dimensioni (XXL structures) – la committenza, la forza lavoro, l'approvvigionamento dei materiali da costruzione, l'allestimento del cantiere – evidenziando analogie e differenze, nel tentativo di ovviare alle lacune nella documentazione antica.