Academic literature on the topic 'Santa Caterina dei Sacchi'

This work focuses on the study of the four schools for povere zitelle (girls from low-income families) that were founded by Peter Leopold of Habsburg-Lorraine (1747-1792) in Florence between 1778 and 1781, when he was the Grand Duke of Tuscany. They were named Scuole Leopoldine (Leopoldine Schools) after him and were evidence of his reforming policy, as he was one of the emblematic figures of the enlightened reform. The schools were located in each of the four historic quarters of the city: Santa Caterina school (via delle Ruote), the first in opening its doors on 1 June 1778; San Salvadore school (via di Camaldoli), which started functioning on 1780; San Giorgio school (Corso dei Tintori, numbers 36 and 36ª), which was created in the summer of 1780; and San Paolo school (piazza Santa Maria Novella), which opened up on 19 March 1781. This paper is based on consulting the documentary resources on the Scuole Leopoldine held in the Archivio Storico del Comune in Florence. Specifically, the analysis focuses on the training programme implemented by the Grand Duke in these centres, where girls could receive free primary education and train on hand needlework to build a future through a profession (which gave these schools a practical and functional purpose). The transformation of this institution, which remained until 1976, at an organisational and administrative level, is also examined.

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 attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

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 attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

The Fratta-Gorzone River is classified in the recent PTA plan as one of the most polluted rivers in the Veneto region. Its Basin -about 1.500 sqKm- includes all the main landscape ambits catalogued by the PTRC plan (from the pre-Alpes in Vicenza Province to the dune landscape of the Venice Lagoon southern part). The Fratta waterway is 93 km long and is known as the Rio Acquetta-Togna-Fratta Gorzone/Agno-Guà-Frassine-Santa Caterina-Gorzone River System. This Waterway System from one part has great elements of strenght as the rich riverine historical and landscape heritage, and from the other part has serious weaknesses due to the tanning district pollution and to the diffuse agricultural, urban and industrial pollution. Fratta is a medium-high hydraulic risk zone. Until Know all the Planning Instruments and Practices deal with the northern part of Fratta. The more recent Plan too –the “Accordo di Programma Quadro 05/12/2005”- has as focal point the reduction of pollution (chrome and chloride mainly) and the use of traditional treatment systems (linked with some constructed wetland systems). Our Paper present the last 2009 Scenario-Plan, promoted by an anusual Group: Water Consorzio LEB with the Regione Veneto supervision, AATO del Chiampo, Sentinella dei Fiumi Association, Coldiretti, IUAV University and two Private Industries.

The research focuses on one of the peripheral area of Venice, the insula of Gesuiti, and analyses its long and gradual urban transformations from the late fifteenth century until the end of the eighteenth century. The study uses two different ways of communication: the traditional text and the multimedia processing. This work aims at investigating the entire urban fabric as a nodal site for major trades and economical activities which religious complexes, patricians, and rich citizens were involved in. They gained a leading role in the processes of urban redevelopment which materialized in the end of the sixteenth century when the Fondamente Nuove were carried out. Three sections investigate the insula as a social and cultural construction: the first analyses the gradual process of land reclamation, and the second focuses on the estate, urban and architectural operations. The last section enhances, through different virtual representations, new ways to communicate the urban space.<br>La ricerca studia una delle aree di margine della città di Venezia, l’insula dei Gesuiti, ripercorrendone le dinamiche di sviluppo e organizzazione urbano-sociale dalla seconda metà del Quattrocento alla fine del Settecento. L’indagine si snoda attraverso due modalità comunicative: un testo scritto e alcune elaborazioni multimediali. Questo lavoro intende indagare l’intero tessuto urbano come spazio nodale di attività di tipo economico e immobiliare. Esse videro impegnati sia gli istituti religiosi sia famiglie patrizie e cittadine, operatori nelle scelte espansive di tipo urbano che si concretizzarono, alla fine del Cinquecento, con la realizzazione delle Fondamente Nuove. Tre sezioni si propongono di leggere l’insula come costruzione sociale e culturale: la prima ne ripercorre il graduale processo di occupazione del suolo, la seconda analizza invece le pratiche economiche, fondiarie e architettoniche in esso insistenti. All’ultima sezione è affidato il compito, attraverso differenti rappresentazioni virtuali, di ricercare nuove modalità per raccontare lo spazio urbano.

Castello dei Conti di Biandrate: surveys on the surviving structureBiandrate is a northern Italian village in the province of Novara that lies in the Po plain between the Sesia and Ticino rivers. Border area disputed between Vercelli and Novara, since the early Middle Ages it represented an important crossing point because there were the fords of the Sesia river nearby, on the road axis joining Novara and Ivrea. Its importance grew in the tenth century, when the Pieve was erected, today disappeared, dedicated to Santa Maria and, in 1029, the Counts of Pombia family settled in the Biandrate castrum. In 1168 the castrum was destroyed by the armies of Milan, allied with Novara and Vercelli, that in 1194 carved up the territory. In the second half of the thirteenth century the village of Biandrate was divided into the Borgo Vecchio, vercellese, to the west, and the Borgo Nuovo, novarese, to the east. They developed around the canonica of S. Colombano, the hospital and the ruins of the Count’s castrum. The castrum, almost totally destroyed, continued to represent an area with particular rights: in fact the Statues established that the Podestà could pronounce sentences only “in castro veteri Blanderati”. Nowadays the collegiata of S. Colombano stands on the Biandrate castrum ruins; the collegiata was mentioned for the first time in 1146, but was altered various times over the centuries. In particular, portions of the ancient wall are visible in the lower part of the west wall of the church of Santa Caterina, incorporated within the complex of the collegiate of S. Colombano. It is noticed that the ancient castrum had very thick walls made primarily with river pebbles, roughly cut stones in a herringbone pattern and binding mortar.