Relevant bibliographies by topics / Santa Maria (Basilica)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Santa Maria (Basilica)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Santa Maria (Basilica)"

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Prokop, Krzysztof R. "Recenzja]: Cronotassi degli Arcipreti della Basilica Papale Santa Maria Maggiore, a cura di Mons. Michał Jagosz, contributi di Andreas Rehberg [...]." Archiwa, Biblioteki i Muzea Kościelne 108 (December 20, 2018): 429–35. http://dx.doi.org/10.31743/abmk.12543.

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Pełny tytuł: [Recenzja]: Cronotassi degli Arcipreti della Basilica Papale Santa Maria Maggiore, a cura di Mons. Michał Jagosz, contributi di Andreas Rehberg, Giovanni Sicari (biografie e ritrattistica), Vincenzo Parrino (elaborazioni araldiche) (Studia Liberiana • Studie documenti sulla storia della Basilica Papale e del Capitolo di Santa Maria Maggiore • Edizioni Capitolo Liberiano, vol. XI), Roma 2017, ss. 184 [liczne ilustracje]
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Kinney, Dale. "Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 81–100. http://dx.doi.org/10.5617/acta.7801.

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The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the concrete conditions of a particular titular church. The basilica's early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to-date. In Pope Gregory's remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically organized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. Increasing hierarchization may have enhanced the transformational power of the Eucharist, or impeded it. Keywords: S. Maria in Trastevere, stational liturgy, tituli, presbyterium. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Borge Cordovilla, Francisco José. "La forma de la primitiva iglesia de San Juan Bautista de Oviedo: análisis y contextualización de restos arqueológicos a través de procedimientos de informática gráfica." Virtual Archaeology Review 4, no. 9 (November 5, 2013): 14. http://dx.doi.org/10.4995/var.2013.4236.

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<p>The application of the procedures commonly used by computer graphics has allowed the author contextualize the existing remains under the present church of San Pelayo de Oviedo as corresponding to a high medieval crypt, built by the shop that built Santa Maria del Rey Casto basilica and Foncalada fountain, reigning Alfonso II (to 842), including making a joint hypothesis of the same with the primitive basilica of San Juan Bautista named by early medieval sources in Asturias, characterized by a complex liturgical equipment, "confessio" semi-underground low chancel and sanctuary high; by linking the building with other Europeans, the Merovingian and Anglo-Saxon area, of which derived type, also present in the s Roman basilicas of the eighth century.</p>
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Tsykunov, I. V. "Cosmatesque matrix: syntax of style in Basilica of Santa Maria Maggiore in Rome." Язык и текст 4, no. 1 (2017): 83–94. http://dx.doi.org/10.17759/langt.2017040109.

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Cosmatesque style mosaic is not only the decorative ornament that has decorated medieval temples; it is the developed symbolical system, which represents religious concepts and ideas of a universe structure. Cosmatesque structure includes hierarchy of levels that is similar to phonetic, lexical and grammatical levels of language in its functions. Figures of this style can be include in composition, structurally and functionally corresponding to the sentences and texts developing in a narrative. This article to analyse Cosmatesque syntax and interpretation of concepts of craftsmen Cosmati, on the example of Basilica of Santa Maria Maggiore in Rome. The author of this article assumes that the basilica floor represents the Christological cycle made of plots of the New Testament. Nevertheless, as at that time there was a ban on images of the Scripture Christological cycle is presented by symbolical design of craftsmen Cosmati.
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Alaggio, Rocco, Angelo Aloisio, Elena Antonacci, and Riccardo Cirella. "Two-years static and dynamic monitoring of the Santa Maria di Collemaggio basilica." Construction and Building Materials 268 (January 2021): 121069. http://dx.doi.org/10.1016/j.conbuildmat.2020.121069.

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Tsykunov, I. V. "Prayer in stone: symbols cosmatesque in the Basilica of Santa-Maria-Maggiore in Rome." Язык и текст 3, no. 3 (2016): 31–72. http://dx.doi.org/10.17759/langt.2016030305.

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All the architectural elements of a medieval temple, like itself, are common symbolic space where all details represent the idea of God and face either the faithful or to the Creator himself. And in this system are not the masters of mosaic floors Cosmati alien element - in fact, it is nothing like prayer, created in stone, but the prayer of living presented in the complex language of mosaic figures of Christian imagery. In the article on the example of the Roman basilica of Santa-Maria-Maggiore are considered rich semiotic cosmatesque opportunity to express ideas and concepts of his age. Author restores the value style characters, based on the texts of the era and the reconstruction of views of the Middle Ages made by historians of art and religion.
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Sigismondi, Costantino. "Pinhole Solar Monitor tests in the Basilica of Santa Maria degli Angeli in Rome." Proceedings of the International Astronomical Union 2, S233 (March 2006): 521. http://dx.doi.org/10.1017/s1743921306002584.

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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 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.
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Mamlina, Aleksandra. "Milan Cathedral Project: To the Historiography of the Question." Stephanos Peer reviewed multilanguage scientific journal 46, no. 2 (March 31, 2021): 109–14. http://dx.doi.org/10.24249/2309-9917-2021-46-2-109-114.

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The prehistory of the new Duomo constructed instead of the old Cathedral of Santa Maria Maggiore (winter cathedral) and the Basilica of Santa Tecla (summer cathedral) remains a matter of debate. For a long time historiography attributes the main role in the renovation of the Duomo to the first Duke of Milan, Giangaleazzo Visconti. The first attempts to reassess the contribution of Giangaleazzo to the founding of the cathedral met with radical rejection. The question of the origin of the project itself (whether it was developed by Lombard or foreign engineers), as well as whether it has undergone changes in the initial phases of construction and what this may be due to, remains controversial. The article presents an analysis of the latest historiography on the theme.
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Cimellaro, Gian Paolo, Andrei M. Reinhorn, and Alessandro De Stefano. "Introspection on improper seismic retrofit of Basilica Santa Maria di Collemaggio after 2009 Italian earthquake." Earthquake Engineering and Engineering Vibration 10, no. 1 (March 2011): 153–61. http://dx.doi.org/10.1007/s11803-011-0054-4.

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Dissertations / Theses on the topic "Santa Maria (Basilica)"

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Dordevic, Jovan <1996&gt. "Digital Restoration Proposals for the Basilica of Santa Maria Assunta in Torcello." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20993.

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One of the recent developments in the digital domain is its application to the preservation and presentation of cultural heritage. Although a lot has been done on describing and improving the technical aspect of it, insufficient attention has been given to its theoretical aspect. Especially to the part that concerns the relation between the practical philosophical and ethical postulates of contemporary conservation and restoration practice and the sphere of digital restoration. Therefore, the aim of this paper is to present, examine, and offer a possible understanding of the theory of digital restoration, as well as its relation to its practical counterpart. The case study on which the whole research is applied is the basilica of Santa Maria Assunta on the island of Torcello, located in the northern part of the Venetian lagoon. After presenting a brief history of the church itself, the thesis is developed towards the presentation and examination of the ‘Brandian’ postulates and their applicability in complex cases i.e. multilayered frescoes. The next step is to present and understand how the digital approach to restoration functions; to examine its pros and cons. This is further explained in comparison with the practical (Brandian) approach. By doing this, my aim is to stress the good potential that digital restoration has, especially in the field of presentation, communication, and education of the public regarding cultural heritage. The second part of the thesis is dedicated to the application of the ideas and postulates presented in the previous part to the specific case studies. The first one is the problem of two strata (a mosaic decoration placed over a fresco) and solving the complex issue of recreating a historical setting such as the interior of the apse from the 12th century. I will propose a few visual solutions for this problem that can be used for creating digital models and for a simplified narrative for educating the visitors. The second case is that of fresco fragments located in a place unreachable for people. Here I will examine the potentials of material and digital copies as a deductive tool. The third case is that of the crypt, which has a multilayered fresco, a dismantled altar, and lacks the original decoration of a sky with stars. In this case, the parts of the original medieval altar have been reused for making several other objects. Hence, the digital restoration can help with reassembling the altar, regardless of the actual practice with the remaining pieces. The final part is telling the narrative of the changes that occurred to the main portal, seen both from the outside, as well as on the mosaic covering the inner side of the western wall.
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Riboni, Silvia <1991&gt. "La Basilica di Santa Maria Gloriosa dei Frari di Venezia: il turismo tra ottocento e contemporaneità." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9336.

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L’elaborato di tesi ha esaminato il turismo ottocentesco presso la Chiesa, prendendo in considerazione un campione di guide turistiche scritte tra settecento e ottocento per capire come questa fosse inserita all’interno dei circuiti turistici, ritenendo le suddette guide uno specchio verosimile del gusto ottocentesco. La prima parte dell’elaborato ha trattato anche i restauri proposti dalla Commissione Provinciale di Belle Arti nella prima metà dell’Ottocento relativi ad alcune opere di straordinaria importanza nel panorama artistico italiano, ospitate presso la Basilica dei Frari. Per quanto riguarda la seconda parte si è posta l’attenzione sui restauri contemporanei eseguiti presso la Basilica ponendo attenzione non solo al tipo di intervento svolto, ma anche agli aspetti di contabilità e come sono stati ricercati i fondi stanziati. In ultimo, ci si è concentrati, per confronto con l’ipotesi iniziale, sul turismo contemporaneo, e su come la Basilica si inserisca nei circuiti turistici veneziani, quanti visitatori ospiti all’anno e come questo influenzi la Chiesa stessa. E’ stato inoltre confrontato il flusso turistico presso la Basilica dei Frari con quello presso altre chiese veneziane. Sebbene siano state prese in considerazione due epoche storiche molto diverse, ognuna con le sue peculiarità, è stato interessante notare come siano cambiate le modalità del turismo e le sue forme, ma sia rimasta invariata e costante l’attenzione dei visitatori per questa straordinaria Basilica.
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Ravalli, Gaia. "Attraverso Santa Maria Novella : spazio, culto, decorazione tra XIII e XVI secolo." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85766.

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Piña, Torres Carmen Esther <1994&gt. "The wall painting in Santa Maria Assunta Basilica crypt: new insight on non-invasive analytical techniques for the analyses of traditional pigments." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20892.

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Within the archaeological works in the summer of 2020, a series of wall paintings were uncovered in the Santa Maria Assunta Basilica in Torcello, including the crypt, where a blue backgrounded mural with multicolored figures on the apse and removed from the wall fragments that remained behind the altar were exposed. The preserved decoration shows 3 overlayed painting layers. A systematic cataloguing of the recovered fragments along with the use of non-invasive analytical techniques, hyperspectral imaging, Fiber Optic Reflectance Spectroscopy (FORS), Raman spectroscopy and Fourier Transform Infrared (FTIR) spectroscopy enabled the characterization of the materials used for the creation of the painting layers. The hyperspectral imaging enabled the analysis of a higher number of fragments with minimum handling, and to reduce sampling as much as possible. The recording of the reflectance spectra by using FORS allowed the identification of certain pigments. Raman spectroscopy, as well as Fourier Transform Infrared (FTIR) spectroscopy techniques were used to identify the binders. All the information recovered from the techniques helped to identify the palette conformed mainly by earth pigments, its mineral composition, and the identification of the painting technique.
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Gori, Valentina. "Materiali e umidità di risalita nella basilica di S. Maria Maggiore a Bologna: uno studio sperimentale ai fini del restauro." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.

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La chiesa di Santa Maria Maggiore è uno degli edifici religiosi più antichi di Bologna. Ormai dal 2012 lo Studio di progettazione Cavina Terra architetti si sta occupando dell’intervento di restauro, volto perlopiù a mitigare i problemi di natura strutturale, occorsi già a seguito degli eventi sismici del febbraio 2012. Il presente lavoro di tesi riguarda i problemi generati dall’umidità di risalita, che ha indotto numerosi fenomeni di degrado non solo sulle superfici delle strutture in elevazione intonacate, ma anche sui basamenti in marmo presenti, nonché sull’estesa pavimentazione in terrazzo alla veneziana. Tale problematica risulta direttamente collegabile al ricco sistema di canali presenti in zona: di fronte all’attuale ingresso della chiesa, lungo Via Galliera, scorreva l’alveo artificiale del torrente Aposa, mentre nella vicina Riva di Reno scorre tuttora, benché tombato, l’omonimo canale. Nella prima parte della tesi è stata effettuata una ricerca storico-archivistica relativa non solo alle vicissitudini storiche e alle trasformazioni architettoniche della chiesa, ma anche al sistema delle acque presenti in zona, approfondendo il rapporto dell’edificio con il sistema fognario. Inoltre l’interpretazioni di indagini di natura geofisica e geognostica, svolte in sito, ha permesso di ricavare le informazioni necessarie per la comprensione dell’entità e della distribuzione dell’umidità nel sottosuolo, nonché la conoscenza del terreno sottostante la basilica. Nella seconda parte sono state eseguite delle indagini diagnostiche su campioni di materiali prelevati in varie zone ritenute significative all’interno della chiesa e un’indagine microclimatica all’interno dell’edificio. Infine, sulla base dei risultati ottenuti in laboratorio e in sito, è stato possibile redigere delle linee guida per l’intervento sull’umidità e sui materiali.
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Costantini, Isabel <1989&gt. "I mosaici della Basilica dei Santi Maria e Donato a Murano: storia dei restauri e delle problematiche conservative." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9529.

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Nella prima parte della tesi si analizza la documentazione storico-artistica riguardante la Basilica dei Santi Maria e Donato a Murano (VE), edificata nel XII secolo, prestando particolare attenzione ai restauri subiti nel corso dei secoli che l'hanno privata della sua primitiva semplicità. Nel XIX secolo la Basilica appariva prossima al crollo, e si impose la necessità di un consistente restauro per salvaguardare l'edificio. La parte centrale dell'elaborato è dedicata alla descrizione di quanto avvenuto nei restauri della pavimentazione, eseguiti dal 1973 al 1977, durante i quali sono stati effettuati il taglio e lo stacco dell'intero pavimento musivo ed è stata realizzata una vasca in cemento armato impermeabile all'acqua. Al fine di mettere in luce le problematiche che tale intervento ha comportato per i futuri restauri e per la conservazione dei mosaici, è stato intervistato il restauratore Giovanni Cucco, il quale ha eseguito tra il 2013 e il 2015 lavori successivi di manutenzione, della navata sinistra e della quasi totalità della navata destra. Grazie al suo prezioso contributo verranno fornite delle indicazioni conservative per la salvaguardia del pavimento musivo.
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Badiola, Frédérique. "Le pelerin de lorete voeux a la glorieuse vierge marie, de louys richeome (1604) edition critique, annotee et commentee, precedee d'une etude litterraire, linguistique et iconographique." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1011/document.

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Paru pour la première fois en 1604, Le Pelerin de Lorete du jésuite Louis Richeome a connu un succès important avec deux éditions supplémentaires, de nombreuses rééditions jusqu’en 1628 et des traductions. Après cette première moitié du XVIIe siècle, l’œuvre comme son auteur tombèrent dans l’oubli et ne connurent pas de nouvelle publication. Ce n’est qu’à partir de la fin XIXe siècle que les critiques, notamment Henri Brémond commencèrent à s’intéresser à Richeome et à son travail, mais sans pour autant y consacrer un ouvrage ou une édition critique. Cette thèse se propose donc de redécouvrir un ouvrage religieux à part, oscillant entre le catéchisme, les méditations, le récit de pèlerinage et le roman d’aventures. Pour ce travail, nous avons choisi l’édition bordelaise de Simon Millanges de 1604 qui comporte quatorze illustrations. L’édition et l’analyse de ce texte et de ses images nous permettent de mieux comprendre les influences et les enjeux d’un ouvrage qui s’inscrit résolument dans le contexte religieux et politique du début du XVIIe siècle
In 1604, the Jesuit Louis Richeome (1544-1625) published for the first time Le Pelerin de Lorete. The book was reedited several times and was translated in three languages until 1628. Le Pelerin de Lorete was considered a best-seller for its time in France. Despite this initial success, the book remained unstudied until the late 19th century. Among the first literary critics to study Le Pelerin de Lorete was Henri Brémond (1865-1933). However, to date there is no critical edition of the book. Thus, this study proposes a new reading of Le Pelerin de Lorete as a religious book that oscillates between a catechism and a guide to spiritual meditation and between a pilgrimage account and an adventure novel. Moreover, by providing for the first time a visual and textual analysis of the book, we uncover the historical and religious context that made possible this unique piece
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Towne, Gary Spaulding. "Gaspar de Albertis and the music at Santa Maria Maggiore in Bergamo in sixteenth century." 1985. http://catalog.hathitrust.org/api/volumes/oclc/144704579.html.

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Thesis (Ph. D)--University of California, Santa Barbara, 1985.
Vita. Vol. 2, Appendix II, contains transcriptions of documents from the Archives of the Misericordia Maggiore in the Bibliotheca civica of Bergamo including excerpts from the Terminatione, liturgical calendars and inventories, notarial documents from the Archivio di stato, Bergamo, and annotations and rubrics in the Bergamo organ book. Includes index. Bibliography: v. 1, p. 251-268.
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GAMBUTI, EMANUELE. "Trasformazioni delle aree presbiteriali delle chiese antiche nel Seicento romano. Aspetti liturgici e funzionali." Doctoral thesis, 2019. http://hdl.handle.net/11573/1240227.

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Analizzando i restauri promossi nel corso del tardo Cinquecento e per tutto il Seicento nelle chiese paleocristiane e medievali di Roma, si sono evidenziate le motivazioni liturgiche che hanno informato le disposizioni degli arredi dei presbiteri. Si sono esaminate i riallestimenti dei santuari dei martiri nelle basiliche romane, seguendo lo sviluppo del tipo architettonico della confessione, e si sono letti gli interventi architettonici studiati alla luce dei due fondamentali modelli di Santa Cecilia in Trastevere e di San Pietro in Vaticano. Si sono inoltre indagati i principi di volta in volta applicati nel rinnovare le strutture antiche, tra conservazione e adeguamento all'uso liturgico, alla luce dei decreti del Concilio di Trento, prendendo in esame dodici casi studio, che testimoniano, nel corso del XVII secolo, il modificarsi del concetto di conservazione dell'antichità cristiana, accanto al differente peso dato alle componenti devozionali e liturgiche.
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MANCHIA, MARIA FEDERICA. "Arte e monachesimo verginiano tra Campania e Basilicata dalle origini al XIV secolo. Forme insediative e testimonianze artistiche nelle diocesi di Avellino, Conza, Nusco e Rapolla." Doctoral thesis, 2018. http://hdl.handle.net/11573/1084611.

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Questa ricerca nasce dall’esigenza di colmare le lacune storiografiche riguardo il fenomeno monastico verginiano e la sua produzione artistica in Campania e Basilicata, la cui conoscenza è ancora frammentaria e caratterizzata da scarsa organicità, prendendo in esame globalmente testimonianze monumentali spesso non sufficientemente frequentate dagli studi scientifici, accanto ad altre già sondate, ma quasi sempre per alcuni aspetti di particolare rilevanza, quali gli arredi liturgici o le sculture architettoniche. L’obiettivo è stato quello di una rilettura complessiva, sia storica che artistica, volta a una migliore comprensione delle ragioni che hanno determinato la nascita e lo sviluppo di questo patrimonio di architettura e arte monastica. L’indagine è proceduta per nuclei territoriali, prediligendo un criterio prima topografico e poi cronologico, così da poter evidenziare sito per sito la continuità di un fenomeno caratterizzato sul piano materiale dall’evoluzione delle forme insediative col passaggio dall’eremitismo al cenobitismo, e da una storia monumentale che contempla, per gli insediamenti di rientrati nell’orbita della congregazione sullo scorcio del XII secolo, restauri e ampliamenti nel costante mantenimento dei luoghi delle origini. La scelta dell’area territoriale è stata dettata dalla particolare concentrazione di esperienze monastiche in una regione che in età antica era attraversata dal tracciato della Via Appia, nella quale, in epoca medievale, rientreranno le diocesi di Avellino, Nusco, Conza della Campania e Rapolla, importanti avamposti della nobiltà normanna, che sempre vi eserciterà il suo controllo politico tramite una salda organizzazione vescovile, l’affidamento di alte cariche a uomini di fiducia, la gestione strutturata delle attività agricole ed economiche in genere, e, infine, attraverso gli enti monastici, spesso strettamente connessi al potere signorile. La ricerca ha affrontato, concentrandosi sulle fondazioni abbaziali, i secoli che vanno dalla seconda metà del XII alla seconda metà del XIV, evidenziando i cambiamenti che gli eventi storici, politici e religiosi determinarono nel rapporto tra monasteri e territorio e nelle strutture architettoniche. Il termine cronologico ultimo della trattazione coincide, per l’abbazia di Montevergine, con la fine del dominio angioino, che rappresenta l’avvio di una stasi nella produzione artistica, che riprenderà vigore solo in epoca rinascimentale. Per le fondazioni di Santa Maria di Fontigliano, San Salvatore al Goleto, Sant’Ippolito a Monticchio e Santa Maria di Pierno, monasteri fortemente condizionati dalle vicende della nobiltà normanno-sveva, la ricerca si ferma di fatto alla metà del XIII secolo, dal momento che nessun indizio, né documentario né architettonico- artistico, permette di ipotizzare una rinnovata vitalità dopo l’avvento degli Angiò, quando le loro sorti cominceranno inevitabilmente a decadere. Tuttavia, l’innesto dell’esperienza monastica francescana in Basilicata nel primo XIV secolo rappresenterà, con l’esempio del superstite chiostro del monastero di Sant’Antonio a Muro Lucano, un’ultima traccia di continuità col linguaggio espressivo maturato nell’orbita dell’esperienza verginiana. Le componenti culturali che caratterizzano i monasteri della valle dell’Ofanto e del Partenio danno vita, dalla metà del XII secolo all’età angioina, a un originale percorso creativo in cui a un latente substrato autoctono si sommano progressivamente elementi allogeni, spesso incoraggiati da scelte collegabili a peculiari situazioni politico- istituzionali o agli orientamenti della committenza. La rete di monasteri e dipendenze gravitanti attorno alle fondazioni di Santa Maria di Montevergine e San Salvatore al Goleto, in sinergia con i vicini insediamenti benedettini, si era fatta più o meno consapevolmente centro catalizzatore di maestranze di provenienza eterogenea, sparse su tutto il territorio lucano e campano, con propaggini nella Puglia garganica, oltre che vivace recettore del gusto più in voga in determinati contesti storico-geografici.
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Books on the topic "Santa Maria (Basilica)"

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Pietro, Santini, ed. La Basilica di Santa Maria Maggiore. Roma: Basilica di Santa Maria Maggiore, 1987.

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Santa Maria Novella: La basilica e il convento. Firenze: Mandragora, 2015.

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Gregory, Winifred Terni de'. Santa Maria della Croce, Crema. Crema: Libreria editrice "Buona stampa", 2001.

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La Basilica di Santa Maria delle Carceri a Prato. Firenze: Mandragora, 2009.

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Fondazione Cassa di risparmio di Ferrara, ed. La Basilica di Santa Maria in Vado a Ferrara. Ferrara: Fondazione Cassa di risparmio di Ferrara, 2001.

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Italy) Santa Maria Maggiore (Church : Rome. Basilica di Santa Maria Maggiore: Fede e spazio sacro. Roma: Basilica papale di Santa Maria Maggiore, 2010.

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Cerretelli, Claudio. La Basilica di Santa Maria delle Carceri a Prato. Firenze: Mandragora, 2009.

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La Basilica di Santa Maria del Colle a Pescocostanzo. Ortona]: Edizioni Menabò, 2015.

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Sandro, Da Re, Capurso Ilaria, and S. Maria Maggiore in Bergamo (Basilica), eds. Gli affreschi trecenteschi: Basilica di Santa Maria Maggiore in Bergamo. Bergamo: Gruppo Guide Città di Bergamo, 2005.

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Re, Sandro Da, and Ilaria Capurso. Gli affreschi trecenteschi: Basilica di Santa Maria Maggiore in Bergamo. Bergamo: MIA, Fondazione Misericordia Maggiore, 2005.

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Book chapters on the topic "Santa Maria (Basilica)"

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Benassai, Silvia. "Disegni di Cesare e Pietro Dandini dalla raccolta Dandini-Targioni Tozzetti." In Studi e saggi, 97–105. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.07.

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The essay concerns two drawings by the Florentine baroque painters Cesare and Pietro Dandini, coming from the Dandini-Targioni Tozzetti collection. The naturalist Giovanni Targioni Tozzetti (1712-1783), consort of Maria Brigida, daughter of Ottaviano Dandini, brought together the impressive set of drawings belonging to the Dandini family, which were divided into twenty volumes, probably dismembered in the Nineteenth century. The paper presents two drawings which belonged to that collection: a sheet in sanguine by Cesare Dandini depicting a male figure, and a drawing by Pier Dandini depicting The glory of Saint Verdiana, a preparatory study for an altarpiece that was part of a series of large canvases executed by Pier Dandini between 1706 and 1710 for the basilica of Santa Trinita in Florence.
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Barazzetti, Luigi, Raffaella Brumana, Daniela Oreni, Mattia Previtali, and Fabio Roncoroni. "UAV-Based Orthophoto Generation in Urban Area: The Basilica of Santa Maria di Collemaggio in L’Aquila." In Computational Science and Its Applications – ICCSA 2014, 1–13. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09147-1_1.

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Prizer, William F. "The ‘Virtue’ of Lorenzo Lotto: A Musical Intarsia in the Basilica of Santa Maria Maggiore in Bergamo." In Epitome musical, 617–26. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2724.

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Aloisio, Angelo, Riccardo Cirella, Elena Antonacci, Rocco Alaggio, and Massimo Fragiacomo. "Tree-Years Dynamic Monitoring of the Santa Maria di Collemaggio Basilica: Progressive Decrement of the First Natural Frequencies." In Lecture Notes in Civil Engineering, 621–38. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07258-1_63.

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Djordjevic, Jovan, and Diego Calaon. "Practical and Digital Proposals for Restoration of the Main Apse of the Basilica of Santa Maria Assunta in Torcello." In Communications in Computer and Information Science, 303–16. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20302-2_23.

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Vilella Bas, Santiago. "The Digital Model as a Nexus Between the Drawn and the Constructed. The Basilica of Santa Maria of Elche as an Example." In Graphic Imprints, 1161–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_96.

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Piero Barlozzini, Laura Carnevali, and Fabio Lanfranchi. "Dal rilievo all'analisi grafica della basilica di Santa Maria in Foro Claudio a Ventaroli." In 42th INTERNATIONAL CONFERENCE OF REPRESENTATION DISCIPLINES TEACHERS. CONGRESS OF UNIONE ITALIANA PER IL DISEGNO. PROCEEDINGS 2020. LINGUAGGI, DISTANZE, TECNOLOGIE. FrancoAngeli srl, 2021. http://dx.doi.org/10.3280/oa-693.11.

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LEHRBERGER, FR JAMES. "ST. THOMAS AQUINAS (1225–74 CE) AT SANTA SABINA, THE ANGELICUM, AND THE BASILICA DI SANTA MARIA SOPRA MINERVA." In People and Places of the Roman Past, 123–34. Arc Humanities Press, 2019. http://dx.doi.org/10.2307/j.ctvmd83p9.17.

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"Chapter Eleven. St. Thomas Aquinas (1225–74 CE ) at Santa Sabina, the Angelicum, and the Basilica di Santa Maria Sopra Minerva." In People and Places of the Roman Past, 123–34. ARC, Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9781942401568-014.

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Heilbron, J. L. "Jubilee Line." In The Incomparable Monsignor, 75–105. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856654.003.0004.

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Abstract “Jubilee Line” brings together Bianchini’s expertise in astronomy and history at the solar observatory Clement XI commissioned at Santa Maria degli Angeli, still one of the best sights in the Eternal City. Observations at this unusual installation resulted in strong indications in favor of the Copernican system then opposed by the Roman Catholic Church. Bianchini inscribed his historical interests on the floor of the basilica by placing medallions there to record significant events; each medallion being located where the sun’s image falls at noon on the days commemorated. One such was the day of the defeat of the Turks at Vienna by Jan Sobieski, whose wife and granddaughter play major parts in Bianchini’s story. The Monsignor, who attained that rank in 1701, directed his interests in history and astronomy into calendrics and chronology, and thence into early church history and archeology. Clement rewarded and burdened him with the charge of superintendent of all ancient Latin inscriptions found in Rome and, not overlooking Bianchini’s technical expertise, overseer of two of the three main aqueducts in Rome’s water supply.
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Conference papers on the topic "Santa Maria (Basilica)"

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Aloisio, Angelo, Riccardo Cirella, Antonacci Elena, and Rocco Alaggio. "LONG TERM MONITORING OF THE SANTA MARIA DI COLLEMAGGIO BASILICA." In 8th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research National Technical University of Athens, 2021. http://dx.doi.org/10.7712/120121.8740.18444.

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Cavalagli, Nicola, Massimiliano Gioffrè, and Vittorio Gusella. "STRUCTURAL MONITORING OF MONUMENTAL BUILDINGS: THE BASILICA OF SANTA MARIA DEGLI ANGELI IN ASSISI (ITALY)." In 5th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research School of Civil Engineering National Technical University of Athens (NTUA) Greece, 2015. http://dx.doi.org/10.7712/120115.3547.1603.

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Cimellaro, G. P., A. M. Reinhorn, and A. De Stefano. "Considerations Regarding the Retrofit Intervention of Santa Maria Di Collemaggio Basilica in L'Aquila Following 2009 Italian Earthquake." In Structures Congress 2010. Reston, VA: American Society of Civil Engineers, 2010. http://dx.doi.org/10.1061/41130(369)98.

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Sigismondi, Costantino. "The three Summer solstice’s markers of 1721 unveiled in the Basilica of Santa Maria degli Angeli in Rome." In Proceedings of the MG16 Meeting on General Relativity. WORLD SCIENTIFIC, 2023. http://dx.doi.org/10.1142/9789811269776_0193.

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Pietrogrande, Enrico, and Alessandro Dalla Caneva. "Study for a new definition of the southern side of Prato della Valle in Padua, Italy." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6287.

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The southern limit of thePrato della Valle space in the southern part of Padua's historical centre, inItaly, was continuously delimited by the boundary wall of the Santa Maria dellaMisericordia convent until the early twentieth century. Its presence was one ofthe elements that more than a century ago inspired the enlightened proposal byDomenico Cerato, a design professor at the University of Padua who had beeninspired by Andrea Memmo, the Superintendent of the Serenissima Republic ofVenice. The straight and continuous limit was replaced by the discontinuousarchitecture of the Foro Boario entrance, built in 1913 according to a designby Alessandro Peretti; this weakened the overall solution based on anelliptical shape, as did the communicative power of the nearby basilica ofSanta Giustina. The examination carried out dwells on these limits, simulatingthe virtual introduction of architecture with a continuous front to thesouthern edge of the Prato della Valle. One example of this type ofarchitecture is the Nelson-Atkins Museum of Art built in Kansas City between1930 and 1933, based on a design by the brothers Thomas and William Wight, andexpanded in 1999 based on a design by Steven Hall. The study generallyconfirmed that the compactness of the building's front newly provides strengthto Cerato's design, which gave a sense of unity to the general emptiness thanksto the certainty of its borders, and gives again the Basilica of Santa Giustinaits monumental size. This paper investigates the composition ofheterogeneous fragments, excerpts from the inventory of collective memory, andthe resulting unpredictable architecture in an urban context.
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SIGISMONDI, COSTANTINO. "STELLAR AND SOLAR POSITIONS IN 1701–1703 OBSERVED BY FRANCESCO BIANCHINI AT THE CLEMENTINE MERIDIAN LINE IN THE BASILICA OF SANTA MARIA DEGLI ANGELI IN ROME, AND ITS CALIBRATION CURVE." In Proceedings of the MG11 Meeting on General Relativity. World Scientific Publishing Company, 2008. http://dx.doi.org/10.1142/9789812834300_0436.

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