Relevant bibliographies by topics / Santa Maria di Novara (Church)

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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 di Novara (Church)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Santa Maria di Novara (Church)"

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Chrisylla, Meielisa. "SIMBOLISASI PADA RANCANGAN ARSITEKTUR GEREJA KATOLIK SANTO PETRUS DAN GEREJA KATOLIK SANTA PERAWAN MARIA TUJUH KEDUKAAN DI KOTA BANDUNG." ARTEKS, Jurnal Teknik Arsitektur 1, no. 1 (2016): 1. http://dx.doi.org/10.30822/artk.v1i1.79.

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Title: Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in BandungAs a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used toanalyze and decipher its architecture to preserve sacredness. The research methodology that was employed was qualitative methods using Peirce’s semioticprinciples and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in thearchitectural planning of a Catholic Church. The purpose of this research is to find the most dominant sacral expression between Santo PetrusChurch and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.The results of this study were that sacral expression in terms of (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form are more dominant in the Santo Petrus Church compared to the Santa Perawan Maria Tujuh Kedukaan Church.Keywords: Peirce’s semiotics, sacral expression, catholic church
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Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.

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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, admitted that notwithstanding the rededication of the church to the Virgin and the invention of the poetic name “Santa Maria del Fiore,” most Florentines continued to call the cathedral S. Reparata.
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Massaccesi, Fabio. "Per Ravenna trecentesca: nuove proposte per l’assetto architettonico di Santa Maria in Porto Fuori." Zeitschrift für Kunstgeschichte 82, no. 1 (2019): 3–31. http://dx.doi.org/10.1515/zkg-2019-0001.

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Abstract This contribution intends to draw attention to one of the most significant monuments of medieval Ravenna: the church of Santa Maria in Porto Fuori, which was destroyed during the Second World War. Until now, scholars have focused on the pictorial cycle known through photographs and attributed to the painter Pietro da Rimini. However, the architecture of the building has not been the subject of systematic studies. For the first time, this essay reconstructs the fourteenth-century architectural structure of the church, the apse of which was rebuilt by 1314. The data that led to the virtual restitution of the choir and the related rood screen are the basis for new reflections on the accesses to the apse area, on the pilgrimage flows, and on the view of the frescoes.
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Sfarra, Stefano, Abdelhakim Bendada, Clemente Ibarra-Castanedo, Dario Ambrosini, Domenica Paoletti, and Xavier Maldague. "Santa Maria di Collemaggio Church (L’Aquila, Italy): Historical Reconstruction by Non-Destructive Testing Techniques." International Journal of Architectural Heritage 9, no. 4 (2015): 367–90. http://dx.doi.org/10.1080/15583058.2013.794376.

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Getz, Christine. "Simon Boyleau and the Church of the ‘Madonna of Miracles’: Educating and Cultivating the Aristocratic Audience in Post-Tridentine Milan." Journal of the Royal Musical Association 126, no. 2 (2001): 145–68. http://dx.doi.org/10.1093/jrma/126.2.145.

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The cappella musicale at Santa Maria presso San Celso in Milan, also known as the church of the ‘Madonna of Miracles’, was originally charged with the performance of individual plainchant Masses on specified feasts, Vespers as a choir daily in the summer and on those specified feasts, and Compline as a choir during Lent. In 1535, however, its duties were expanded to include a High Mass and a Vespers service on the first Sunday of each month. With Carlo Borromeo's ascension to the seat of archbishop of Milan in 1560, the cappella's Vespers service became central to public worship, and attracted foreign visitors as well as the Milanese aristocracy. As a result, public worship services featuring the cappella were expanded to include a Compline service on Saturday evenings. Simon Boyleau, the first documented maestro di cappella at Santa Maria presso San Celso, was a madrigalist familiar to the Milanese aristocracy. His compositions for Santa Maria presso San Celso reflect not only Borromeo's attempts to shape the Milanese liturgical style according to Tridentine aims, but also Borromeo's desire to spiritualize and theologically educate the Milanese aristocracy. Boyleau's tenure at Santa Maria presso San Celso, which featured the cultivation of sacred and secular audiences alike, defined the activities of the church's composers for the next 50 years.
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Marchiori, Laura. "Medieval wall painting in the church of Santa Maria in Pallara, Rome: the use of objective dating criteria." Papers of the British School at Rome 77 (November 2009): 225–55. http://dx.doi.org/10.1017/s0068246200000088.

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Le pitture medievali nella chiesa di Santa Maria in Pallara hanno ricevuto poca attenzione da parte degli studiosi, forse per via dell'incertezza della loro datazione; infatti non si possiede nessuna indipendente documentazione letteraria per la loro realizzazione. Tradizionalmente datati al X secolo, le pitture mostrano un'iconografia più comune nei contesti del XII e XIII secolo, una rappresentazione di Apostoli seduti sulle spalle dei Profeti, che senza dubbio contribuiscono alla loro dimenticanza, visto che i monumenti più tardi sono ben documentati. Comunque, l'iconografia deriva dalle tradizioni romane della decorazione ecclesiastica, tradizioni che possono essere utilizzate in un'analisi delle pitture al fine di arrivare ad una datazione indipendente basata solo sulla loro forma e contenuto. Seguendo una metodologia sviluppata da John Osbornc per la datazione di pitture medievali prive di documentazione a Roma, questo articolo analizza i criteri obicttivi di datazione delle pitture di Santa Maria in Pallara; tali criteri sono la messa in opera, la funzione, il soggetto, le iscrizioni e la tecnica pittorica. Simili analisi suggeriscono che per le pitture è possibile una data al X secolo, che sono ben classificate nella storia della tecnica pittorica di Roma tra monumenti sicuramente datati al IX secolo e quelli datati all'XI e XII secolo.
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Roberta, Laffi, Sibilio Sergio, Scorpio Michelangelo, Ciampi Giovanni, Rosato Antonio, and Yorgos Spanodimitriou. "The lighting refurbishment of places of worship: The case study of the Church of “Santa Maria di Piedigrotta”." Resourceedings 2, no. 3 (2019): 102. http://dx.doi.org/10.21625/resourceedings.v2i3.633.

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Christian church buildings constitute most of the architectural heritage in Italy. In this paper, the case study of the exterior lighting renewal of the Church of “Santa Maria di Piedigrotta”, located in Napoli, is discussed. The lighting project was carried out with the goal of emphasizing the original hierarchies of the building details, that can often be difficult to understand with the current lighting system. The study started with the analysis of the architectural features of the façades and belfry as well as the existing lighting system. In order to allow for the comparison and optimization of the various lighting design solutions, a virtual model of the church was realized in the simulation software DIALuxEvo. In the most suitable concept, both diffused and accent lighting were integrated, allowing for a correct perception of the whole of the façades of Church, thus highlighting its most valuable elements. The results obtained have responded positively to the enhancement and conservation of the historical-artistic works, while also resulting in energy saving. Moreover, the Standards of Law restrictions on “light pollution towards the sky” for historical and monumental buildings have been respected.
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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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Raimo, Nadia. "The Frescoes in the Crypt of Saint Adam." Paragone Past and Present 2, no. 1 (2021): 114–19. http://dx.doi.org/10.1163/24761168-00201005.

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Abstract This essay explores bibliographic and historiographical studies on the frescoed vaults in the crypt of Saint Adam, located in the church of Santa Maria Maggiore in Guglionesi (Campobasso province, Molise, Italy). The frescoes have never been the subject of a detailed study; in fact, they have received only sporadic mention in some volumes of Molise art and history. The most ancient bibliographic information that can be recovered is reported in the nineteenth-century La Cronistoria di Guglionesi by Canon Angelo Maria Rocchia (Guglionesi, 1830–1907) and the three glorious translations by the medieval Benedictine monk Saint Adamo Abate (990–1070). The canon mentioned the historical events that led to the establishment of the crypt and the changes in its pictorial decoration. This essay begins with Canon Rocchia’s hypotheses and moves on to further investigate the crypt and the history of the frescoes, bringing to light similarities and differences in the interpretation of the pictorial decorations.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Dissertations / Theses on the topic "Santa Maria di Novara (Church)"

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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Moretti, Laura. "Dagli Incurabili alla Pietà : le chiese degli ospedali grandi di Venezia tra architettura e musica, 1522-1790 /." Firenze : Olschki, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017044031&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Books on the topic "Santa Maria di Novara (Church)"

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Chiesa di Santa Maria la Nova: Appunti di storia e restauro della Cappella di San Giacomo. Edizioni del Delfino, 2005.

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Foti, Cristina. Ai margini della città murata: Gli insediamenti monastici di San Domenico e Santa Maria la Nova a Matera. Osanna, 1996.

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Luciani, Roberto. Santa Maria dei Miracoli e Santa Maria di Montesanto. F.lli Palombi, 1990.

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Paolucci, Antonio. Il tesoro di Santa Maria all'Impruneta. Becocci, 1987.

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Da Pieve di Santa Maria a Parrocchia di Maria Assunta a Caraglio. L'arciere, 2000.

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Giandolfo, Giusy. Il Monastero di Santa Maria Annunziata di Mandanici. A. Siciliano, 1990.

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Serlorenzi, Mirella. Terme di Diocleziano, Santa Maria degli Angeli. EDUP, 2002.

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Stefania, Laurenti, ed. Terme di Diocleziano, Santa Maria degli Angeli. EdUP, 2002.

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Il castello di Santa Maria a Vecchiano. Felici editore, 2009.

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Università degli studi di Roma "La Sapienza." Dipartimento di storia, disegno e restauro dell'architettura, ed. Santa Maria in Cosmedin a Roma. Edizioni Quasar, 2011.

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Book chapters on the topic "Santa Maria di Novara (Church)"

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Rislow, Madeline. "Sacred Signs: Genoese Portal Sculptures in the Dominican Church of Santa Maria di Castello." In Mendicant Cultures in the Medieval and Early Modern World. Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.es-eb.5.108260.

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Gill, Rebecca M. "Early Experiments in Catholic Reformation Architecture: Galeazzo Alessi and the Church of Santa Maria Assunta di Carignano, Genoa." In Europa Sacra. Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.es-eb.5.121909.

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Conference papers on the topic "Santa Maria di Novara (Church)"

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Guiso, Bianca, and Maria Vittoria Tappari. "Il castello dei conti di Biandrate: indagini sulle strutture superstiti." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11542.

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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.
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Sfarra, S., A. Bendada, C. Ibarra-Castanedo, D. Ambrosini, D. Paoletti, and X. Maldague. "Discovering the mysteries of the Santa Maria di Collemaggio Church (L''Aquila, Italy) by non-destructive testing techniques." In 2012 Quantitative InfraRed Thermography. QIRT Council, 2012. http://dx.doi.org/10.21611/qirt.2012.127.

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Sfarra, S., C. Ibarra-Castanedo, D. Ambrosini, D. Paoletti, A. Bendada, and X. Maldague. "The use of optical and infrared techniques for the restoration of the frescoes damaged by earthquake: a case study–the fresco of Giacomo Farelli in the Church of Santa Maria della Croce di Roio (L’Aquila, Italy)." In STREMAH 2011. WIT Press, 2011. http://dx.doi.org/10.2495/str110521.

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