Journal articles: 'Santa Maria (Monastery)'

1

Batista, E., and J. Hernandez. "The drainage of lake ‘L'Estany’ in Spain." Water Supply 18, no. 1 (June 6, 2017): 151–59. http://dx.doi.org/10.2166/ws.2017.105.

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Abstract In the 18th century, the practice of drying up the wetlands, marshy or stagnant water areas expanded throughout Europe in order to avoid the malaria fevers that the population periodically suffered and to recover land for farming. This communication describes the current knowledge about the history of the process of drying in various hydrological basins as well as the works in the endorheic lake close to the village of L'Estany, located in the district of the Moianès (Catalonia), in the northeast of Spain. The drying began in the 16th century with drainage channels driven by the Monastery of Santa Maria de L'Estany, and culminated in the 18th century with the construction, using the dry stone technique, of a 425 m long, 2.14 m high and 1.20 m wide drainage mine that diverted water to the basin of the Llobregat River. Now the mine and the canals are conserved for use in times of rain as well as a touristic objective that complements the cultural and religious concerns of the Monastery of Santa Maria with its magnificent Romanesque cloister.

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De la Peña, J. L., M. De la Peña, M. Salgot, and Ll Torcal. "The Water in the Royal Monastery of Santa Maria De Poblet, Tarragona, Spain." Water Supply 7, no. 1 (March 1, 2007): 261–67. http://dx.doi.org/10.2166/ws.2007.030.

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The history and water-related features in the Poblet Cistercian Monastery, located in Tarragona province, Spain are described. The study is undertaken with the main purpose of obtaining data for the establishment of an integrated water management system inside the walls of the abbey, which is suffering water scarcity due to increasing demands and the prevalent semiarid conditions.

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Miller, Stephanie R. "The Incarnation of the Word: Andrea Della Robbia’s Annunciation and Adoration Altarpieces at La Verna." Religions 12, no. 8 (August 10, 2021): 624. http://dx.doi.org/10.3390/rel12080624.

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On the mountainous crest of the Apennines are several buildings comprising the monastic site of La Verna where St. Francis received his stigmata in 1224. Described in 1493 as another Jerusalem in the West, the monastery’s Chiesa Maggiore, Santa Maria degli Angeli, and the Chapel of the Stigmata house its most prominent images, Andrea della Robbia’s five altarpieces (c. 1476-c. 1493). This essay explores the beholder’s experiences before Andrea’s earliest two altarpieces at the Observant Franciscan monastery, the Annunciation and Adoration. The history and function of this monastery are considered in light of the themes of these altarpieces and their theological significance. Of relevance are the inscriptions on the altarpieces, which rather than simply identifying the accompanying images, propose interesting interpretations and influences for the altarpieces and which suggest interactive involvement between beholder and the altarpieces in the monastic spaces. Taken together, these works reveal a sensitivity to the specific needs of the Franciscan audience, context, and location and an awareness of Renaissance devotional practices.

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Beltran, Meritxell, Elisabet Playà, Montserrat Artigau, Pau Arroyo, and Ander Guinea. "Iron patinas on alabaster surfaces (Santa Maria de Poblet Monastery, Tarragona, NE Spain)." Journal of Cultural Heritage 18 (March 2016): 370–74. http://dx.doi.org/10.1016/j.culher.2015.09.001.

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Amendola, Adriano. "The warrior collector." Journal of the History of Collections 32, no. 1 (January 18, 2019): 13–24. http://dx.doi.org/10.1093/jhc/fhy064.

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Abstract The essay focuses on the military commander Giovanni Battista Castaldo (1493–1563), aiming to reconstruct this figure as a collector and patron. The author analyses the reasons that led Castaldo to found the monastery of Santa Maria ad Montem in Nocera de’ Pagani, where can still be found his portrait bust, here attributed to Annibale Fontana. In the monastery was exhibited the Madonna d’Alba by Raphael, here identified for the first time as the source of a work by Dirk Hendricsz, the presence of Raphael’s canvas in Nocera clarifies the pivotal role played by the painting for the artists working in the Spanish Viceregno.

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Zerlenga, Ornella. "Renewed spirituality in cloistered architecture in Naples." Resourceedings 2, no. 3 (November 27, 2019): 154. http://dx.doi.org/10.21625/resourceedings.v2i3.652.

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The object of study is the cloistered architecture with particular attention to the cloisters of Santa Maria della Sanità and San Severo in Naples. Among the different environments that characterize a convent or monastery, the cloister is the main element of religious life, the central nucleus of the activities carried out collectively. Typologically, the distinctive features of the cloister can be identified in the following: position within the religious complex; presence of porch, garden, well; variety of shape and planimetric dimension. The cloister of Santa Maria della Sanità has an unusual ovate shape. This cloister was severely tampered with by the construction of the bridge of Sanità in the French decade. This intervention brought the cloister into oblivion and decay like that of San Severo. Recently the cloisters have been restored to new social use to promote inclusion and diversity.

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Nocentini, Serena. "Architectural Painting: Giorgio Vasari's Altarpiece for the Monastery of Santa Maria Novella in Arezzo." Explorations in Renaissance Culture 39, no. 1 (December 2, 2013): 49–58. http://dx.doi.org/10.1163/23526963-90000438.

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SÁNCHEZ CARRASCO, Juan José. "evolución patrimonial del monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada (siglos XV-XVII)." Medievalismo, no. 28 (October 8, 2018): 295–317. http://dx.doi.org/10.6018/medievalismo.28.345181.

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El objetivo del presente trabajo es estudiar el desarrollo patrimonial del Monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada. Para la elaboración del ensayo se ha realizado una exhaustiva búsqueda documental en archivos tanto granadinos como nacionales y se han empleado los datos de las publicaciones existentes sobre el monasterio que datan de los años 90 del pasado siglo. Se ha conseguido realizar un estudio completo sobre todas las transacciones que realizó la orden durante los siglos XV-XVI y ubicar sus propiedades mediante Sistemas de Información Geográfica (SIG). The aim of this work is to study the heritage development of the Monastery of Santa Maria de la Concepción of the Order of Saint Jerome in Granada. For this purpose, an exhaustive data search has been undertaken in both local and national archives, in addition to the use of information contained in the literature published on the topic in the 90s of the twentieth century. It has been possible to achieve a comprehensive study of all the transactions carried out by the Order during the 15th and 16th centuries and locate their properties using geographic information systems (GIS).

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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.

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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies. This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.

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Leardini, Chiara, and Gina Rossi. "Accounting and power in religious institutions: Verona’s Santa Maria della Scala monastery in the Middle Ages." Accounting History 18, no. 3 (June 25, 2013): 415–27. http://dx.doi.org/10.1177/1032373213487336.

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11

Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 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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12

Reus Planells, Guillem Alexandre. "New Perspectives for an Architectural Study of the Cistercian Monastery of Santa Maria la Real, in Mallorca." Medievalia 23, no. 2 (December 4, 2020): 41. http://dx.doi.org/10.5565/rev/medievalia.535.

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13

De Benedetto, Giuseppe E., Amedeo Savino, Daniela Fico, Daniela Rizzo, Antonio Pennetta, Antonio Cassiano, and Brizia Minerva. "A multi-analytical approach for the characterisation of the oldest pictorial cycle in the 12th century monastery Santa Maria delle Cerrate." Open Journal of Archaeometry 1, no. 1 (December 30, 2013): 12. http://dx.doi.org/10.4081/arc.2013.e12.

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A multidisciplinary research, currently in progress at the University of Salento in collaboration with the Lecce Provincial Museum, interests different artistic expressions widespread in the Salento peninsula (South Italy). In the present study, the characterisation of organic and inorganic materials used in the oldest pictorial cycle found in the 12th century monastery Santa Maria delle Cerrate was carried out thanks to a multi-analytical approach. Previous investigations have focused on the problem of dating the frescoes mainly on the basis of the stylistic aspects and the material characterisation has been definitely underinvestigated. Chromatographic and spectrometric techniques were used: micro-Raman spectroscopy was used for recognising pigments and gas chromatography with mass spectrometric detection for analysing organic binders. These techniques enabled us to characterise pigments and binders. The presence of both true fresco and tempera bound pigments was assessed. Among the different pigments detected, the results relevant to the blue paints were interesting: two different blue pigments were, indeed, identified, lapis lazuli and smalt (cobalt blue glass) both unexpected. As a result, Santa Maria delle Cerrate appears to be the first known example of their use in South Italy. From a conservation point of view, moreover, the knowledge of the palette permitted to highlight the reason of observed decay of some paints: for instance, lead white was used in some panels, explaining their blackening.

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Sánchez Carrasco, Juan José. "Las dos dotaciones fundacionales del Monasterio de Santa María de la Concepción de Granada = The Two Founding Endowments of the Monastery of Santa Maria de la Concepción of Granada." Espacio Tiempo y Forma. Serie III, Historia Medieval, no. 30 (May 2, 2017): 505. http://dx.doi.org/10.5944/etfiii.30.2017.18689.

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15

Palmieri, Alice. "The Wheel and the Cloister in the Rule of Seclusion: Architectural Elements or Elements of a Communication System?" Resourceedings 2, no. 3 (November 27, 2019): 171. http://dx.doi.org/10.21625/resourceedings.v2i3.655.

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When Walter Benjamin describes Naples, he defines its architecture ’porous like this stone’ assimilating the structural characteristic of the tuff to an architectural model, characterized by voids and openings that create an interpenetration between interior and exterior. These continuous breakthroughs also characterize the life of Neapolitans who are used to living the street as part of social life. Right in the historical centre, where these dynamics are deeply present, there are some cloistered convents that by definition are closed to the city. This paper investigates sacred architecture not as a celebrative space, but as a place of living for religious communities. The focus is on the monasteries: peculiar structures deeply marked in the architecture by the need for confidentiality and therefore to create filters, physical and visual, with the rest of the urban area. The convents of Naples, through the wheels (intended for the passage of offerings) and through the cloisters, establish a relationship with the city that over the centuries has changed with a progressive opening to the inhabitants who are now allowed to get closer to these realities. The research finally deepens the architecture of the convent of Santa Maria in Gerusalemme, commonly known as the monastery of ‘the Thirty-three’, adjacent to the historical hospital of the Incurabili with which it shares its origins since both were founded by the Venerable Maria Lorenza Longo. Despite the closure and the high fence wall, the presence of the monastery is very strong: it is a reference and a listening point, where the ancient wooden wheel still represents a way of communication between the residents of the district and the nuns. In the same way, the cloister and the refectory have transformed their function over the centuries, becoming spaces for public events, while remaining in line with the rules of the Order.The study of the structure and dynamics of communication from/to the convent proposes a reflection on the transformations of religious architecture in the urban context and on the changes in language and meaning of the architectural elements characterizing the monastery.

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Streit, Jessica Renee. "Penitence and Crusade in the Assumption Chapel of the Real Monasterio de Las Huelgas, Burgos." Medieval Encounters 26, no. 6 (February 11, 2021): 578–606. http://dx.doi.org/10.1163/15700674-12340089.

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Abstract This study aims to interpret the visual qualities of the Assumption Chapel, located in the Cistercian monastery of Santa Maria La Real de Las Huelgas, Burgos. Rejecting the “mudejar” paradigm often used to explain the chapel’s connections to Andalusi architecture, the article instead considers its relationships to a group of twelfth- and thirteenth-century domed churches in Iberia and the French Pyrenees, as well as to Las Huelgas’s adjacent, late-Romanesque cloister. In so doing, it situates the Assumption Chapel in a broader context of monuments related to penitence and crusade in the Holy Land and Iberia. It also considers the chapel’s form and function in the light of Las Huelgas’s ritual topography. Most broadly, this study shows how seemingly incongruent visual languages—in this case Romanesque and Andalusi—can comprise a coherent program of imagery.

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Martínez Lema, Paulo. "O Cartulário de Fiães enquanto corpus toponímico: acerca de alguns nomes de lugar na fronteira galego-portuguesa." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 487–520. http://dx.doi.org/10.1515/zrp-2018-0029.

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AbstractThe chartulary of the Monastery of Santa Maria de Fiães consists of documentation dating mostly back to the 12th century which concerns the process of constitution of the land patrimony of the Benedictine abbey located on the Galician-Portuguese border. This documentary source offers several interesting aspects for linguistic research. In particular, it is worth highlighting the fact that this source contains some of the earliest records (or even, in some cases, the only ones) available for the analysis of a significant number of place-names in the extensive geographic area (the Portuguese Minho land as well as the southern and southwestern regions of Galicia) in which the monastery had a greater number of properties. Therefore, the purpose of this paper is to explore this line of research, by collecting the records in the chartulary for a micro-corpus of four place-names (one being Portuguese and three Galician) and by using them to identify both their etymon and their formal and semantic evolution. Moreover, we will establish, when necessary, their possible relations with other toponymic items, finally analyzing certain dynamics and phenomena (essentially phonetic ones). Their research interest stems from their relatively rare nature in the context of Galician-Portuguese toponymy.

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Lucía Gómez-Chacón, Diana. "Reflexos dirige calles. The Iconographic Program of the Monastery of Santa Maria la Real de Nieva’s ecclesia fratrum (1414-1432)." Hortus Artium Medievalium 22 (May 2016): 451–61. http://dx.doi.org/10.1484/j.ham.5.111363.

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Remígio, André Varela. "The altarpiece of the Transit of the Soul of Saint Bernard of the Real Monastery of Saint Mary of Alcobaça: history, execution and conservation." Conservar Património 15-16 (2012): 3–30. http://dx.doi.org/10.14568/cp15-16_1.

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Castellano-Tresserra, Anna. "El projecte fundacional del monestir de Santa Maria de Pedralbes i el palau de la reina Elisenda de Montcada a través de dos inventaris del 1364." Anuario de Estudios Medievales 44, no. 1 (June 30, 2014): 103–39. http://dx.doi.org/10.3989/aem.2014.44.1.04.

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De Benedetto, Giuseppe E., Daniela Fico, Eleonora Margapoti, Antonio Pennetta, Antonio Cassiano, and Brizia Minerva. "The study of the mural painting in the 12th century monastery of Santa Maria delle Cerrate (Puglia-Italy): characterization of materials and techniques used." Journal of Raman Spectroscopy 44, no. 6 (April 9, 2013): 899–904. http://dx.doi.org/10.1002/jrs.4298.

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Räsänen, Marika. "Ecce novus: Saint Thomas Aquinas and Dominican Identity at the End of the Fourteenth Century." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 161–76. http://dx.doi.org/10.5617/acta.7805.

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Thomas Aquinas (1224/25-1274) joined the Order of Preachers around the year 1244 and became one of the most famous friars of this own time. He died in 1274 at the Cistercian monastery of Fossanova where his remains were venerated for almost a hundred years. The Dominicans, who had desired the return of the body of their beloved brother, finally received it by the order of Pope V in 1368. The Pope also ordered that the relics should have been transported (translatio) to Toulouse, where they arrived on 28 January 1369. In this article, I argue that his joining the Order was considered Thomas's first coming, and the transportation of his relics to Toulouse was his second coming to the Order. I will analyse the Office of Translatio (ca.1371) in the historical contexts of the beginning of the Observant reform of the Dominican Order in a period which was extremely unstable regarding both the papacy itself and politics between France and Italy. I will propose that the Office of Translatio inaugurated Thomas as the leader of a new era and the saviour of good Christians in a Christ-like manner. The liturgy of Translatio appears to offer a new interpretation of new apostles, the Dominicans, and the construction of eschatological self-understanding for the Dominican identity. 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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Marrocchino, Elena, Chiara Telloli, and Carmela Vaccaro. "Geochemical and Mineralogical Characterization of Construction Materials from Historical Buildings of Ferrara (Italy)." Geosciences 11, no. 1 (January 7, 2021): 31. http://dx.doi.org/10.3390/geosciences11010031.

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This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.

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Fico, D., E. Margapoti, A. Pennetta, and G. E. De Benedetto. "An Enhanced GC/MS Procedure for the Identification of Proteins in Paint Microsamples." Journal of Analytical Methods in Chemistry 2018 (2018): 1–8. http://dx.doi.org/10.1155/2018/6032084.

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The chemical characterization of materials used in works of art is extremely useful for gaining a better knowledge of the artistic heritage and to guarantee its preservation. A derivatization GC/MS procedure for the identification of proteins in a microsample from painted works of art has been optimized. The amino acid fraction is derivatized using anhydrous dimethylformamide (DMF) as solvent instead of pyridine (Py), commonly used to facilitate the reaction. Although pyridine is often considered a silylation catalyst, there are many instances in which silylation reactions actually are slower in pyridine than other solvents. In addition, pyridine also may have other undesirable effects such as the promotion of secondary products and other chromatographic anomalies. Using DMF, the formation of artifacts is limited and the derivatization yield of hydrophilic amino acids such as proline and hydroxyproline has improved, thus making the identification of organic paint media more straightforward. The method has been validated and successfully applied to identify the binder of the sample taken from the pictorial cycle of the 12th century monastery of Santa Maria delle Cerrate (Lecce, Italy), thus highlighting the use of eggs as a binding medium.

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Marrocchino, Elena, Chiara Telloli, and Carmela Vaccaro. "Geochemical and Mineralogical Characterization of Construction Materials from Historical Buildings of Ferrara (Italy)." Geosciences 11, no. 1 (January 7, 2021): 31. http://dx.doi.org/10.3390/geosciences11010031.

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This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.

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Aronberg Lavin, Marilyn. "El Pueblo de Nuestra Señora la Reina de los Ángeles de la Porciúncula: Or How Los Angeles Got its Name." Religion and the Arts 18, no. 1-2 (2014): 11–25. http://dx.doi.org/10.1163/15685292-01801003.

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‭This study traces the route by which the city of Los Angeles came to be called by that name. Late in life St. Francis retired to a tiny hut on “a little piece of property,” una porziuncola near Assisi. Because angels were frequently heard singing there, the area around his hut was known as “La Valle di Nostra Donna degli Angeli.” Here, Francis experienced two appearances of Mary and her Son, during which he obtained the revolutionary plenary indulgence known as Il Perdono d’Assisi. The Porziuncola became a pilgrims’ shrine, and Francis’s hut was transformed into a huge basilica dedicated to Santa Maria degli Angeli. Reception of the indulgence slowly spread throughout Europe, and most particularly in Spain. Columbus, who was a Franciscan Tertiary, after a stay in the monastery of Our Lady of the Angels at La Rábida, set sail on his momentous journey on the feast of the Perdono (2 August). The indulgence was carried to the New World by the Franciscans where the devotion developed a wide-spread cult. Three hundred years later, the Spanish king’s army, accompanied by Franciscan friars, journeyed up the western coast and came upon a clear stream, which they called la Porciúncula. In 1781, the New World City of the Angels was founded in the cult’s honor.‬

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Lisitano, Ivana Mattea, Deborah Laggiard, Stefano Fantucci, Valentina Serra, and Elisa Fenoglio. "Evaluating the Impact of Indoor Insulation on Historic Buildings: A Multilevel Approach Involving Heat and Moisture Simulations." Applied Sciences 11, no. 17 (August 27, 2021): 7944. http://dx.doi.org/10.3390/app11177944.

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The energy refurbishment of historic buildings is a complex task for building envelope designers who need to carefully consider building conservation guidelines and principles. In most cases, external wall insulation techniques can determine an unacceptable alteration of the historical value of a building. For this reason, internal wall insulation techniques have been used widely in the last few decades. Nevertheless, dealing with internal wall insulation requires a complex design to avoid the risk of condensation and moisture-related pathologies. Moreover, an internal wall insulation may have a relevant impact on indoor comfort conditions. In this paper, the Monastery of Santa Maria de Monfero in Galicia (Spain) has been adopted as a building case study to compare different technological solutions based on: (i) an insulating plaster layer, (ii) dry counter wall systems. In the first step, heat and moisture transfer simulations of the wall components were performed to analyze the hygrothermal behavior of the different alternatives considering two different climate conditions. In a second step, a simulation of the whole building was performed to analyze the impact of the retrofitting strategies on the indoor climate and on the building heating and cooling demand. The obtained results show that the counter wall solution leads to higher energy savings during the heating season in the colder winter climate. However, the use of insulating thermal plaster could also be a viable solution since they lead to several advantages in summer because of their higher thermal inertia. Therefore, the selection of the most appropriate insulation technique has to be evaluated carefully considering the outdoor/indoor climate and using a case-by-case approach.

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.

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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.

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.

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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.

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Cendón Fernández, Marta. "Santa María de A Franqueira: de monasterio a santuario mariano." Cuadernos de Estudios Gallegos 61, no. 127 (December 29, 2014): 15–45. http://dx.doi.org/10.3989/ceg.2014.127.01.

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Vázquez Santos, Rosa M. "El libro de sepulturas del monasterio de Santa María Magdalena de Sarria." Cuadernos de Estudios Gallegos 45, no. 110 (December 30, 1998): 167–76. http://dx.doi.org/10.3989/ceg.1998.v45.i110.206.

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Manso Porto, Carmen. "El monasterio de Santa María la Real de Oia. Estudio histórico-artístico." Cuadernos de Estudios Gallegos 49, no. 115 (December 30, 2002): 252–306. http://dx.doi.org/10.3989/ceg.2002.v49.i115.138.

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Rincón-García, Wifredo. "Iconografía de Santa Waldesca y Santa Toscana, monjas de la Orden de San Juan de Jerusalén, en el Monasterio de Santa María de Sijena." Archivo Español de Arte 82, no. 328 (December 30, 2009): 410–17. http://dx.doi.org/10.3989/aearte.2009.v82.i328.313.

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Álvarez Soaje, Miguel. "Botica del monasterio de Santa María de Sobrado: del siglo XVII a la desamortización de Mendizábal." Cuadernos de Estudios Gallegos 61, no. 127 (December 29, 2014): 143–75. http://dx.doi.org/10.3989/ceg.2014.127.05.

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Royer de Cardinal, Susana. "El monasterio leonés de Santa María de Trianos y su articulación con otras instancias eclesiásticas (s. XII-XV)." Hispania Sacra 59, no. 119 (June 30, 2007): 7–33. http://dx.doi.org/10.3989/hs.2007.v59.i119.22.

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Cruz Yábar, Juan María. "El retablo mayor del monasterio jerónimo de Santa María de Espeja. Una vieja imagen y una nueva visión." Archivo Español de Arte 84, no. 334 (June 30, 2011): 125–38. http://dx.doi.org/10.3989/aearte.2011.v84.i334.462.

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Osheim, Duane. "Santa Maria di Vallombrosa. Patrimonio e vita economica di un grande monastero medievale by Francesco Salvestrini." Catholic Historical Review 86, no. 1 (2000): 105–6. http://dx.doi.org/10.1353/cat.2000.0144.

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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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Engh, Line Cecilie, Stefka G. Eriksen, and Francis F. Steen. "Homo renovatur de die in diem: Transforming Selves and Communities." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 1–7. http://dx.doi.org/10.5617/acta.7797.

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"This special issue of Acta ad archaeologiam et artium historiam pertinentia (from now on Acta) interrogates religious practices of reading, writing, praying and engaging with texts, images, architecture, music, and ritual spaces in late antique Rome and medieval Europe. More specifically, it aims to analyze and deepen our understanding of how liturgy and religious practice modeled and modified selves and communities, how they shaped and transformed identities and built communities - both individual and collective, religious and lay". 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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Silva, Ana Maria, and Anabela Correia. "Étude paléodémographique et paléopathologique de treize individus de l'église du monastère de Santa Maria de Semide, Coimbra (Portugal)." Bulletins et Mémoires de la Société d'anthropologie de Paris 5, no. 1 (1993): 321–26. http://dx.doi.org/10.3406/bmsap.1993.2361.

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Campano-Calvo, J. L., M. Del Río, A. Farfán, and J. L. Campano-Aguirre. "Los métodos geofísicos en los estudios previos del terreno para la rehabilitación de edificios. La iglesia del Monasterio de Santa María de Moreruela (Zamora)." Informes de la Construcción 65, no. 529 (March 20, 2013): 17–26. http://dx.doi.org/10.3989/ic.11.135.

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Hodne, Lasse. "Memling's Portraits of Christ. A Cognitive Approach." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 245–58. http://dx.doi.org/10.5617/acta.7810.

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Previous research conducted by the author revealed a clear preference for profile and half profile view in paintings of secular persons. Frontal view (full-face or en face) was usually restricted to representations of Christ. In this paper, the results will be applied to the study of the paintings of one particular artist: the German-born fifteenth-century painter Hans Memling. Adopting methods from traditional art history as well as cognitive psychology, the aim is to show how Memeling's systematic distinction between sacred and profane, using the frontal view only for representations of Christ, can be explained by reference to psychological studies on the effects and values usually associated with the frontal view of a face. Keywords: Hans Memling, portraits, man of sorrows, holy face. 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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Covaci, Valentina. "Praying for the Liberation of the Holy Sepulchre: Franciscan Liturgy in Fifteenth Century Jerusalem." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 177–95. http://dx.doi.org/10.5617/acta.7806.

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The fall of Jerusalem to Saladin in 1187 and the loss of the Frankish Levant in 1291 triggered new calls or crusade and the literature dedicated to "the recovery of the Holy Land" (pro recuperatione Terre Sancte). The exhortation to war and the urgency of Jerusalem's deliverance were also expressed through liturgy. This article examines two liturgical texts, a "Votive mass for the recovery of the Holy Land" (Missa devota ad recurandam Terram Sanctam) and an "Introit to the Holy Sepulchre of the Lord" (Ad Sanctum Sepulcrum Donin introitus), transmitted in manuscripts from the Franciscan library in Jerusalem, the Biblioteca Generale della Custodia di Terra Santa. This article explores the two liturgical texts in the historical context of fifteenth-century Jerusalem, when the Franciscan friars where the only Latin clergy allowed to serve at the Holy Places. Historical accounts produced in this milieu evince the friars' efforts to memorialize the deeds of the crusader kings, celebrated as liberators of the Holy Land. The liturgical texts analysed here complement this militant memorialization. Keywords: Jerusalem, Church of the Holy Sepulchre, Franciscan liturgy, recovery of the Holy Land. 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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Petersen, Nils Holger. "Danielis ludus: Transforming Clerics in the Twelfth Century." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 197–209. http://dx.doi.org/10.5617/acta.7807.

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A twelfth-century so-called liturgical drama (preserved in a unique copy of the thirteenth century, preserved in British Library, London), the Danielis ludus (Play of Daniel), based mainly on chapters 5 and 6 from the Book of Daniel has been much discussed in scholarship. It has been seen by scholars, not least Margot Fassler, as a (music) drama intended to establish a role model for young clerics in connection with ecclesiastical attempts at reforming the celebrations for New Year's in Beauvais, the so-called Feast of Fools. In this article, with consideration also of a recent discussion of the New Year's liturgy, I suggest to understand the Danielis ludus as a liturgical ritual transforming the (corporate) identity of the young clerics who were, undoubtedly, involved in its performance. Keywords: liturgy, drama, the sacred, medieval clerics. 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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Rollo-Koster, Joëlle. "Constructing Papal Identity during the Great Western Schism (1378-1417): Pierre Ameil and Papal Funerals." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 113–29. http://dx.doi.org/10.5617/acta.7803.

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This essay argues that liturgists responded to the Great Western Schism (1378-1417), with liturgical rubrics. During this period, authors were essentially motivated with the recovery of ecclesiastical unity. I will analyze how Pierre Ameil, a contemporary of the Schism and the author of a ceremonial book or ordo attempted to reconstruct unity by developing a new rubric centered on the rituals surrounding the pope's death. By keeping the papal body one, both natural and institutional, Ameil responded to the College of Cardinals whom he knew was responsible for the initiation of the crisis. Contrary to current historiography that sees liturgists building institutional continuity during the Vacant See on the college of Cardinals, the essay proposes that Ameil built continuity on the embalmed papal corpse presenting it as both natural and institutional, at once finite and eternal. Keywords: Great Western Schism, liturgy, body, Papal funerals, senses, Pierre Ameil. 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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Engh, Line Cecilie. "Imaginative immersion in the Cistercian Cloister." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 133–60. http://dx.doi.org/10.5617/acta.7804.

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This article uses analytical concepts from cognitive science to explore and deepen our understanding of how medieval monastics imagined themselves as characters within biblical narratives. It argues that Cistercian monks - and in particular Bernard of Clairvaux - used techniques of imaginative immersion to enter and blend themselves into biblical viewpoints and events, thereby engaging the monks in epistemically and personally transformative experiences. The article concludes that this served to build community and to enculture monks and converts. Specifically, the article offers a close reading of two of Bernard's liturgical sermons, Sermon Two for Palm Sunday and Sermon Two on the Resurrection, to show how his sermons 1) traverse time and space and 2) blend viewpoints. Examples are also taken from texts by John Cassian, Augustine, Gregory the Great, and William of St. Thierry. Keywords: Bernard of Clairvaux, blended viewpoint, deictic displacement, lectio divina, liturgical time and space. 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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Diesen, Rakel Igland. "During Credo He Shouted "Blessed be […]; now I can hear": Nordic Child Miraculees Interacting with Liturgy." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 211–24. http://dx.doi.org/10.5617/acta.7808.

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This article focuses on miracle narratives associated with saints originating in the Nordic region, written from the 12th to the 15th century, where a rich collection of images of children present around and inside of churches and at shrines can be found. Many of the tales portray children in devotional activities, giving an indication of how children moved and acted in these spaces. The events described often transpire during prayers and services, and show how children were seen and heard in spaces where liturgical activity shaped the rhythms of the day and the year. By examining how children are presented, as present and participating in these spaces, and by noting the bits of sensory information given in the narratives, this article adds to our mental image of the religious practices as well as sensory experiences of medieval children. Keywords: Medieval children, miracles, Nordic saints, hagiography, sensory experience. 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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Romano, John F. "Baptizing the Romans." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 43–62. http://dx.doi.org/10.5617/acta.7799.

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This article focuses on Ordo Romanus XI, a liturgical script that describes the process for performing baptism. Including its preparatory meetings. First, the essay discusses the context in which the source was created, and second draws on its evidence to understand elements of the society of its origin. It is argued that the source was composed in the city of Rome in the second half of the seventh century, and it was intended to introduce innovations into the celebration and conception of baptism there. While previous research has characterized the source as one milestone in the history of baptism, a close reading of it provides valuable hints as to the behavior, attitudes, and identity of seventh-century Romans, both on individual and collective levels. Baptism inducted people into Christian society, cleansed them from sin, and made salvation possible. It mediated both human and supernatural relationships. Further, it strengthened Christian belief, gender roles, and the conception that Romans were the new Israelites. Keywords: baptism, liturgy, Ordo/Ordines, Ordo Romanus XI, city of Rome, history, religious mentalities. 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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Westwell, Arthur. "The Ordines Romani and the Carolingian Choreography of a Liturgical Route to Rome." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 63–79. http://dx.doi.org/10.5617/acta.7800.

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This article examines a number of Carolingian liturgical manuscripts (Wolfenbuttel Herzog August Bibliothek Wissenbourg 91, Cologne Dombibliothek MS 138, Vienna Österreichische Nationalbibliothek cod.ser.n. 2762 and Paris Bibliothèque de l'Arsenal 227) each containing texts now known as the ordines romani. These texts are "stage directions" for the liturgy, distinguished by their reference to the practices of the church of Rome. While the ordines romani certainly give precious information about Roman liturgical practice, the Frankish contribution to shaping and displaying these texts inline with their own priorities and usages must be acknowledged too. For example, these manuscripts all combine ordines romani with texts about Roman history and topography. For these readers, the desired imitation of Roman liturgical practice was not about copying any particular text or practice by rote, but a deeper form of participation that involved the construction of an image of Rome across a whole manuscript. The given image of Rome responded to the institutional or personal needs animating the manuscript. These manuscripts compel us to imagine diverse practices of reading within and without liturgical performance. Keywords: pontificals, topography, Ordines, manuscripts, Carolingians. 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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Verbaal, Wim. "Resurrecting Rome. Liturgy and Rome's Second Revival." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 101–12. http://dx.doi.org/10.5617/acta.7802.

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Liturgy is one of the more underestimated entries of the Gregorian reform. Surely, this is due to the difficulty of getting a clear view of concrete and detailed liturgical evolutions and renewals. It seems, however, to have been one of the more important elements at stake during the short period of the bitter and hard confrontations between the leading layers of the Church around 1100. Besides, between about 1050 and 1150, Rome saw an intense building activity of new churches according to new plans that seem to have been partly dictated by liturgical renovations. Notably, Pope Innocent II seems to have realized the importance of liturgy as a weapon to be used against his ecclesiastical and secular opponents. Thanks to the remarkable Liber politicus by Benedict the Canon (around 1140), we can have some ideas of the way innocent II used liturgy as a means to install his own imperial papacy. My contribution will have a closer look at Benedict's Liber politicus in its literary context as a means to reimagine Rome. The Liber will prove to be much more than a liturgical manual or a strange collection of disparate writings. Behind it lies a strong view of the political role of the papacy and of liturgy as a means to achieve and express papal supremacy. 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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Journal articles on the topic 'Santa Maria (Monastery)'

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