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Artykuły w czasopismach na temat „Santa Maria in Monasterio (Church)”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

Crispí, Marta. "Liturgical Spaces and Devotional Spaces: Analysis of the Choirs of Three Catalan Nuns’ Monasteries during the Fourteenth and Fifteenth Centuries." Arts 13, no. 4 (2024): 112. http://dx.doi.org/10.3390/arts13040112.

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Choirs in female monastic and convent communities are spaces whose complexity has been highlighted because of their multipurpose and multifunctional nature. Although they are within the community’s private sphere of prayer of the divine office, it has also been noted that they play a liturgical role as the space from which the nuns ‘hear’ and follow the celebrations taking place in the church and even in the choral altars. The devotional–liturgical binomial is joined by other contrasting terms, like esglesia dintra–sgleya de fora, indicating a duality, as follows: the claustration (as an enclo

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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 emblema

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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

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Scirea, Fabio. "Riconsiderare l'insediamento monastico di Torba: la torre e le sue funzioni." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 169–202. http://dx.doi.org/10.54103/fenestella/19447.

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This article reconsiders some aspects of the early medieval monastic settlement of Torba, starting from an established historiography and the very recent publication of new archaeological data. Focusing on the Monastery tower, which had been part of the late antique curtain wall of Castelseprio, the research has led to a new interpretation of the construction phases and functions. The contribution thus offers new hypotheses for interdisciplinary evaluation, particularly about the possibility that the monastic choir might have been installed in a space not consecrated. The mural paintings of bo

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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 (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 o

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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 (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 o

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Mamyan, Lyusin. "The synergy of architectural, cultural, and natural elements in the formation of the medieval Armenian st. Mary rock church in Matera." Multidisciplinary Reviews 7 (August 16, 2024): 2024ss012. http://dx.doi.org/10.31893/multirev.2024ss012.

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The article delves into the historical and cultural intersections between Armenians and Italians in Matera, a city in the southern Italian province of Basilicata, during the 10th-11th centuries. The focal point of the study is the St Mary Armenian Rock Church of Matera (Chiesa Santa Maria degli Armeni di Matera), an original monument attributed to Armenian monks and utilized by the local Armenian community in that specific historical period. The church is considered a part of the ancient Benedictine monastery of Armenian monks, underscoring the significant authority and role held by the Armeni

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Wang, Weiqiao. "Comparative Review of Worship Spaces in Buddhist and Cistercian Monasteries: The Three Temples of Guoqing Si (China) and the Church of the Royal Abbey of Santa Maria de Poblet (Spain)." Religions 12, no. 11 (2021): 972. http://dx.doi.org/10.3390/rel12110972.

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Although the two parallel architectural forms, Han Buddhists and the Cistercian monasteries, seem, on the surface, to be very different—belonging to different religions, different cultural backgrounds, and different ways of construction—they share many similarities in the internal institutional model of monks’ lives and the corresponding architectural core values. The worship space plays the most significant role in both monastic life and layout. In this study, the Three Temples of Guoqing Si and the Church of the Royal Abbey of Santa Maria de Poblet are used as examples to elucidate the conno

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Kuzina, Nataliya A. "The role of the church in the сonstruction of Catalan nationalism at the turn of the 19th–20th centuries". Novaia i noveishaia istoria, № 4 (19 серпня 2024): 57–70. http://dx.doi.org/10.31857/s0130386424040052.

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In the second half of the nineteenth century, conservative political organisations and groups that included representatives of pro-nationalist clergymen made a significant contribution to the development of Catalan nationalism. The author examines the influence of the Catholic Church on the formation of nationalism in Catalonia in the late nineteenth and early twentieth centuries. Applying the methods of historical and cultural analysis, the author explores the evolution of the religious aspect of Catalanism, its symbols and rituals. The relevance of the research is substantiated by the need t

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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

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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 attribut

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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 attribut

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Mance Cipek, Ivana. "Ana Marija Marović, slikarica na glasu svetosti." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 125–44. http://dx.doi.org/10.31664/ripu.2023.47.10.

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Anna Maria Marovich (Venice, 1815 - Venice, 1887), a Venetian born into a family of Boka origins, achieved a reputation for sanctity during her lifetime due to her religious zeal and charitable work. With the initiation of her beatification process, she was formally recognized as an honourable servant of God (It. venerabile). However, she was also highly esteemed for her accomplishments in poetry and painting. Her inclusion in Ivan Kukuljević Sakcinski’s Slovnik umjetnikah jugoslavenskih (Lexicon of Yugoslav Artists) secured her a place in the Croatian gallery of prominent artistic figures. Al

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Fallica, Simone, Raissa Garozzo, and Cettina Santagati. "Retraced memories - virtual reconstruction of an architectural landmark." Virtual Archaeology Review 12, no. 25 (2021): 124. http://dx.doi.org/10.4995/var.2021.15302.

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<p class="VARAbstract">This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six a

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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 wi

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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 see

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Eriksen, Stefka G. "Teaching and practicing the Quadriga in Medieval Norway: A Reading of Barlaams og Josaphats Saga." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 225–44. http://dx.doi.org/10.5617/acta.7809.

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The present volume establishes that Christian liturgy and religious rituals were the main tools for the transformation of the self after the introduction of Christianity in various cultural contexts of medieval Europe. The liturgical ritual was the ultimate arena and outer manifestation of the cognitive and behavioral changes required by individuals and which were inspired in them by the Church. In this article, I will discuss whether the same tools for transformation were relevant in medieval Norway and how self-reflection and cognitive change were triggered not only during the liturgy but al

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Dyadyunova, Natalya Arturovna. "The Frontal of Sant' Marti de Puigbo and the Saint Martin of Tours Iconography in the Catalan Altar Painting Tradition." Человек и культура, no. 3 (March 2022): 23–34. http://dx.doi.org/10.25136/2409-8744.2022.3.38220.

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The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century – the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the fro

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Vindya Mayralda, Sri Martini, and Djunaidi. "Sejarah Perkembangan Gereja Katolik Hati Santa Perawan Maria Tak Bernoda Tangerang (1948-2021)." PERIODE: Jurnal Sejarah dan Pendidikan Sejarah 5, no. 1 (2023): 20–36. https://doi.org/10.21009/periode.051.2.

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Abstract: VINDYA MAYRALDA. HISTORY OF DEVELOPMENT OF THE CATHOLIC CHURCH OF HATI SANTA PERAWAN MARIA TAK BERNODA TANGERANG (1948-2021). History Education Study Program, Faculty of Social Sciences, Jakarta State University, 2023. This study aims to describe the development of the Catholic Church of Hati Santa Perawan Maria Tak Bernoda Tangerang from 1948-2021. The purpose of this research is to discover the development and ministry of the Catholic Church of Hati Santa Perawan Maria Tak Bernoda Tangerang from 1948 to 2021 and its impact on the church congregation and the Tangerang community arou

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Rodríguez Suárez, Alex. "bells of Santa Maria in Monserrato degli Spagnoli." Anthologica Annua, no. 71 (December 6, 2024): 213–56. https://doi.org/10.59530/anthann.2024.71.7.

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The history and the art of the Spanish national church in Rome, known as the church of Santiago, San Ildefonso and Santa Maria di Monserrato degli Spagnoli, has been the object of research. Nevertheless, its bells have not received any scholarly interest so far. This short contribution deals with these artefacts, four bells dated to the fifteenth, eighteenth and twentieth centuries. Their inscriptions and artistic features are described and placed in the evolution of bell casting in Rome. Moreover, two documents related to one of the bells (no. 2), the contract between the church and the bell

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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

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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 semioticprincipl

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Popovic, Marko. "The Saxon church in Novo Brdo - Santa Maria in Novomonte." Starinar, no. 69 (2019): 319–47. http://dx.doi.org/10.2298/sta1969319p.

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The site with the remains of the Saxon church, that is, the former Catholic church of St Mary, lies on a mild slope that descends from the fort to the southeast, or the village of Bostane. Located at a distance of about 1,200 m from Novo Brdo?s Lower Town, it was outside this former urban area. It was intermittently investigated in the 1950s and ?60s, but the complete results of these works have not been published. With this in mind, after almost six decades, an attempt was made, based on the remaining fieldwork documentation, to examine in more detail the complex of this important Novo Brdo e

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Matera, Loredana, Raffaele Persico, Edoardo Geraldi, Maria Sileo, and Salvatore Piro. "GPR and IRT tests in two historical buildings in Gravina in Puglia." Geoscientific Instrumentation, Methods and Data Systems 5, no. 2 (2016): 541–50. http://dx.doi.org/10.5194/gi-5-541-2016.

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Abstract. This paper describes a geophysical investigation conducted into two important churches, namely the Cathedral of Santa Maria Assunta and the Church of Santa Croce, both in Gravina in Puglia (close to Bari, southern Italy). The Church of Santa Croce, now deconsecrated, lies below the cathedral. Therefore, the two churches constitute a unique building body. Moreover, below the Church of Santa Croce there are several crypts, which are only partially known. The prospecting was performed both with a pulsed commercial ground penetrating radar (GPR) system and with a prototypal reconfigurabl

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Foutakis, Patrice. "The church of Santa Maria de Valverde in Modon." Journal of Historical Archaeology & Anthropological Sciences 6, no. 1 (2021): 1–4. http://dx.doi.org/10.15406/jhaas.2021.06.00237.

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Лидова, Мария Алексеевна. "Образы Богоматери Царицы в римской живописи VIII века". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 113–22. https://doi.org/10.18688/aa2414-2-8.

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The paper is dedicated to the study of the Maria Regina iconography in Rome. The representations of Mary as Queen are well-attested in the West, yet they are extremely rare in the art of the Eastern Mediterranean. Notwithstanding this fact, the possibility that this iconography originated in the central territories of the Byzantine Empire and perhaps in Constantinople itself cannot be ruled out entirely. In fact, the similarities in the dipiction of garments in the earliest representations of Maria Regina, such as the mural in Santa Maria Antiqua, the icon of Santa Maria in Trastevere and the

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Chagas, Eduardo Cursino de Faria. "O Cavaleiro nas Cantigas de Santa Maria." Nuntius Antiquus 10, no. 1 (2014): 31–50. http://dx.doi.org/10.17851/1983-3636.10.1.31-50.

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This paper aims to expose the theme of chivalry in the Cantigas de Santa Maria, compiled at the court of King Alfonso X the Wise (1221-1284). The purpose of this study is to approach the following topics: the spiritual and amorous vassalage service of the knight towards the lady and values of chastity, fidelity and faith, present in the selected corpus (eight songs), which deals with the aforementioned issues, examining not only the symbolism of the chivalry, but also the devotion to the Virgin, and how she helps the knight’s religiosity and obedience, who honors the ritual accolade’s oath and

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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, a

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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

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Richard, Bryan, and Josephine Roosandriantini. "THE APPLICATION OF GOTHIC ARCHITECTURE IN THE CATHOLIC CHURCH OF THE BIRTH OF THE VIRGIN MARY IN SURABAYA." Arsitektur Universitas Pandanaran Jurnal 2, no. 1 (2022): 62–71. http://dx.doi.org/10.54325/arsip.v2i1.17.

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Arsitektur gotik merupakan arsitektur yang muncul pada abad pertengahan di eropa dimana arsitektur ini merupakan hasil evolusi dari arsitektur romawi yang muncul karena adanya kebosanan terdahap bentuk bangunan yang terlalu monoton.Arsitektur gotik sendiri memiliki ciri khas yang paling terkenal adalah bentuk bangunan yang megah dengan atap yang runcing serta terdapat rose window yang menjadi ciri khas khusus dari arsitektur gotik.Bangunan yang akan dijadikan objek penelitian adalah gereja katolik kelahiran santa perawan maria yang terletak di jalan kepanjen Surabaya,hal ini dikarenakan gereja

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Carocci, Caterina F., Serena Cattari, Sergio Lagomarsino, and Cesare Tocci. "The Case Study of Santa Maria Paganica Church Damaged by 2009 L’Aquila Earthquake." Advanced Materials Research 133-134 (October 2010): 163–68. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.163.

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Santa Maria Paganica Church, built in the second half of XIII century, represents one of the most important church for L’Aquila history (being the second so-called “capoquarto” church). During the centuries, due also to the damages suffered by various earthquakes, important structural modifications, which are decisive for the interpretation of the seismic response, followed. In particular, as a consequence of L’Aquila earthquake (April 6, 2009), severe collapses interested the church, which in particular occurred in: the dome and dome cladding, the whole roof (with exception of apse), the uppe

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De Giorgi, Lara, Ivan Ferrari, Francesco Giuri, Giovanni Leucci, and Giuseppe Scardozzi. "Integrated Geoscientific Surveys at the Church of Santa Maria della Lizza (Alezio, Italy)." Sensors 21, no. 6 (2021): 2205. http://dx.doi.org/10.3390/s21062205.

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The church of Santa Maria della Lizza is one of the most important examples of medieval architecture in the Salento Peninsula in south Italy. In order to understand the extension and layout of the crypts, integrated ground-penetrating radar (GPR) prospections and laser scanner surveys were undertaken in the church and in the surrounding areas. The analysis of the GPR measurements revealed many anomalies that could be ascribed to unknown structures (crypts), as well as other anomalies related to the old church. The GPR data were supported by the laser scanner data establishing the spatial relat

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Riccioni, Stefano. "Rewriting Antiquity, Renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia." Medieval Encounters 17, no. 4-5 (2011): 439–63. http://dx.doi.org/10.1163/157006711x598802.

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AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monument

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Daeli, Fransiskus Fonnie, and Shanty Silitonga. "KAJIAN POLA RUANG DAN LITURGI DALAM GEREJA KATOLIK." ALUR : Jurnal Arsitektur 6, no. 1 (2023): 57–63. http://dx.doi.org/10.54367/alur.v6i1.2659.

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The Catholic Church has certain spatial patterns, these patterns are formed due to several things, one of which is the liturgical process. The liturgical process in Catholicism is divided into five stages, each process will have a need for certain spaces. Apart from that, all of these liturgical processes have their own provisions which influence each other. This research will examine the relationship and pattern of space that is created as a result of the relationship between these two things. The research method used is qualitative with descriptive data processing. There are two Catholic chu

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Andriani, Katarina Dian, and Don Bosco Karnan Ardijanto. "PEMAHAMAN UMAT TENTANG KEHADIRAN KRISTUS DALAM PERAYAAN EKARISTI DI PAROKI SANTA MARIA BLITAR." CREDENDUM: Jurnal Pendidikan Agama 3, no. 1 (2021): 37–45. https://doi.org/10.34150/credendum.v3i1.889.

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The purpose of this research is to explain the presence of Christ in the Eucharistic Celebration and the understanding of the Santa Maria Rejoso church stage of Santa Maria Parish Blitar about the presence of Christ in the Eucharistic Celebration. This research uses qualitative research methods with data collection techniques through interviews. The technique of selecting informants is using purposive sampling technique. The criteria of the informants are church stage’s managers and activists from the categorical group representatives. This research results are first, the people have understoo

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Boto, Gerardo. "El primer proyecto gótico de Santa Maria de Castelló d’Empúries." Mot so razo 20 (January 25, 2022): 67. http://dx.doi.org/10.33115/udg_bib/msr.v20i0.22748.

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<p>Resumen: Este estudio presenta un meticuloso análisis de la iglesia de Santa Maria de Castelló d’Empúries, sin duda uno de los edificios más originales y portentosos del primer gótico en Cataluña. Explicitando los objetivos, metodologías e hipótesis de trabajo, se disecciona su proceso constructivo, particularmente su primera fase, argumentando los fundamentos de una nueva interpretación, de modo que se superan hipótesis precedentes. Atendiendo a evidencias que han pasado desapercibidas, se propone una acotación cronológica para esta fase del edificio ca. 1261–1290. Del mismo modo, se

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Guadagnuolo, Mariateresa, Giuseppe Faella, Marianna Aurilio, and Mariano Nuzzo. "The Conservation of Sixteenth Century Church Santa Maria of Montedecoro in Maddaloni." Resourceedings 2, no. 3 (2019): 165. http://dx.doi.org/10.21625/resourceedings.v2i3.654.

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Santa Maria of Montedecoro is a sacral complex located in Maddaloni, in the south of Italy, and is one of the most important historical monuments of the city. Built in the sixteenth century, the monastic organism consists of an aggregate structure, including the church dedicated to the Virgin Mary, the bell tower which is set back from the church, the sacristy, the parsonage. This paper concerns the analysis of all the degradation phenomena identified in the complex, due to both its deterioration state and structural damage. Particular attention is placed on the bell tower that shows different

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de Obaldía, Vanessa R. "Santa Maria della Purificazione: the First Capuchin Church in the Black Sea Region." Eurasian Studies 17, no. 1 (2019): 1–22. http://dx.doi.org/10.1163/24685623-12340061.

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Abstract Santa Maria della Purificazione was the first Latin Catholic church built by the Friars Minor Capuchin in the Black Sea region during the post-Tanzimat period. It was an example of the order settlement after it sought refuge in the region due to its expulsion from Russian Georgia, where it was based since the mid-seventeenth century. Furthermore, this study analyzes the history of Capuchins at the time of their arrival in Trabzon in 1845, with the establishment of their church, friary, school, and cemetery, the latter intended to meet the needs of the local and foreign Latin Catholic

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Ventura, Luca, Mirko Traversari, Gianni D'Altri, Luca Castellani, Mattia Ianella, and Ilaria Vaccarelli. "Mumije u crkvi Santa Maria Delle Grazie, Calascio." Collegium antropologicum 46, no. 4 (2022): 295–99. http://dx.doi.org/10.5671/ca.46.4.5.

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The inner Abruzzo region, corresponding to the province of L’Aquila, is a land of mountains and highlands in central Italy. Its environmental conditions greatly foster spontaneous mummification, and the area is well known for the human mummies found in the last decades. We present a newly discovered collection of mummified remains in the village of Calascio, located 1,210 meters above sea level, near Gran Sasso Mountain. Here, the Franciscan convent of Santa Maria delle Grazie was built in 1594. The preliminary survey of a crypt in the conventual church allowed us to observe wooden coffins wit

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Federici, Angelica. "Politics, Power, and Prestige in Female Conventual Communities of Medieval Latium: The Exemplary Case of Santa Maria in Viano (Frosinone)." Mediaevalia 44, no. 1 (2023): 185–214. http://dx.doi.org/10.1353/mdi.2023.a913479.

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Abstract: The renewed academic interest in religious women has not resulted in any overarching or detailed study of Latium. A thorough historiography is still lacking for the region's late medieval convents. This is surprising as the region was densely populated by female monastic settlements between the thirteenth and fourteenth centuries. An emblematic case in this regard is the convent of Santa Maria in Viano in Sgurgola (Frosinone). By the fourteenth century, almost half of the Conti family estate in Sgurgola was owned by the nunnery of Santa Maria in Viano. The convent played a pivotal ro

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Clementi, Francesco, Enrico Quagliarini, Francesco Monni, Ersilia Giordano, and Stefano Lenci. "Cultural Heritage and Earthquake: The Case Study of “Santa Maria Della Carità” in Ascoli Piceno." Open Civil Engineering Journal 11, no. 1 (2017): 1079–105. http://dx.doi.org/10.2174/1874149501711011079.

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Background:In October 2016, two major earthquakes occurred in Marche region in the Centre of Italy, that resulted in widespread damage. The second one strokes Norcia, Visso, Arquata del Tronto, Accumoli and Amatrice, causing a lot of damages to cultural heritage of the cities of Tolentino, San Severino, Camerino and Ascoli Piceno, where the church ofSanta Maria della Caritàis located.Introduction:The church has high historical, architectural and social value for the city of Ascoli Piceno, because it is the only one that is opened to the devotees all time in the day and night. From the structur

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Tacón García, Antía. "Nuevas autoras y poemas en el Portugal setecentista: adendas para una bibliografía." Revista de Escritoras Ibéricas 10 (December 20, 2022): 111–33. http://dx.doi.org/10.5944/rei.vol.10.2022.32151.

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El presente artículo da noticia de un total de 28 poemas de autoría femenina que se publicaron entre la cuarta y la sexta décadas del siglo XVIII en Portugal. Entre ellos se incluyen siete composiciones anónimas y una firmada por Soror Tomásia Caetana de Santa Maria, escritora ya conocida por otros textos. Los demás son obra de trece mujeres distintas --poetas ocasionales que llegaron, no obstante, a dar sus versos a la imprenta-- cuyos nombres se recogen ahora por primera vez. Con ello, se pretende contribuir a la progresiva reconstrucción de la actividad literaria femenina a finales de la Ed

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Miles, Margaret R. "Santa Maria Maggiore's Fifth-Century Mosaics: Triumphal Christianity and the Jews." Harvard Theological Review 86, no. 2 (1993): 155–72. http://dx.doi.org/10.1017/s001781600003114x.

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The fifth-century mosaics of Santa Maria Maggiore in Rome represent the oldest surviving program of mosaic decoration in a Christian church. Its political context includes the steady drain of political authority and power to the Eastern empire from the early fourth century forward, the proscription of paganism at the end of the fourth century, and the massively disruptive Sack of Rome by Alaric in 410 CE. In the vacuum of political power in the West, the papacy under Sixtus III made a strong claim for a new basis of Roman power—the religious primacy of the city of Peter and Paul under papal le

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Carletti, Maela. "“Questo libretto ho scripto io”: frate Grazia di Francia e la chiesa di Santa Maria delle Grazie di Senigallia." Picenum Seraphicum - Rivista di studi storici e francescani 29 (October 2, 2014): 61–104. https://doi.org/10.63277/2385-1341/956.

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L’Archivio Provinciale dei Frati Minori delle Marche di Falconara conserva un piccolo codice, privo di intitolazione, conosciuto come la Cronachetta di frate Grazia di Francia. Il presente contributo propone l’edizione delle prime 24 carte, quasi interamente scritte da frate Grazia, guardiano della chiesa di Santa Maria delle Grazie agli inizi del XVI secolo, che inizia la compilazione nel 1522, con l’intenzione di annotare nel quinterno le notizie riguardanti la costruzione dell’edificio, voluta da Giovanni Della Rovere, elencare i beni posseduti (suppellettili, vesti e paramenti sacri, libri

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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 (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 t

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Ngongo, Maria Hendritha Lidya, Beata Kristina Taslulu, and Maria Inarita Luruk. "MENELAAH PERAN PARA KATEKIS DALAM SPIRITUALITAS PEWARTAAN DI PAROKI SANTA MARIA ASSUMPTA KEUSKUPAN AGUNG KUPANG." Pastoralia 4, no. 2 (2023): 83–88. http://dx.doi.org/10.70449/pastoral.v4i2.99.

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The Catholic Church teaches that all Christian believers who have received the sacrament of baptism are called to carry out their responsibilities to be priests, prophets and kings. Lay people who are given a special task by the Church in the field of preaching the faith are called Catechists. Catechists should have a certain spirituality or enthusiasm for life to support their existence and ministry duties, especially in carrying out the five tasks of the Church. The aim of this research is to determine the role of catechists in church life, especially in the field of preaching. The method us

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Strocchia, Sharon T. "Remembering the Family: Women, Kin, and Commemorative Masses in Renaissance Florence*." Renaissance Quarterly 42, no. 4 (1989): 635–54. http://dx.doi.org/10.2307/2862275.

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In August 1465 Alessandra Macinghi Strozzi, mother of the art patron and builder Filippo Strozzi, arranged for an annual set of masses in the parish church of Santa Maria Ughi. Her purpose, as she said, was to commemorate the souls of “all our dead,” “tutti enostri passati”(sic). In her record of the commission, Alessandra carefully outlined the conditions of the bequest. She noted, for example, the location of the land donation whose proceeds subsidized the masses and the day the ten masses were to be performed, and made alternate arrangements should the priests of Santa Maria Ughi fail to up

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Wilhelmus, Ola Rongan, and Yulius Suparlis. "PERSEPSI PENGURUS LINGKUNGAN STASI SANTA MARIA RATU DAMAI SLAHUNG PONOROGO TENTANG HAKEKAT LINGKUNGAN." JPAK: Jurnal Pendidikan Agama Katolik 23, no. 2 (2023): 48–65. http://dx.doi.org/10.34150/jpak.v23i2.515.

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Basic Christian Community is a way of life for the Church of Christ's disciples in society. The community is present in the midst of society to live out and proclaim the Gospel of Christ for families and society through fellowship, worship, preaching, witnessing and community service. Many members and administrators of the community do not understand and appreciate well and deeply the nature of the Basic Christian Community. The research was conducted with the aim of analyzing the understanding of Basic Christian Community administrators regarding the nature of the community. The research was

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Mahamboro, Dionius Bismoko, Parmonangan Manurung, and Michael Reskiantio Pabubung. "The Theological Meaning and Architectural Value of Santa Maria Assumpta Church Building (Klaten, Indonesia) and its Contribution to Multicultural Society." Bogoslovska smotra 94, no. 5 (2025): 975–97. https://doi.org/10.53745/bs.94.5.1.

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This research aimed to explore theological-ecclesiological meaning of Santa Maria Assumpta Church Klaten in the socio-cultural context of Indonesian society. Architectural insights were also considered for designing Catholic church buildings in Indonesia, particularly Java. In addition, a qualitative method was carried out through interviews and content analysis of architectural literature, exploring theological-ecclesiological meaning with 3 (three) perspectives, namely historical-ecclesiological context, architectural value, and genius loci of church building. This research contributed to th

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Shalit-Kollender, Michal. "The Fresco Cycle of Saint Maria Maddalena De’ Pazzi (1566–1607)." Religion and the Arts 25, no. 4 (2021): 421–54. http://dx.doi.org/10.1163/15685292-02504002.

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Abstract Saint Maria Maddalena de’ Pazzi, a Florentine Carmelite nun and mystic, was recognized as a saint in 1669. After her canonization, a church in Florence was renovated and renamed Santa Maria Maddalena de’ Pazzi, and new artworks were commissioned for it. This article will explore in detail a series of ten frescoes on the top section of the walls in the church, part of the renovation. Although these works are part of the saint’s public iconography and depict major narratives of her cult, they have not been studied in depth to date. Though the scenes have meaning to a general Catholic au

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