Готові списки джерел за темами / San Giovanni del Sepolcro (Church)

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Добірка наукової літератури з теми "San Giovanni del Sepolcro (Church)"

Автор: Grafiati
Опубліковано: 29 липня 2024
Оновлено: 30 липня 2024

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Статті в журналах з теми "San Giovanni del Sepolcro (Church)"

1

Trška, Tanja. "Marco Boschini, Matteo Ponzone, and the Altar of the Scuola di San Giorgio degli Schiavoni in Venice." Confraternitas 27, no. 1-2 (May 19, 2017): 62–78. http://dx.doi.org/10.33137/confrat.v27i1-2.28225.

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In the first decades of the seventeenth century the altar of the Scuola di San Giorgio e Trifone (also known as the Scuola di San Giorgio degli Schiavoni), at the time situated in the Venetian church of San Giovanni del Tempio, was adorned by an altarpiece by Matteo Ponzone (today in the church of Madonna dell’Orto), mentioned in 1664 by Marco Boschini as being “di Casa Stefani.” Boschini’s definition of Ponzone’s altarpiece as belonging to the Stefani family is explained by a 1582 request by the Guardian Grande Paulo (Paolo) de Stefano, who appealed to the general chapter for permission to construct a family tomb in the church of San Giovanni del Tempio in front of the Dalmatian nation’s altar of St. George. Although the construction of a family tomb in front of the confraternity altar affected its later reception as collective confraternal property, the iconography of Ponzone’s altarpiece depicting the confraternity’s patron saints George, Jerome, and Tryphon represents a distinct statement of Dalmatian identity, which the Scuola sought to exhibit within the multicultural society of Venice.
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2

Sirocchi, Simone. "A Lost Confraternity: San Rocco in Modena and its Church." Confraternitas 29, no. 2 (February 13, 2019): 22–39. http://dx.doi.org/10.33137/confrat.v29i2.32298.

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This article retraces the history of the Confraternita di San Rocco (Confraternity of St. Roch) in Modena from its foundation in the late fifteenth century to its abolition in the eighteenth century. Thanks to newly examined archival documents, the article details the building and decorative work supported by the confraternity for the construction and decoration of the oratory. The result is a varied pic­ture of the craftsmen responsible for the work, which was carried out by minor, lesser-known artists such as the foremen Paolo Bisogni and Giovanni Battista Biavardi. The confraternity’s scarce resources were constantly invested in structural interventions on the walls, which were periodically threatened by water from the underlying ca­nal. Nevertheless, the documents also reveal the members’ commit­ment to decorating the interior. The three altars completed between the seventeenth and eighteenth centuries involved stuccoists such as Sebastiano Caula and Giovanni Antonio Franchini, as well as artists Marco Antonio Mazzarini, Flaminio Veratti and the more famous Giulio Secchiari and Sigismondo Caula, who created two monumen­tal altarpieces. This article provides some new information about the patrons and their respective chronology.
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3

Ciobanu, Petru. "Defensor vitae: San Giovanni Paolo II contro l’aborto." DIALOG TEOLOGIC XXIII, no. 45 (June 1, 2020): 40–58. http://dx.doi.org/10.53438/aztd1099.

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The pontificate of John Paul II has remained in the history of mankind and of the Church as an important one from many points of view, known for his contribution to the construction of a more human world, closer to God. The intention of this study is to show that Pope Wojtyła was a true defensor vitae – a great defender of life –, having numerous interventions in favour of life, especially unborn life, life from the womb and threatened one, what the Second Vatican Council called an “abominable crime”, that is abortion. The article presents these interventions being structured in three parts, the milestone being the Encyclical Evangelium vitae of March 25, 1995.
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4

Warren, John. "The First Church of San Marco in Venice." Antiquaries Journal 70, no. 2 (September 1990): 327–59. http://dx.doi.org/10.1017/s0003581500070827.

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In the past century there have been a number of proposed reconstructions of the First Church built in Venice to house the relics of Saint Mark, the Apostle. The proposal which follows differs from its predecessors in identifying the survival of the very large bulk of the original church. It holds that the ancient structure stands encapsulated within the surviving fabric (fig. 1) and thereby rediscovers, largely extant, the greatest Byzantine church of the Middle Ages, completed some time between 832 and 836 for Doge Giovanni Participacio (fig. 2). That church was generally held to have been destroyed by fire in 976, but rebuilt on similar lines by 978 only to have been taken down and rebuilt in its present form between 1063 and 1071 under Doge Domenico Contarini, the work continuing under Doge Vitale Falier. In the following account the Participaci church is described as the First and the Contarini-Falier church the Second. The intermediate reconstruction (976–8) is herein taken to have been a repair rather than a rebuilding. Finding that this first building still exists hidden within the second this paper suggests social reasons for its supposed loss.
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5

Masini, Nicola, Raffaele Persico, Enzo Rizzo, Angela Calia, Maria Teresa Giannotta, Giovanni Quarta, and Antonello Pagliuca. "Integrated techniques for analysis and monitoring of historical monuments: the case of San Giovanni al Sepolcro in Brindisi, southern Italy." Near Surface Geophysics 8, no. 5 (April 1, 2010): 423–32. http://dx.doi.org/10.3997/1873-0604.2010012.

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6

Tjatur Raharso, Alphonsus Tjatur Raharso. "Keterlibatan Klerikus Dalam Politik: Tinjauan Hukum Gereja Dan Kesaksian Hidup San Giovanni Xxiii." Seri Filsafat Teologi 33, no. 32 (December 19, 2023): 82–121. http://dx.doi.org/10.35312/serifilsafat.v33i32.194.

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Анотація:
This research raises the theme of clerical involvement in politics, which still creates pro and con reactions. The questions answered in this research are what, how, and to what extent clerics may engage or are prohibited from engaging in politics. What are the reasons and purposes of the Catholic Church in prohibiting its clergy from engaging in politics? What are the legal consequences for the clerics involved in practical politics? Is there any good example for clerics in engaging in politics? This research uses the normative research method of Church law. The problem is approached using the deductive method, by departing from the legal norms of the Church which are elaborated using documents issued by the Holy See. The research also uses the inductive method through a study on the testimonies of the life of St. John XXIII. The deductive and inductive approaches are combined to find the scope of meaning and the proper and wise application of the ecclesiastical norm regarding clerical involvement in politics. The study found that the clerical mission cannot be separated from politics. The call to configure oneself fully to the person and mission of Christ requires clerics to take the side of the small, the poor, the oppressed, and the marginalized by conducting sharp socio-political criticism agaist unfair, unequal and discriminatory government or economic systems. The teaching of clerics should have a political impact on the lives of the faithful, especially the laity, to the point of encouraging them to become fully involved in practical politics to fight for justice, truth, peace and the common good with other members of society. However, concern for the political problems of the nation must never lead clerics to become directly and actively involved through political parties. Such involvement will divide the communion of the people, will mix politics and religion, and will run the risk of creating hostility both within the Church itself and outside the Church. Violation of the prohibition to actively participate in political parties results in the suspension of the cleric concerned. As the life witnessed by St. John XXIII, clerics are to be fathers of all people, persons of dialogue and peace, above all parties and for all parties. Clerics represent the Church that does not bind itself to any particular political system, and remains present and works in whatever political system, which is democratically selected and established by all citizens
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7

Kuznetsova, Nataliya S. "THE IMAGE OF THE ALTAR OF ST. PETER'S BASILICA IN THE ROMAN CHURCHES OF THE 12-13TH CENT." Articult, no. 3 (2020): 56–64. http://dx.doi.org/10.28995/2227-6165-2020-3-56-64.

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The Main purpose of the study is an analysis of influence of the image of St. Peter's Basilica on the Roman church architecture of the 12th-13th centuries. It is possible to search the special type of the presbytery, characterized by uniting of the altar on the pedestal and the reliquary “confession” in the general vertical composition. The congregation of these churches had opportunities to see the process of worship and approach the saint relicts. The altar stood so that the Priest served the mass facing the worshippers, as it was in San Pietro. So, this important monument of Rome could be a model for the other churches of the Middle Ages. Among the churches of this period, such features have the altar space of San Giovanni in Laterano, as well as the basilicas of San Giorgio in Velabro, Santa Maria Assunta in Anagni and Santi Giovanni e Paolo in Ferentino. All these buildings was connected with the Power of Papa.
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8

Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.

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In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the presence of painter Cristoforo Tasca in Rijeka has been confirmed for the first time in a written document. A painting of the Annunciation, which originates from the former Benedictine monastery of St Rochus in Rijeka and is today preserved in the Benedictine monastery of San Daniele in Abano Terme near Padua, has been likewise attributed to Tasca. The second part of the article focuses on artworks that have been newly attributed to the Venetian painter Giovanni Battista Augusti Pitteri (Venice, between 1691 and 1695 – Zadar ?, after 1759 ?), who moved to Zadar around 1730 and left a major opus in Dalmatia. Before 1730, a large painting of the Baptism of Christ was made for the parish church of San Martino in Burano, attributable to Pitteri. Another artwork discussed in the article is the anonymous signed painting of the Virgin with the Child and Saints from the Franciscan Church of St Anne in Koper.
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9

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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10

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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Анотація:
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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Дисертації з теми "San Giovanni del Sepolcro (Church)"

1

Roy, Brian E. "The Baptistery San Giovanni in Florence and its placement within the chronology of Tuscan Romanesque churches /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68134.

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The controversial dating of the Baptistery San Giovanni is approached through formalistic considerations. Formal analyses of the Baptistery and the Duomo of Pisa lead to comparison and isolation of definitive features of Pisan and Florentine styles. As such, the buildings are shown to be prototypes and their respective receptions are traced in the Romanesque churches of Fiesole, Empoli, Lucca, Pistoia and Sardinia. It is concluded that the Baptistery must have been completed before the Duomo of Pisa was begun.
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2

Leist, Marnie. "The Virgin and Hell: An Anomalous Fifteenth-Century Italian Mural." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1120757484.

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3

Jiráková, Hana. "Benátské vlivy na dílo Boccaccia Bocaccina." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327847.

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(in English) The key theme of my thesis are venetian influences on the Boccaccio Boccaccino's work, who was one of the most important exponents of the Cremonese school of painters. Initially he worked in Genoa, Cremona and Milan and he was influenced by the painters as Leonardo, Bramantino and Boltraffio. In the years 1497-1500 Boccaccino is documented in Ferrara. In this period he executed so-called tondo Gronau, The Christ on the way to Calvary, The Virgin and Child, now in Boston, The Virgin and Child, now in Padua, The Adoration of the Shepherds, now in Naples and Dead Christ supported by an Angel. This works show the influence of Bramantino, umbrian school but also early influence of venetian art. In 1500 or 1501 he painted the altarpiece with Virgin and Child with Sts Peter, Michael, John the Baptist and John the Evangelist for the church of S. Giuliano in Venice. Models of this composition are the S. Cassiano altarpiece of Antonello da Messina and Virgin and Child with Saints which Giovanni Bellini executed for the church of S. Giobbe. Boccaccino's image in S.Giuliano is also inspired by Ercole de'Roberti and Lorenzo Costa. His colours show the influence of Giorgione. In 1506 is Boccaccino documented in Venice but also in Cremona. In the years 1500-1506 he stayed probably in Venice, but he...
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Книги з теми "San Giovanni del Sepolcro (Church)"

1

Lucia, Trigilia, ed. Siracusa: Quattro edifici religiosi : analisi e rilievi : San Giovanni alle Catacombe, Santa Lucia al Sepolcro, San Giovannello, San Giuseppe. Siracusa: Ediprint, 1990.

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2

Agostini, Fabio. San Giovanni in Fonte. Verona: Scripta edizioni, 2015.

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3

Kuoma, Chryso. San Giovanni Battista dei Genovesi. [Roma]: Istituto nazionale di studi romani, 1986.

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4

Kouma, Chryso. San Giovanni Battista dei Genovesi. [Roma]: Istituto nazionale di studi romani, 1986.

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5

Cross, John of the. Opere di san Giovanni della Croce. Torino: Unione tipografico-editrice torinese, 1993.

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6

Cippo, Roberto Perelli. Le chiese: A Sesto San Giovanni. Cinisello Balsamo (Milano): Silvana, 1992.

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7

Roberto, Scannavini, and Ciabatti Mario, eds. San Giovanni in Monte recuperato. Bologna: Grafis, 1996.

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8

Giovanni. Giovanni da San Giovanni a Monsummano: Monsummano 11 luglio-11 settembre 1987 : [catalogo. Monsummano: Comune di Monsummano, Assessorato alla Cultura, 1987.

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9

Workshop, Renzo Piano Building, ed. La chiesa di Padre Pio a San Giovanni Rotondo: The church of Padre Pio in San Giovanni Rotondo. Milano: F. Motta, 2005.

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10

Fabrizio, Torella, ed. Giovanni Bellini: Il polittico di San Vincenzo Ferrer. Venezia: Arsenale editrice, 1985.

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Частини книг з теми "San Giovanni del Sepolcro (Church)"

1

Passuello, Angelo. "Le committenze architettoniche di Atto nella Toscana del XII secolo: uno sguardo d’insieme e un epigono veneto." In Atto abate vallombrosano e vescovo di Pistoia, 249–81. Florence: Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0335-7.12.

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The paper deals with the architectural commissions of Atto, during the thirty years in which the religious was first prior general of the Vallombrosani and then bishop of Pistoia (1125-1153). The churches that still have the structure and decorations of the 12th century are particularly analyzed, for example: Santa Maria di Montepiano, San Michele di Plaiano and San Michele di Salvenero in north-western Sardinia, San Paolo a Ripa d'Arno in Pisa and others. Before the year 1140 Atto obtained a relic of san Jacopo the Major, which in 1145 was placed in a chapel in the first two spans of the southern nave of the Cathedral of San Zeno in Pistoia. This chapel was configured as an almost independent space from the rest of the basilica. This initiative brought important artists to Pistoia who exalted the new role of apostolic see of the city and worked in the churches of San Giovanni Fuorcivitas (1162), Sant’Andrea (1166) and San Bartolomeo in Pantano (1167). The incidence of this situation also reverberated on the nearby city of Prato, where the Cathedral (before 1163), despite the autonomist aims of the local clergy, clearly received the constructive influences of the Pistoian Cathedral. The final part of the article analyzes the unfinished church of San Jacopo al Grigliano (1396-1407), in the Province of Verona, which is the most important and majestic sanctuary dedicated to san Jacopo in Northern Italy
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2

"San Giovanni a Mare." In Church and State in Spanish Italy, 218–46. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108779555.007.

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3

Anglo, Sydney. "Epilogue." In Machiavelli–The First Century, 671–80. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199267767.003.0019.

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Abstract In 1641 the Florentine printers Massi and Landi published the Avvertimenti politici collected, some years previously, by a highly obscure author, Giovanni Maria Pichi of San Sepolcro.1 The work was dedicated by the printers to Giovanni Battista Gondi, Secretary of State to the Grand Duke of Tuscany: but Pichi had addressed himself to the ‘Curiosi e sottili Ingegni’ in a short introductory letter as curious and subtle as the intellects for whom it was intended.
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4

"Padre Pio Pilgrimage Church, San Giovanni Rotondo, IT." In Renzo Piano Building Workshop, 156–63. DETAIL, 2018. http://dx.doi.org/10.11129/9783955534226-014.

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5

Silveri, F., P. Riva, G. Profeta, A. Belleri, E. Poverello, and P. Panzeri. "San Giovanni Battista church: Operational modal analysis after injected anchors strengthening." In Structural Analysis of Historical Constructions: Anamnesis, Diagnosis, Therapy, Controls, 1125–32. CRC Press, 2016. http://dx.doi.org/10.1201/9781315616995-152.

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Forcht, Clara. "Verflochtene Bilder : Das Hauptportal von San Giovanni al Sepolcro in Brindisi und die Bilderwelt des mittelalterlichen Mediterraneum." In Kunstgeschichte(n) : Festschrift für Stephan Albrecht, 220–28. University of Bamberg Press, 2023. http://dx.doi.org/10.20378/irb-92785.

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7

Ferguson, Gary. "Saint John at the Latin Gate." In Same-Sex Marriage in Renaissance Rome, 95–104. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755262.003.0008.

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This chapter introduces the church of San Giovanni a Porta Latina, which is an important Christian site as it marks the supposed place of the martyrdom of Saint John the Evangelist. It mentions Saint John at the Latin Gate that represents a geographically and legally marginal place in the late sixteenth century. It also talks about Marco Pinto, who was able to exploit a different kind of marginal culture by introducing “hermits” of an unaccustomed sort in San Giovanni. The chapter refers to Geronimo de Pacis, who confessed to his interrogators that he has had several sexual interactions with Pinto for many years, a scenario that is considered a typical one in early modern Europe. It highlights the context wherein the older man can take advantage of his physical proximity to a youth to initiate sexual relations that take place along clearly determined pederastic lines.
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Thomas, Anabel. "Workshop Training and Neighbourhood Networking." In The Art and Government Service of Francesco di Bartolomeo Alfei (c. 1421–c. 1495). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463721585_ii_ch01.

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This chapter considers Francesco di Bartolomeo Alfei’s family and his early access to officials in central government through the office of the Biccherna (chancellery of finance) and his father-in-law Meo di Lorenzo: contrasting the advantages of this with professional openings available through networking within his own artistic community, including receiving the commission from the Fraternita di Santa Maria degli Angeli e Compagnia di San Francesco. The workshop relationship established between the young artist, Giovanni di Paolo and Sano di Pietro in the ambit of the Biccherna, the Cathedral Works and the Franciscan conventual complex is outlined, along with an analysis of two panels associated with the church of San Francesco in Grosseto, variously attributed to Sano di Pietro, Francesco di Bartolomeo Alfei and the ‘Maestro dell’Osservanza’.
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Siracusano, Luca. "A Family Affair: The High Altar of San Giacomo di Rialto, or Alessandro Vittoria’s Last Work." In The Layers of Venice Architecture, Arts and Antiquities at Rialto. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-729-6/007.

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San Giacomo at Rialto, a church under the patronage of the Doge, was restored by the State in the years around 1600. Three new altars were financed by three different guilds. The high altar was commissioned by the Casaroli guild and adorned with sculptures. In 1604, Giovanni Stringa listed the statue of St. James as a work by Alessandro Vittoria. However, at this date the artist was certainly too elderly to carve stone sculptures by himself. The investigation of the hitherto little-studied Casaroli Altar may shed new light both on the dynamics of the later Vittoria's workshop and on his closest relatives-assistants.
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Allsop, Peter. "Rome: The Early Years." In Arcangelo Corelli, 27–46. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198165620.003.0003.

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Abstract 1675 was a propitious year for Roman musicians: Pope Clement X Altieri had declared it a Holy Year to be marked ,vith splendid festivities in the city’s main churches--much more to the Pope’s liking than the secular celebrations of carnivals and comedies of his predecessor. Among these events, between January to March, fourteen oratorios commissioned by a soci ety of Florentine gentlemen were perfonned at the Oratorio della Pieta of the church of San Giovanni dei Fiorentini. For Antonio Masini’s S. Eustachio, given on 3 February, a distin guished concertina of soloists had been selected from the best players of Rorne--Carlo Mannelli (violin), Leho Colista (lute), Bernardo Pasquini (keyboard), Gasparo Contarelli and Francesco Maria Benedettini (violone)-but in a humbler capacity among the violini del con certo grosso appears the simple entry ‘Il Bolognese’.
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Тези доповідей конференцій з теми "San Giovanni del Sepolcro (Church)"

1

Santini, S., C. Baggio, E. Da Gai, V. Sabbatini, and C. Sebastiani. "Automated Model Updating of a Masonry Historical Church Based on Operational Modal Analysis: the Case Study of San Giovanni in Macerata." In 12th International Conference on Structural Analysis of Historical Constructions. CIMNE, 2021. http://dx.doi.org/10.23967/sahc.2021.038.

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2

Ceriachi, Melissa. "RECOVERY OF A SEVERELY DETERIORATED PAINTING: THE MARTYRDOM OF SAINT SEBASTIAN BY GIOVANNI SANTI (15TH CENTURY). INTEGRATIVE PROPOSAL." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13492.

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This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint, located in Urbino's Church of San Bartolomeo. The history of this work of art is inextricably linked to that of its conservation: initially, the artwork was difficult to read due to the serious state of deterioration of the paint layer, with a loss of significant portions of the painting, including pictorial parts that played a decisive role in the rendering of the image. This had significant implications when it came to choosing the methodology for the pictorial reintegration of the painting. The aim was to reduce the negative effects caused by the state of deterioration as much as possible, to improve the readability of the work. Following a conservative restoration of the panel and of the polychromy, and after submitting it to art historian officer for a careful and close evaluation, a differentiated pictorial reintegration of the work was planned, applying the Florentine “selezione cromatica" method for the main figure, Saint Sebastian, and for all lacuna treatments. This intervention was carried out using tempera colours, overlapping by hatching three pure colours, chosen from the primary and secondary colours. I continued the “selezione cromatica” on the integrations, using varnish colours until achieving the desired tone, maintaining a tone of brilliancy and chromatic vivacity similar to the painting by Santi. The other parts of the painting had been very seriously damaged due to irrecoverable losses and can no longer be reconstructed; these were treated by experimenting with the “chromatic abstraction” reintegration with tonal variations within the layers of abstraction. The method involves the application of a cross-hatching where no shape is reconstructed, in a four-colour scheme (yellow, red, green/blue, black), in tempera colours.
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