Academic literature on the topic 'Florence (Italy). Or San Michele (Cathedral)'

The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel com­prises the complex historical knowledge about numerous woodcuts which pre­sent views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tra­dition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indica­ted the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninha­bited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian ci­ties. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medie­val city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduc­tion, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.

In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.

In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.

Europe is a leader in the tourism industry, with half of the world's international arrivals in 2018. Nowadays tourism activities related to the enjoyment of nature, Nature-based tourism (NBT), are amongst the main tourism markets worldwide. NBT represents both a challenge and an opportunity. In fact, on the one hand, it contributes to creating new markets and spurring job growth, especially for small businesses and, on the other hand, it might impact the environment and local communities. What's more, it is extremely difficult to quantify the role of nature in traditional economic accounting. In this context, the System of Environmental-Economic Accounting (SEEA) covers this gap by reporting information not included in the traditional system of economic accounts. The Central SEEA framework was adopted by the UN Statistical Commission in 2012 and the Ecosystem Accounting module (SEEA EA) has recently been adopted to quantify the role of ecosystems. In this study, we fine-tune a methodology applied to account for daily outdoor recreation to measure the contribution of nature to the tourism sector respecting the SEEA EA rules. The approach was tested in Italy, which in 2019, had more than 430 million nights per year spent in the country for tourism. In our exploratory study, 56.69% (246 million) of the overnight stays were allocated to NBT. Our analysis shows that 43% (more than 30 million) of the overnight stays in the Veneto Region were allocated to nature; 75% (more than 39 million) in Trentino Alto Adige and 61.6% (29 million) in Tuscany. The top ranked municipalities, with very high numbers of overnight stays and very low share of NBT are cities of art: namely: Venice (Veneto Region), Milan (Lombardy Region) and Florence (Tuscany Region) and sea locations on the Adriatic Sea, specifically San Michele al Tagliamento and Jesolo (Veneto Region). On the contrary, the top-ranked locations with very high numbers of overnight stays and very high share of NBT are mountain, lakes and sea locations that have natural protected areas or other key iconic landmarks in their proximity and endorsed specific types of travel accommodation, such as camp sites. Based on our exploratory study, we argue that this approach allows us to disentangle the contribution of ecosystems to tourism. Not only is it compliant with the requests of the SEEA EA framework, but, thanks to the spatially-explicit outputs, it allows us to further explore the environmental and social impacts of tourism in a multi-scale perspective. In this study, a biophysical map developed at the EU level was used for illustrative purposes. In order to become operational at the national or local level, we suggest creating biophysical maps starting from local detailed datasets and, successively, to implement the methodology described in this paper.

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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

Abstract Still located midway between the Cathedral and the palace of the Signoria, the meeting place of the Compagnia della Madonna d’Or San Michele from its thirteenth-century origins was the city’s greatest confluence of mercantile sensibility and lay spirituality. There is no better image of this city’s passionate and worldly piety than the spontaneous veneration of an image of the Virgin that developed beneath the loggia of a bustling grain market, a veneration which in 1291 assumed the popular institutional form of a lauda-singing lay confraternity. Contemporary references indicate both the fame of this devotion, as well as the envy and resentment of the ecclesiastical institutions, of which Orsanmichele was independent. In one of his sonnets, Guido Cavalcanti wrote of the image: