Journal articles: 'Santa Margherita (Church : Italy)'

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Bornstein, Daniel. "The Uses of the Body: The Church and the Cult of Santa Margherita da Cortona." Church History 62, no. 2 (June 1993): 163–77. http://dx.doi.org/10.2307/3168141.

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Our bodies, like the poor, are always with us. They are the mechanism through which we apprehend the world, and as such—as the inescapable point of contact between subjective consciousness and objective “reality”— the body becomes a primary medium of cultural communication and bearer of cultural meanings. Paradoxically, this is nowhere clearer than in the case of ascetics like Margherita da Cortona, who wage unremitting war on their bodies during their lives and whose bodily remains in consequence are enshrined and revered. It was through her body that Margherita, like other illiterate holy women, could project a spiritual message that carried beyond the range of her voice; and it was to her body that people flocked after her death, endowing it with sacred values and social significance.

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Giorgi, Lara De, Dora Francesca Barbolla, Ivan Ferrari, Francesco Giuri, Chiara Torre, and Giovanni Leucci. "Geophysical Investigation at the Santa Chiara Church in Nardò (Southern Italy)." Heritage 6, no. 3 (March 12, 2023): 2978–89. http://dx.doi.org/10.3390/heritage6030158.

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The church of Santa Chiara with its adjacent convent, whose foundations date back to the 13th century, is a monastic complex in the city of Nardò in the province of Lecce. The current church was built ex novo between the 17th and 18th centuries under the direction of Bishop Orazio Fortunato. Currently, there is no information about the presence of crypts or burials in the church and in the adjacent area. For this reason, a campaign of geophysical investigations was undertaken using electromagnetic, electrical resistivity and ground-penetrating radar methods. Geophysical investigations were carried out both inside and in the courtyard of the church. The results showed the presence of a series of anomalies, whose interpretation suggests important structures of probable archaeological interest.

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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 (November 29, 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 reconfigurable stepped frequency system. The aim was twofold, namely to gather information about the monument and to test the prototypal system. The GPR measurements have also been integrated with an infrared thermography (IRT) investigation performed on part of the vaulted ceiling in the Church of Santa Croce, in order to confirm or deny a possible interpretation of certain GPR results.

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Ryde, Jeni. "Church or Museum? The Case of Santa Croce, Florence, Italy." International Journal of the Inclusive Museum 2, no. 2 (2009): 39–50. http://dx.doi.org/10.18848/1835-2014/cgp/v02i02/44265.

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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 (March 21, 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 relationship between the surface and the level below the church.

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Babilio, Enrico, and Silvana Rapuano. "The Complex Architecture of the Vault System of an Early Medieval Church." Heritage 6, no. 8 (August 9, 2023): 5779–804. http://dx.doi.org/10.3390/heritage6080304.

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The present work focuses on the solid modeling of the church of Santa Sofia in Benevento, Italy, and is related to a multidisciplinary research project that involved methods typical to both the humanities and mathematical engineering. Starting from the history of the church and its current configuration, a twofold objective is pursued: to give a brief account of the methodology used to analyze and virtualize the main phases of Santa Sofia and to report on the problem of modeling the church vault complex. Indeed, the 3D modeling of the church presented different levels of difficulty with some parts very easy to draw and others calling for specific geometrical analysis. In particular, to reconstruct the complex system of vaults of the church, a home-made code based on remapping Coons patches was written. The resulting 3D models of the different archeological and architectural phases of Santa Sofia are an example of virtual heritage and, being a digital content, allow for immediate sharing both to the scientific community and to a general and nonexpert audience, keeping in mind that knowledge is the means used to ensure the enhancement and preservation of cultural heritage.

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Imposa, Sebastiano, and Sabrina Grassi. "Georadar survey inside the Santa Maria Maggiore church of Ispica (Sicily-Italy)." Environmental Earth Sciences 73, no. 5 (July 27, 2014): 1939–49. http://dx.doi.org/10.1007/s12665-014-3542-9.

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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 (December 29, 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 structural point of view, the church has a long and important annex to the north, which was later built with respect to the church, and after the L’Aquila earthquakes (2009) damages, the church was subjected to a retrofit intervention, in order to obtain a better “box-like behavior”.Objective:This paper addresses how the relevant annex influenced the seismic response of this historical complex and how, more generally, this kind of asymmetric mass may affect the behavior of historic churches.Results and Conclusion:The results indicate that the presence of annex plays a significant role in the dynamic response of the church and affects the distribution of damages in the whole building. The results of the seismic simulation agree with the observed damage.

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Sfarra, Stefano, Abdelhakim Bendada, Clemente Ibarra-Castanedo, Dario Ambrosini, Domenica Paoletti, and Xavier Maldague. "Santa Maria di Collemaggio Church (L’Aquila, Italy): Historical Reconstruction by Non-Destructive Testing Techniques." International Journal of Architectural Heritage 9, no. 4 (January 22, 2015): 367–90. http://dx.doi.org/10.1080/15583058.2013.794376.

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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 (November 27, 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 degradation of the surfaces, with large erosions and fallen plasters. The masonry structure, notably compromised, shows several cracks due to the rotation of the tower towards the street. Because of such damage phenomena, a preliminary investigative research was performed to understand the effective conservation state of the Church and its appurtenances. The obtained diagnostic survey data confirm the hypotheses advanced in the cognitive phase and have provided all the necessary elements for the restoration and retrofitting design. This paper presents the restoration design and the results of the seismic analyses carried out on the bell tower.

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Picchio, Francesca, Francesca Galasso, and Giulia Porcheddu. "Sistemi di documentazione per scavi archeologici preventivi: piattaforme GIS per la gestione dello scavo del Santa Margherita a Pavia." Mimesis.jasd 2, no. 1 (December 28, 2022): 56–71. http://dx.doi.org/10.56205/mim.2-1.4.

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This paper discusses methodological aspects by illustrating the fi rst products of a researchproject developed as part of a collaboration agreement between the DICAr - Departmentof Civil Engineering and Architecture of the University of Pavia and the enterprise GEAs.r.l. Archaeology, for the documentation of the archaeological excavations in the former SantaMargherita Institute in Pavia (Italy). The activities, carried out by the experimental laboratoriesDAda-LAB and PLAY, regarded the documentation of the archaeological evidences, datingback to the 4th century AD, brought to light by the interventions of conversion and remodellingof the historical and architectural complex. The need to produce documentation apparatus tosupport the excavation activities is boosted by the fragility of the archaeological site, apparentlymeant to disappear to allow space for the construction of an underground car park.The research aims to develop a methodology for the organisation of the data acquired in themultiple excavation campaigns, the production of databases useful to archaeologists for thechronological interpretation of the excavation, the detection of archaeological emergencies andthe development of an information system that combines models and databases. Since March2022, data acquisition campaigns have been undertaken to progressively survey the phases ofexcavations. Data sheets were then developed for stratigraphic units and deposit units, andan effective GIS system was developed to represent the complex nature of the site by makingclear the relationships between the stratigraphic units. The fi rst results of the research outline amethodological process that leads to the development of a digital ‘container’ in which it becomespossible to include the data collected during the campaign by reducing the time gap betweenacquisition, recording, processing and synthesis of information.

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Lembo, Filiberto, Francesco Paolo Rosario Marino, and Carmela Cancellara. "Conservation of the Church and the Friary of “Santa Maria degli Angeli” in Atella (Potenza, Italy)." Journal of Civil Engineering and Construction 7, no. 4 (November 25, 2018): 178. http://dx.doi.org/10.32732/jcec.2018.7.4.178.

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Built at the end of XV century and re-built in XVIII, as a consequence of many earthquakes, englobing the precious portal of a previous church of XIII, the complex set up by the Church of Santa Maria degli Angeli and the Friary of Minor Friars, expropriated by the unitary Italian State after 1860 and sold to private peoples, had a destiny common to many similar buildings in the south of Italy, becoming farm and agricultural products’ warehouse. Struck again by the earthquake of 1980, it has been the object of partial safeguard works, but is now abandoned and in ruin. Because of its strategic position, in a context very rich of environmental and historical-cultural goods, it could be easily restored and intended to be a youth hotel, fulfilling an investment of great value for the development of the regional culture and economy. Research done through the careful architectural and technological survey of existing building and the design of low-technology works of conservational reconstruction and structural-functional update, demonstrates the feasibility of hypothesis and its sustainability.

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Castellani, M., N. Cavalagli, E. García-Macías, R. Vetturini, and F. Ubertini. "Dynamic identification of the tabernacle of the church of Santa Maria Maggiore in Spello, Italy." Procedia Structural Integrity 44 (2023): 1084–91. http://dx.doi.org/10.1016/j.prostr.2023.01.140.

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Vitolo, Paola. "Joanna I of Anjou (1343–1382)." Encyclopedia 1, no. 4 (December 8, 2021): 1303–11. http://dx.doi.org/10.3390/encyclopedia1040097.

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Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.

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Roberta, Laffi, Sibilio Sergio, Scorpio Michelangelo, Ciampi Giovanni, Rosato Antonio, and Yorgos Spanodimitriou. "The lighting refurbishment of places of worship: The case study of the Church of “Santa Maria di Piedigrotta”." Resourceedings 2, no. 3 (November 12, 2019): 102. http://dx.doi.org/10.21625/resourceedings.v2i3.633.

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Christian church buildings constitute most of the architectural heritage in Italy. In this paper, the case study of the exterior lighting renewal of the Church of “Santa Maria di Piedigrotta”, located in Napoli, is discussed. The lighting project was carried out with the goal of emphasizing the original hierarchies of the building details, that can often be difficult to understand with the current lighting system. The study started with the analysis of the architectural features of the façades and belfry as well as the existing lighting system. In order to allow for the comparison and optimization of the various lighting design solutions, a virtual model of the church was realized in the simulation software DIALuxEvo. In the most suitable concept, both diffused and accent lighting were integrated, allowing for a correct perception of the whole of the façades of Church, thus highlighting its most valuable elements. The results obtained have responded positively to the enhancement and conservation of the historical-artistic works, while also resulting in energy saving. Moreover, the Standards of Law restrictions on “light pollution towards the sky” for historical and monumental buildings have been respected.

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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 with at least seven mummified bodies still in their clothes, and several bony remains. Most likely, the mummies date back to the second half of the 19th century, and belonged to laypersons. Preservation was certainly due to the cold dry environment of the crypt. The recovery of the entire series will take place through speleological techniques according to stratigraphic relationships, in order to trace a bioanthropological profile of this small community members.

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Marrocchino, Elena, Chiara Telloli, Mario Cesarano, and Manlio Montuori. "Geochemical and Petrographic Characterization of Bricks and Mortars of the Parish Church SANTA Maria in Padovetere (Comacchio, Ferrara, Italy)." Minerals 11, no. 5 (May 18, 2021): 530. http://dx.doi.org/10.3390/min11050530.

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From the 1950s and 1960s of the last century, a parish church dating back to the 6th century AD was identified during reclamation works of Valle Pega. The archaeological investigation allowed the recovery of the parish and the attached baptistery, as well as some tombs closely connected to the church. Following the excavation, it was possible to collect some samples of bricks and mortars in order to identify the different compositions of the materials used for the construction of the parish. All the samples were analyzed through optical microscopy, X-ray powder diffractometric analysis and observation through scanning electron microscope. Thanks to the investigations carried out on the samples, it was possible to hypothesize the different construction phases and the different materials used and to identify the firing temperatures at which the bricks were built.

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Arezzo, Davide, Simone Quarchioni, Vanni Nicoletti, Sandro Carbonari, Fabrizio Gara, Cipriani Leonardo, and Graziano Leoni. "SHM of historical buildings: The case study of Santa Maria in Via church in Camerino (Italy)." Procedia Structural Integrity 44 (2023): 2098–105. http://dx.doi.org/10.1016/j.prostr.2023.01.268.

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Wueste, Elizabeth, Giulia Facchin, and Pier Matteo Barone. "Aventinus Minor Project: Remote Sensing for Archaeological Research in Rome (Italy)." Remote Sensing 14, no. 4 (February 16, 2022): 959. http://dx.doi.org/10.3390/rs14040959.

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This paper presents the results of a preliminary survey in a central urban area of Rome, Italy. The results were obtained from both desktop and remote sensing surveys. The Aventinus Minor Project (AMP) is a community archaeological excavation project focusing on an understudied area in Rome with limited modern archaeological excavation: the Aventinus Minor or Little Aventine. The remote sensing (RS) anomalies revealed by the survey illustrate that this area is potentially rich in buried structures potentially correlated with ancient visible remains (i.e., the Servian Walls and Santa Balbina church). The application of RS approaches (such as NDVI, VARI, and GPR) and the creation of a GIS platform lays the foundations for a correct and georeferenced reporting of all collected data, providing a nuanced understanding of the urban archaeology in the dense topography of Rome.

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

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

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

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

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Ruiz Bazán, Irene, and Gianluca Emilio Ennio Vita. "The utility of the application of new three-dimensional technologies for the study and dissemination of heritage from a historical-technical perspective: case studies." Ge-conservacion 11 (July 2, 2017): 208–13. http://dx.doi.org/10.37558/gec.v11i0.480.

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In this article we analyse the different applications of convergent photogrammetry in three different cases. In the first one, the application in the beginning of a restoration project of the Chapel of the Purification in the Church of the Carmine in Milan (Italy), where we will explain the usefulness of this technology. In the second case the utility of the three-dimensional reproduction made to the hidden murals at the Collegiate Church of Santa Maria in Daroca (Spain) for its diffusion and finally the application of this technique as a tool for communicating the results of research in projects. The confrontation of these cases in which the same technology is applied at various stages of the process of conservation and study of heritage, with distinctly different purposes, aims both to deepen their usefulness, such as delineating its limits and requirements.

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Baraccani, Simonetta, Michele Palermo, Giada Gasparini, Stefano Silvestri, Tomaso Trombetti, and Gilberto Dallavalle. "Structural Strengthening of the Portico of the Santa Maria Dei Servi Church in Bologna." Applied Mechanics and Materials 847 (July 2016): 354–60. http://dx.doi.org/10.4028/www.scientific.net/amm.847.354.

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The porticoes, together with medieval masonry towers, are the architectural element which mainly characterizes the city of Bologna, northern Italy. These porticoes, which extend all inside the city centre for a total length of almost 40 kilometres, have a high artistic and cultural relevance at the point that they are candidates as “Unesco World Heritage Site”. One of portico of highest heritage value is that next to the church of Santa Maria dei Servi, which is suffering important structural pathologies requiring urgent strengthening interventions. The ones strictly necessary to preserve the stability have been already implemented. It is known that for historical constructions appropriate strategies of interventions are to be adopted with special attention in the aspects related to the compatibility, durability, integrity of the original configuration. The aim of this paper is to identify the main criticalities and priorities of interventions. Based on the identified criticalities and priorities possible strategies of interventions are finally identified. A possible cause of the actual bad state of conservation could be related to the continues vibrations induced by the traffic. For this reason, measurements noises have been recently conducted by the Italian National Institute of Geophysics and Volcanology (INGV) in order to quantify their influence of the stress levels of the columns of the portico.

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Macchia, Andrea, Stefania Montorsi, Giorgia Salatino, Romana Albini, Eugenio Cerilli, Chiara Biribicchi, Massimo Faella, et al. "Preserving Intangible Heritage through Tangible Finds: The “Skull with Ears”—Santa St. Luciella ai Librai’s Church (Naples, Italy)." Heritage 6, no. 4 (April 4, 2023): 3541–66. http://dx.doi.org/10.3390/heritage6040188.

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The present study reports the conservative first aid concerning the human cranium known as the “Skull with Ears”, which is conserved in the crypt of Santa Luciella ai Librai’s church in Naples, Italy. These remains have historically been worshipped by devotees within the cult of the “abandoned souls”. The skulls were “adopted” by the Neapolitan population and treated with particular care in exchange for divine favors. The critical preservation status of the “Skull with ears” required a multidisciplinary approach aimed at defining the taphonomy and anthropological features of the cranium, while determining the state of its conservation by using a multi-analytical approach. Multispectral imaging, 3D modeling, X-ray imaging, microscopical observations, and microbiological tests enabled the documentation of the cranium while assessing this state of conservation. Electron scanning microscopy (SEM), energy dispersive spectroscopy (EDS), Fourier-transform infrared spectroscopy (FTIR) in the attenuated total reflectance (ATR) mode, and radiocarbon dating allowed for essential data to be obtained on the cranium’s history and constituent components. The results that were obtained from both the analysis of the cranium and the environmental monitoring of the crypt showed the advanced degradation of the bones due to a significant bacterial attack, which was facilitated by the inadequate environmental conditions at the site of conservation. The acquired data enabled the definition of the most suitable conservation strategy and the securing of the cranium.

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OIKARINEN, EMILIA, and TOMI JANHUNEN. "Achieving compositionality of the stable model semantics for smodels programs." Theory and Practice of Logic Programming 8, no. 5-6 (November 2008): 717–61. http://dx.doi.org/10.1017/s147106840800358x.

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AbstractIn this paper, a Gaifman–Shapiro-style module architecture is tailored to the case of smodels programs under the stable model semantics. The composition of smodels program modules is suitably limited by module conditions which ensure the compatibility of the module system with stable models. Hence the semantics of an entire smodels program depends directly on stable models assigned to its modules. This result is formalized as a module theorem which truly strengthens V. Lifschitz and H. Turner's splitting-set theorem (June 1994, Splitting a logic program. In Logic Programming: Proceedings of the Eleventh International Conference on Logic Programming, Santa Margherita Ligure, Italy, P. V. Hentenryck, Ed. MIT Press, 23–37) for the class of smodels programs. To streamline generalizations in the future, the module theorem is first proved for normal programs and then extended to cover smodels programs using a translation from the latter class of programs to the former class. Moreover, the respective notion of module-level equivalence, namely modular equivalence, is shown to be a proper congruence relation: it is preserved under substitutions of modules that are modularly equivalent. Principles for program decomposition are also addressed. The strongly connected components of the respective dependency graph can be exploited in order to extract a module structure when there is no explicit a priori knowledge about the modules of a program. The paper includes a practical demonstration of tools that have been developed for automated (de)composition of smodels programs.

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Fissore, F., A. Guarnieri, and A. Vettore. "DIGITAL MODEL OFWALLS OF PADUA LOWRELIEF." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W8 (November 13, 2017): 95–98. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w8-95-2017.

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Photogrammetry has been widely used in the recent years in a number of applications, e.g. cultural heritage, surveying buildings and infrastructures. Despite nowadays its use is quite common, most of the used photogrammetric softwares are commercial. This paper aims at comparing the use of a free Matlab tool that is being developed at the University of Padova mostly for educational purposes with that of a commercial (and widely used) software (Agisoft PhotoScan). Despite the above mentioned free Matlab tool is designed to work for airborne photogrammetric, in this work it is used in a slightly different case: the 3D reconstruction of a low relief of the walls of Padova, which is on the fac¸ade of the church Santa Maria del Giglio, Venice, Italy.

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Bersani, D., E. Campani, A. Casoli, P. P. Lottici, and I. G. Marino. "Spectroscopic study of the degradation products in the holy water fonts in Santa Maria della Steccata Church in Parma (Italy)." Analytica Chimica Acta 610, no. 1 (March 2008): 74–79. http://dx.doi.org/10.1016/j.aca.2008.01.041.

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Boscato, Giosuè, Davide Rocchi, and Salvatore Russo. "Anime Sante Church's Dome After 2009 L'Aquila Earthquake, Monitoring and Strengthening Approaches." Advanced Materials Research 446-449 (January 2012): 3467–85. http://dx.doi.org/10.4028/www.scientific.net/amr.446-449.3467.

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This work shows the results of monitoring of Santa Maria del Suffragio (Anime Sante) church, L’Aquila, Italy. The historical building was stricken and damaged by mainshock of April 6, 2009; the dome is the structural element that has been seriously hit by seismic event. The ambient response analysis of global structure and dome element enable to improve the FE model by model updating methodology using modal data. The identification techniques furnish useful information concerning the structural and mechanical properties of dome’s structure, these parameters are needed to evaluate the appropriate design of rebuilding and structural rehabilitation of dome. The geometric configuration and the self-weight of lantern induce to an independent dynamic response of macro-element against the behaviour of dome generating the first mechanism of collapse and the failure of dome shape. Different retrofitting configurations for the dome have been proposed in this paper.

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Bratasz, Łukasz, Roman Kozłowski, Daria Camuffo, and Emanuela Pagan. "Impact of Indoor Heating on Painted Wood - Monitoring the Altarpiece in the Church of Santa Maria Maddalena in Rocca Pietore, Italy." Studies in Conservation 52, no. 3 (September 2007): 199–210. http://dx.doi.org/10.1179/sic.2007.52.3.199.

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Giustetto, Roberto, Elena Maria Moschella, Mariano Cristellotti, and Emanuele Costa. "Deterioration of building materials and artworks in the ‘Santa Maria della Stella’ church, Saluzzo (Italy): Causes of decay and possible remedies." Studies in Conservation 62, no. 8 (September 3, 2016): 474–93. http://dx.doi.org/10.1080/00393630.2016.1217694.

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Raimo, Nadia. "The Frescoes in the Crypt of Saint Adam." Paragone Past and Present 2, no. 1 (July 16, 2021): 114–19. http://dx.doi.org/10.1163/24761168-00201005.

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Abstract This essay explores bibliographic and historiographical studies on the frescoed vaults in the crypt of Saint Adam, located in the church of Santa Maria Maggiore in Guglionesi (Campobasso province, Molise, Italy). The frescoes have never been the subject of a detailed study; in fact, they have received only sporadic mention in some volumes of Molise art and history. The most ancient bibliographic information that can be recovered is reported in the nineteenth-century La Cronistoria di Guglionesi by Canon Angelo Maria Rocchia (Guglionesi, 1830–1907) and the three glorious translations by the medieval Benedictine monk Saint Adamo Abate (990–1070). The canon mentioned the historical events that led to the establishment of the crypt and the changes in its pictorial decoration. This essay begins with Canon Rocchia’s hypotheses and moves on to further investigate the crypt and the history of the frescoes, bringing to light similarities and differences in the interpretation of the pictorial decorations.

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Sturm, Saverio. "1622, the Fatal Year for the Discalced Carmelites: The Canonisation of Teresa, the Crystallisation of Conventual Typologies, and the Reinvention of Iconography." Journal of Early Modern Christianity 9, no. 2 (November 1, 2022): 341–73. http://dx.doi.org/10.1515/jemc-2022-2033.

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Abstract 1622 was a crucial year for the Discalced Carmelite Order. This essay intends to highlight and connect a series of events surrounding the fateful canonisation of the foundress Teresa of Ávila on 12 March 1622. On 6 January of that year, the Congregation of Propaganda Fide had been founded with the fundamental contribution of Carmelite missionaries. On 8 May 1622, the important Carmelite Church of San Paolo Apostolo in Rome was re-consecrated to Santa Maria della Vittoria, with celebrations and popular processions, in memory of the “victory” of the White Mountain in 1620 over the Protestant Bohemian troops, favoured by the intercession of Maximilian of Bavaria’s military chaplain, Carmelite Dominic of Jesus Maria. In the years that immediately followed, numerous male and female foundations dedicated to the newly-canonised St. Teresa proliferated in Rome and Italy, according to common iconographic and conventual models elaborated centrally by the order’s new hierarchies.

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Covaci, Valentina. "Praying for the Liberation of the Holy Sepulchre: Franciscan Liturgy in Fifteenth Century Jerusalem." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 177–95. http://dx.doi.org/10.5617/acta.7806.

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The fall of Jerusalem to Saladin in 1187 and the loss of the Frankish Levant in 1291 triggered new calls or crusade and the literature dedicated to "the recovery of the Holy Land" (pro recuperatione Terre Sancte). The exhortation to war and the urgency of Jerusalem's deliverance were also expressed through liturgy. This article examines two liturgical texts, a "Votive mass for the recovery of the Holy Land" (Missa devota ad recurandam Terram Sanctam) and an "Introit to the Holy Sepulchre of the Lord" (Ad Sanctum Sepulcrum Donin introitus), transmitted in manuscripts from the Franciscan library in Jerusalem, the Biblioteca Generale della Custodia di Terra Santa. This article explores the two liturgical texts in the historical context of fifteenth-century Jerusalem, when the Franciscan friars where the only Latin clergy allowed to serve at the Holy Places. Historical accounts produced in this milieu evince the friars' efforts to memorialize the deeds of the crusader kings, celebrated as liberators of the Holy Land. The liturgical texts analysed here complement this militant memorialization. Keywords: Jerusalem, Church of the Holy Sepulchre, Franciscan liturgy, recovery of the Holy Land. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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

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Giuffrida, Dario, Sara Bonanno, Francesco Parrotta, Viviana Mollica Nardo, Gianfranco Anastasio, Maria Luisa Saladino, Francesco Armetta, and Rosina Celeste Ponterio. "The Church of S. Maria Delle Palate in Tusa (Messina, Italy): Digitization and Diagnostics for a New Model of Enjoyment." Remote Sensing 14, no. 6 (March 19, 2022): 1490. http://dx.doi.org/10.3390/rs14061490.

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Cultural places represent the tangible part of the identity and historical heritage of a civilization as well as an extraordinary driving force for the economic development of a country. Within its huge asset, Italy counts a wide number of archaeological sites and monuments which, despite their cultural value, are totally cut off from the most important cultural routes. This paper aims to demonstrate how specific actions of digitization can contribute to valorize (restoring a cultural value) ‘marginal’ landmarks, promoting their knowledge and inclusion. The case study described is represented by the Church of “Santa Maria delle Palate”, located inside the well-known Archaeological Park of Halaesa Arconidea (Tusa, ME). The church, built in 1551 and subject to several renovations throughout the centuries, has been investigated as part of an interdisciplinary training and skill transfer project carried out by a CNR-IPCF research team. During the activities, the group of trainees approached a multi-analytic method for the study of many Sicilian places using different techniques such as laser scanning, photogrammetry, thermography and spectroscopy and collecting a large amount of information and data. In 2019, the building in question was the object of a complete architectural survey in order to obtain an accurate digital replica; moreover, the wall painting representing St. Francis, preserved in the southern nave, was investigated through non-invasive investigations (IR-imaging, XRF and Raman spectrometry) with the intention of collecting information about its state of preservation and nature of pigments used and help the restoration work, which would have been carried out in the following months. The result of the work is a combined “digital archive” useful not only for the purposes of conservation, monitoring and dissemination, but as a container of information enjoyable at different levels of depth. In addition to the scientific outcomes achieved for the study of the painting, relevant from the historical and artistic point of view, we must underline the importance of the work for the implementation of a web-based platform where expert and inexpert users can virtually access the church virtual tour and search for specialized contents (e.g., measures, analyzes results). Media such as this are finally demonstrated to be able to promote the inclusion (e.g., for people unable to reach the place or with reducing mobility) and accessibility to cultural places during ordinary (maintenance, closure) or extraordinary events (pandemic).

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Tracz, Szymon. "Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork." Perspektywy Kultury 30, no. 3 (December 20, 2020): 151–78. http://dx.doi.org/10.35765/pk.2020.3003.11.

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The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.

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Datola, Giulia, Vanessa Assumma, Federica Appiotti, Marta Bottero, Enrico Rinaldi, Pierpaolo Campostrini, and Patrizia Lombardi. "The ResCult project: Implementation of the risk analysis interface for the Church of Santa Maria dei Miracoli and the Covent of San Nicola (Italy)." Journal of Cultural Heritage 67 (May 2024): 164–82. http://dx.doi.org/10.1016/j.culher.2024.02.013.

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Jäggi, Carola. "The Church of Santa Maria Donna Regina: Art, Iconography and Patronage in Fourteenth-Century Naples. Janis Elliott , Cordelia Warr The Stones of Naples: Church Building in Angevin Italy, 1266-1343. Caroline Bruzelius." Speculum 81, no. 2 (April 2006): 507–9. http://dx.doi.org/10.1017/s003871340000292x.

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Kinney, Dale. "Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 81–100. http://dx.doi.org/10.5617/acta.7801.

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The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the concrete conditions of a particular titular church. The basilica's early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to-date. In Pope Gregory's remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically organized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. Increasing hierarchization may have enhanced the transformational power of the Eucharist, or impeded it. Keywords: S. Maria in Trastevere, stational liturgy, tituli, presbyterium. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.

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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.

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Pons Alós, Vicente. "‘Gente Borgia’. Un nuevo ejemplo del mecenazgo de los Borja: Primeras inscripciones humanísticas en Valencia." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 13 (June 27, 2019): 22. http://dx.doi.org/10.7203/scripta.13.15474.

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Resumen: Escritura y heráldica se convierten en un lenguaje fundamental al servicio institucional y personal de los Borja, que desde Italia llegará también a su ciudad de origen y a sus señoríos. En Xàtiva y Gandía respectivamente se conservan las primeras inscripciones humanísticas que podemos ubicar en territorio valenciano. En ambos casos se trata de piezas vinculadas a la familia Borja y las dos se encuentran en el ámbito de las colegiatas de estas dos ciudades: en la capilla dedicada a Nuestra Señora de las Fiebres, advocación romana, cuya construcción mandó llevar a cabo en 1497 Francesc de Borja, tesorero pontificio, obispo de Teano, más tarde arzobispo de Cosenza y cardenal nombrado por Alejandro VI; y en el exterior de la colegiata de Santa María de Gandía, erigida en 1499 por Alejandro VI, a ambos lados de la puerta de los Apóstoles, construida bajo los auspicios de María Enríquez, viuda sucesivamente de Pere Lluís de Borja y Joan de Borja, hermanos, I y II duques de Gandía. La duquesa viuda reemprendió el proyecto inconcluso de la colegiata que quedará acabado, como señalan las inscripciones, en 1500, bajo su mecenazgo y el de su hijo Joan de Borja, III duque. Palabras clave: Inscripciones humanísticas, Historia de la Iglesia, Heráldica, Alejandro VI. Abstract: Writing and heraldry become a fundamental language to the institutional and personal service of the Borjas. They did not only used in Italy but also in their city of origin and their manors. Both in Xàtiva and Gandía we find the first humanistic inscriptions located in Valencian territory In both cases they are pieces linked to the Borja family and the two are found in the collegiate area of these two cities: in the chapel dedicated to the Mare de Déu de les Febres, a Roman dedication, whose construction was ordered in 1497 by Francesc de Borja, pontifical treasurer, bishop of Teano, later archbishop of Cosenza and cardinal appointed by Alexander VI; and outside of the church of Santa María de Gandía, erected as collegiate in 1499 by Alejandro VI, on both sides of the door of the Apostles, built under the auspices of María Enríquez, widow successively of Pere Lluís de Borja and Joan de Borja, brothers, I and II Borja dukes of Gandía. The duchess widow resumed the unfinished project of the collegiate church that will be finished, as indicated by the inscriptions, in 1500, under his patronage and that of his son Joan, III Borja Duke. Keywords: Heraldry, Humanistic inscription, Alexander VI, Church history

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Trevisiol, Francesca, Ester Barbieri, and Gabriele Bitelli. "Multitemporal Thermal Imagery Acquisition and Data Processing on Historical Masonry: Experimental Application on a Case Study." Sustainability 14, no. 17 (August 24, 2022): 10559. http://dx.doi.org/10.3390/su141710559.

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The recent improvement of infrared image quality has increased the use of thermography as a non-destructive diagnostic technique. Amongst other applications, thermography can be used to monitor historic buildings. The present work was carried out within the framework of the Horizon 2020 European project SHELTER, which aims to create a management plan for cultural heritage subject to environmental and anthropogenic risk. Among the chosen case studies is the Santa Croce Complex in Ravenna (Italy), which is exposed to different hazards, including flooding. The church has a peculiar architecture that develops below the street level, so the internal walls are affected by the deterioration caused by rising humidity. In such a case of advanced degradation, passive thermography cannot be used to its full potential. For this reason, an innovative methodology involving active thermography was first developed and validated with laboratory tests. Secondly, we conducted its first application to a real case study. With this purpose, an active thermography survey with forced ventilation was carried out to enhance different stages of material degradation by means of automatic classification of multitemporal data. These experiments have resulted in a method using an active thermal survey in a high moisture content environment to detect masonry degradation.

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Altadonna, Alessio, Filippo Cucinotta, Marcello Raffaele, Fabio Salmeri, and Felice Sfravara. "Environmental Impact Assessment of Different Manufacturing Technologies Oriented to Architectonic Recovery and Conservation of Cultural Heritage." Sustainability 15, no. 18 (September 8, 2023): 13487. http://dx.doi.org/10.3390/su151813487.

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Our cultural society has made remarkable advancements in creating digital models that depict the built environment, landscape, and reality. The advent of technologies such as terrestrial laser scanning and drone-based photogrammetry, coupled with sophisticated software capable of processing hundreds of photographs to generate point clouds, has elevated the significance of three-dimensional surveying in documentation and restoration. Point cloud processing and modeling software enable the creation of precise digital replicas of the investigated architecture, which can be scaled down and transformed into physically identical models. Through the export of STL files and the utilization of both subtractive and additive 3D printing technologies, tactile models resembling traditional manually crafted plastics can be obtained. An exemplary study focuses on the Gothic church of Santa Maria Alemanna in Messina, Italy, where laser scanner surveys and 3D prints using various technologies were applied to different parts of the building. The models were produced using a CNC milling machine and a 3D printer for fused deposition modeling. The sustainability of these production technologies was assessed through a Life Cycle Assessment, demonstrating the environmental advantages of additive manufacturing, including the use of materials with high recyclability and lower energy consumption. Additionally, the additive approach helps reduce processing waste.

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Amadori, Maria Letizia, Andrea Paribeni, Francesca Gasparetto, Biagio De Martinis, and Patrizia Santi. "Geology and Cultural Heritage: characterization and provenance of local stones and spolia used in the Romanesque façade of Santa Maria della Piazza church (Ancona, Central Italy)." Italian Journal of Geosciences 139, no. 3 (October 2020): 451–68. http://dx.doi.org/10.3301/ijg.2020.11.

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Agustín-Hernández, L., R. Argiolas, V. Bagnolo, and M. Sancho Mir. "FROM TLS POINT CLOUD DATA TO GEOMETRICAL GENESIS DETERMINATION OF RIBBED MASONRY VAULTS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 9–16. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-9-2021.

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Abstract. The contribution aims to explore the possibility of tracing the geometry of ribbed vaults from two different Mediterranean regions to a single matrix, verifying the presence of possible local variations of the same rules. In particular, the analyses are being carried out in parallel on some case studies of the regions of Sardinia in Italy and Aragon in Spain. The two case studies include the Iglesia Parroquial del Salvador la Seo in Zaragoza and the Church of Santa Lucia in Cagliari. Both constructions can be traced back to the style known as Late Mediterranean Gothic, which characterised the architecture of the countries bordering the Mediterranean basin between the 14th and 17th centuries. The two case studies chosen were almost at the extreme ends of the Late Gothic period, to determine whether some invariants sought could persist even in relatively distant periods. The analysis focused on cross vaults covering the two naves, which included a laser scanner survey in order to obtain a cloud of points of sufficient precision to carry out studies on the geometry of the vaulted systems, the identification of the intrados profiles of the ribs and therefore the definition of the curvatures and centres of all the arches making up the vaults. Finally, the results are presented by means of summary diagrams and comparison tables.

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Salvatori, Elisabetta, Chiara Gentile, Antonella Altieri, Fabio Aramini, and Fausto Manes. "Nature-Based Solution for Reducing CO2 Levels in Museum Environments: A Phytoremediation Study for the Leonardo da Vinci’s “Last Supper”." Sustainability 12, no. 2 (January 11, 2020): 565. http://dx.doi.org/10.3390/su12020565.

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This work investigates the possibility of implementing a nature-based solution (NBS) based on the photosynthetic process of Laurus nobilis L. (common laurel), for reducing peak CO2 concentrations in an air-tight museum environment, namely the Refectory of the Santa Maria delle Grazie Church (Milan, Italy), home of Leonardo da Vinci’s painting “Last Supper”. The phytoremediation potential of laurel plants was evaluated at CO2 ≅ 1000 ppm under controlled environmental conditions. Furthermore, light-saturated net assimilation (Pnmax) was measured at two CO2 concentrations (380 and 1000 ppm) during the growing season. Steady-state gas exchanges were not affected by elevated CO2 in the short-term, while Pnmax was significantly increased, also showing higher values in spring and autumn, and a reduction during summer. Our estimated CO2 removal rates indicate that, in order to control visitors’ respiratory CO2 emissions in view of an increase in visitor numbers in the Refectory, a possible NBS in the form of an external greenhouse, connected to the HVAC system of the museum, should allocate from 58 to 112 young laurel plants, depending on their seasonal phytoremediation capacity. These results, although preliminary, allow to hypothesize the possibility of controlling CO2 indoors through a combination of traditional air-cleaning systems and a properly designed NBS, thus increasing the sustainability of air-tight museum environments.

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Aricò, Manuela, Gino Dardanelli, Marcello La Guardia, and Mauro Lo Brutto. "Three-Dimensional Documentation and Virtual Web Navigation System for the Indoor and Outdoor Exploration of a Complex Cultural Heritage Site." Electronics 13, no. 14 (July 18, 2024): 2833. http://dx.doi.org/10.3390/electronics13142833.

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The spread of new survey strategies for the documentation and 3D reconstruction of complex cultural heritage sites enables the implementation of virtual web navigation systems that are useful for their virtual fruition. In particular, remote indoor/outdoor exploration enhances our knowledge of cultural heritage sites, even in inaccessible or difficult-to-visit states. However, the 3D data acquisition of complex sites for documentation remains a challenge, and the 3D virtual exploration of these datasets is often limited to property software implementations. This work describes the 3D documentation and construction of an indoor/outdoor web visualization system based on the WebGL open-source technology of a complex cultural heritage site. The case study regards the complex of “Santa Maria della Grotta” in Marsala (Italy), which is composed of a church that is located mostly underground and is connected to a human-dug hypogea on the site of a Punic necropolis. The aim of the work was to obtain detailed 3D documentation of the indoor and outdoor spaces through the integration of mobile laser scanning and aerial photogrammetry survey, and to develop a virtual web navigation system for the remote exploration of the site. The indoor/outdoor web navigation system provides users with a simple, web-browser-based 3D visualization, enabling the dissemination of the monuments’ knowledge on the web through an economically sustainable solution based on open-source technologies.

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Westwell, Arthur. "The Ordines Romani and the Carolingian Choreography of a Liturgical Route to Rome." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 63–79. http://dx.doi.org/10.5617/acta.7800.

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This article examines a number of Carolingian liturgical manuscripts (Wolfenbuttel Herzog August Bibliothek Wissenbourg 91, Cologne Dombibliothek MS 138, Vienna Österreichische Nationalbibliothek cod.ser.n. 2762 and Paris Bibliothèque de l'Arsenal 227) each containing texts now known as the ordines romani. These texts are "stage directions" for the liturgy, distinguished by their reference to the practices of the church of Rome. While the ordines romani certainly give precious information about Roman liturgical practice, the Frankish contribution to shaping and displaying these texts inline with their own priorities and usages must be acknowledged too. For example, these manuscripts all combine ordines romani with texts about Roman history and topography. For these readers, the desired imitation of Roman liturgical practice was not about copying any particular text or practice by rote, but a deeper form of participation that involved the construction of an image of Rome across a whole manuscript. The given image of Rome responded to the institutional or personal needs animating the manuscript. These manuscripts compel us to imagine diverse practices of reading within and without liturgical performance. Keywords: pontificals, topography, Ordines, manuscripts, Carolingians. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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Prampolini, F., A. M. Oteri, S. Caporale, S. Mazzeo, and F. Muscherà. "FROM VIRTUAL TO MATERIAL RESTORATION. A PROPOSAL FOR THE REASSEMBLY OF THE ALTAR OF THE HOLY HEART OF MARY IN THE CATHEDRAL OF SANTA MARIA ASSUNTA IN GERACE (REGGIO CALABRIA, ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 15, 2017): 305–12. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-305-2017.

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The present study explores the relationship between the new frontiers of architectural survey and architectural restoration. The result is a project for the reassembly of the Altar of the Holy Heart of Mary in the Cathedral of Gerace, in the province of Reggio Calabria. It was dismantled in the last century with the purpose to restore the “solemn and sober aspect” of the church during the medieval age. The idea was born in the sphere of a multidisciplinary didactic experience, which involved history, conservation, digital modelling, design and enhancement of cultural heritage. The process, from analyses to project, followed four steps: realization of a systematic photogrammetrical survey of each architectural element of the 18th century altars of the cathedral, which were dismantled in the last century, with high precision photomodelling techniques; early identification of the single objects, positioning structured QR-CODE with metadata and short description directly in the shooting phase; pre-cataloguing phase, implemented by the compilation of single cards regarding each piece, using a redrafted version of the ICCD OA card (artwork 3.00 version); a proposal for the reassembly of the altar of the Holy Heart of Mary. The reassembly is conceived as an alternative to the reconstruction of the altar “as it was”, using a steel structure that is partially visible, which was studied to support and “exhibit” the marble pieces. The availability of numerical models for each piece facilitated, on one side, weight distribution analysis and, consequently, correct dimensioning of the support structure and, on the other side, interactive simulation processes for design optimisation and <i>aesthetic</i> evaluation.

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Verbaal, Wim. "Resurrecting Rome. Liturgy and Rome's Second Revival." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 101–12. http://dx.doi.org/10.5617/acta.7802.

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Liturgy is one of the more underestimated entries of the Gregorian reform. Surely, this is due to the difficulty of getting a clear view of concrete and detailed liturgical evolutions and renewals. It seems, however, to have been one of the more important elements at stake during the short period of the bitter and hard confrontations between the leading layers of the Church around 1100. Besides, between about 1050 and 1150, Rome saw an intense building activity of new churches according to new plans that seem to have been partly dictated by liturgical renovations. Notably, Pope Innocent II seems to have realized the importance of liturgy as a weapon to be used against his ecclesiastical and secular opponents. Thanks to the remarkable Liber politicus by Benedict the Canon (around 1140), we can have some ideas of the way innocent II used liturgy as a means to install his own imperial papacy. My contribution will have a closer look at Benedict's Liber politicus in its literary context as a means to reimagine Rome. The Liber will prove to be much more than a liturgical manual or a strange collection of disparate writings. Behind it lies a strong view of the political role of the papacy and of liturgy as a means to achieve and express papal supremacy. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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Journal articles on the topic 'Santa Margherita (Church : Italy)'

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