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Journal articles on the topic 'Santa Maria degli angioli (Monastery)'
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1
Batista, E., and J. Hernandez. "The drainage of lake ‘L'Estany’ in Spain." Water Supply 18, no. 1 (June 6, 2017): 151–59. http://dx.doi.org/10.2166/ws.2017.105.
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Abstract In the 18th century, the practice of drying up the wetlands, marshy or stagnant water areas expanded throughout Europe in order to avoid the malaria fevers that the population periodically suffered and to recover land for farming. This communication describes the current knowledge about the history of the process of drying in various hydrological basins as well as the works in the endorheic lake close to the village of L'Estany, located in the district of the Moianès (Catalonia), in the northeast of Spain. The drying began in the 16th century with drainage channels driven by the Monastery of Santa Maria de L'Estany, and culminated in the 18th century with the construction, using the dry stone technique, of a 425 m long, 2.14 m high and 1.20 m wide drainage mine that diverted water to the basin of the Llobregat River. Now the mine and the canals are conserved for use in times of rain as well as a touristic objective that complements the cultural and religious concerns of the Monastery of Santa Maria with its magnificent Romanesque cloister.
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De la Peña, J. L., M. De la Peña, M. Salgot, and Ll Torcal. "The Water in the Royal Monastery of Santa Maria De Poblet, Tarragona, Spain." Water Supply 7, no. 1 (March 1, 2007): 261–67. http://dx.doi.org/10.2166/ws.2007.030.
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The history and water-related features in the Poblet Cistercian Monastery, located in Tarragona province, Spain are described. The study is undertaken with the main purpose of obtaining data for the establishment of an integrated water management system inside the walls of the abbey, which is suffering water scarcity due to increasing demands and the prevalent semiarid conditions.
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Amendola, Adriano. "The warrior collector." Journal of the History of Collections 32, no. 1 (January 18, 2019): 13–24. http://dx.doi.org/10.1093/jhc/fhy064.
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Abstract The essay focuses on the military commander Giovanni Battista Castaldo (1493–1563), aiming to reconstruct this figure as a collector and patron. The author analyses the reasons that led Castaldo to found the monastery of Santa Maria ad Montem in Nocera de’ Pagani, where can still be found his portrait bust, here attributed to Annibale Fontana. In the monastery was exhibited the Madonna d’Alba by Raphael, here identified for the first time as the source of a work by Dirk Hendricsz, the presence of Raphael’s canvas in Nocera clarifies the pivotal role played by the painting for the artists working in the Spanish Viceregno.
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Zerlenga, Ornella. "Renewed spirituality in cloistered architecture in Naples." Resourceedings 2, no. 3 (November 27, 2019): 154. http://dx.doi.org/10.21625/resourceedings.v2i3.652.
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The object of study is the cloistered architecture with particular attention to the cloisters of Santa Maria della Sanità and San Severo in Naples. Among the different environments that characterize a convent or monastery, the cloister is the main element of religious life, the central nucleus of the activities carried out collectively. Typologically, the distinctive features of the cloister can be identified in the following: position within the religious complex; presence of porch, garden, well; variety of shape and planimetric dimension. The cloister of Santa Maria della Sanità has an unusual ovate shape. This cloister was severely tampered with by the construction of the bridge of Sanità in the French decade. This intervention brought the cloister into oblivion and decay like that of San Severo. Recently the cloisters have been restored to new social use to promote inclusion and diversity.
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Beltran, Meritxell, Elisabet Playà, Montserrat Artigau, Pau Arroyo, and Ander Guinea. "Iron patinas on alabaster surfaces (Santa Maria de Poblet Monastery, Tarragona, NE Spain)." Journal of Cultural Heritage 18 (March 2016): 370–74. http://dx.doi.org/10.1016/j.culher.2015.09.001.
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Nocentini, Serena. "Architectural Painting: Giorgio Vasari's Altarpiece for the Monastery of Santa Maria Novella in Arezzo." Explorations in Renaissance Culture 39, no. 1 (December 2, 2013): 49–58. http://dx.doi.org/10.1163/23526963-90000438.
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Mursia, Antonio. "Signorie e monasteri nella Sicilia normanna." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 103, no. 1 (November 1, 2023): 167–82. http://dx.doi.org/10.1515/qufiab-2023-0010.
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Abstract This essay reflects on the role of monasteries in the process of defining the structure of the aristocracy in Norman Sicily, with the aim of contributing to scholarship on this theme on the island in the 12th century. The topic is addressed starting from an analysis of the political and devotional choices made by the Aleramici, the most important Sicilian lords of the 12th century, within their domains, where they founded or restored churches and monasteries linked to the Benedictine order and to Palestinian shrines. This made it possible to examine the processes underlying the establishment of the monastery of Santa Maria di Licodia in 1143, on the initiative of Simone del Vasto. As can be deduced from the study of the privilege issued by the island lord, this foundation had a multiplicity of motivations, principally religious and devotional, but also linked to the control and management of the vast Aleramic lordship. Established as a family monastery, this cenoby was granted by Simone to the abbey of Sant’Agata in Catania, one of the most important monastic and episcopal sees of Sicily in the 12th century. The extent of the lands assigned by the Aleramico, the rights granted to goods and men, combined with the initiative shown by the priors of the monastic community of Licodia, must have allowed Santa Maria to become an abbey in the early thirteenth century. Over the following centuries, it thus became one of the most important meeting places for the Sicilian aristocratic élite.
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Miller, Stephanie R. "The Incarnation of the Word: Andrea Della Robbia’s Annunciation and Adoration Altarpieces at La Verna." Religions 12, no. 8 (August 10, 2021): 624. http://dx.doi.org/10.3390/rel12080624.
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On the mountainous crest of the Apennines are several buildings comprising the monastic site of La Verna where St. Francis received his stigmata in 1224. Described in 1493 as another Jerusalem in the West, the monastery’s Chiesa Maggiore, Santa Maria degli Angeli, and the Chapel of the Stigmata house its most prominent images, Andrea della Robbia’s five altarpieces (c. 1476-c. 1493). This essay explores the beholder’s experiences before Andrea’s earliest two altarpieces at the Observant Franciscan monastery, the Annunciation and Adoration. The history and function of this monastery are considered in light of the themes of these altarpieces and their theological significance. Of relevance are the inscriptions on the altarpieces, which rather than simply identifying the accompanying images, propose interesting interpretations and influences for the altarpieces and which suggest interactive involvement between beholder and the altarpieces in the monastic spaces. Taken together, these works reveal a sensitivity to the specific needs of the Franciscan audience, context, and location and an awareness of Renaissance devotional practices.
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Saccheri, Paola, and Luciana Travan. "The limping nuns. Two cases of hip dislocation in a medieval female monastery." Italian Journal of Anatomy and Embryology 126, no. 1 (September 21, 2022): 81–91. http://dx.doi.org/10.36253/ijae-13633.
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We observed the upward displacement of the femoral heads in the skeletal remains of two females unearthed from the medieval cemetery of the monastery of Santa Maria in Valle, in Cividale del Friuli (North-Eastern Italy). Examination of bone vestiges suggests the diagnosis of hip dislocation as the consequence of developmental dysplasia of the hip. In addition, in the youngest subject the first sacral vertebra appears lumbarized and shows the unilateral defect of the right pars interarticularis. Developmental dysplasia of the hip is one of the most common congenital diseases of the musculoskeletal system in newborns. Findings suggest that the skeletons belong to two nuns, who perhaps enter monastic life precisely because of their pathology.
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Leardini, Chiara, and Gina Rossi. "Accounting and power in religious institutions: Verona’s Santa Maria della Scala monastery in the Middle Ages." Accounting History 18, no. 3 (June 25, 2013): 415–27. http://dx.doi.org/10.1177/1032373213487336.
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De Benedetto, Giuseppe E., Amedeo Savino, Daniela Fico, Daniela Rizzo, Antonio Pennetta, Antonio Cassiano, and Brizia Minerva. "A multi-analytical approach for the characterisation of the oldest pictorial cycle in the 12th century monastery Santa Maria delle Cerrate." Open Journal of Archaeometry 1, no. 1 (December 30, 2013): 12. http://dx.doi.org/10.4081/arc.2013.e12.
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A multidisciplinary research, currently in progress at the University of Salento in collaboration with the Lecce Provincial Museum, interests different artistic expressions widespread in the Salento peninsula (South Italy). In the present study, the characterisation of organic and inorganic materials used in the oldest pictorial cycle found in the 12th century monastery Santa Maria delle Cerrate was carried out thanks to a multi-analytical approach. Previous investigations have focused on the problem of dating the frescoes mainly on the basis of the stylistic aspects and the material characterisation has been definitely underinvestigated. Chromatographic and spectrometric techniques were used: micro-Raman spectroscopy was used for recognising pigments and gas chromatography with mass spectrometric detection for analysing organic binders. These techniques enabled us to characterise pigments and binders. The presence of both true fresco and tempera bound pigments was assessed. Among the different pigments detected, the results relevant to the blue paints were interesting: two different blue pigments were, indeed, identified, lapis lazuli and smalt (cobalt blue glass) both unexpected. As a result, Santa Maria delle Cerrate appears to be the first known example of their use in South Italy. From a conservation point of view, moreover, the knowledge of the palette permitted to highlight the reason of observed decay of some paints: for instance, lead white was used in some panels, explaining their blackening.
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De Spirito, Giuseppe. "Sei scritti in cerca di autore: il Corpus Caspari." Augustinianum 62, no. 2 (2022): 435–62. http://dx.doi.org/10.5840/agstm202262226.
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The main aim of this study is to provide some new considerations to support the contested thesis that the Corpus Caspari has to be understood as a unified set of texts drawn up by a single author. Both theological and biographical considerations allow the safe identification of the composer of this ensemble with the future Sixtus III (432-440). Moreover, all the projects that the pontiff carried out, from Santa Maria Maggiore to the monastery he founded in the vicinity of the catacombs, testify to the same opinions on asceticism, virginity and material goods as are expressed in the six letters. Even the signature of some of those letters-treaties should be evaluated as authentic, and it can be connected only to Sixtus III.
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Reus Planells, Guillem Alexandre. "New Perspectives for an Architectural Study of the Cistercian Monastery of Santa Maria la Real, in Mallorca." Medievalia 23, no. 2 (December 4, 2020): 41. http://dx.doi.org/10.5565/rev/medievalia.535.
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Gavinelli, Simona. "Praying with books: book commissions and graphic varieties at the monastery of Santa Maria of Zadar (XI-XIII centuries)." Crkva u svijetu 58, Suppl. 1 (December 1, 2023): 371–90. http://dx.doi.org/10.34075/cs.58.1s.16.
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I bellissimi manoscritti liturgici, miniati e redatti nella tipologia barese beneventana per l'Abbazia benedettina di Santa Maria di Zara, fondata dalle aristocratiche Čika e Vekenega nel 1066 (due libri delle ore a Budapest, Magyar Tudományos Akadémia Könyvtár, K 394 e Oxford, Bodleian Library, Canonici Lit. 277, ed Evangelistario Oxford, Bodleian Library, Canonici Bibl. Lat. 61), insieme al cartulario del monastero (Zara, Arhiv Benediktinskog samostana sv. Marije, s.n.), mettono a fuoco l'alto livello culturale del potente centro religioso e mostrano un interessante panorama multi-grafico di influenze reciproche (Bari-Type beneventana, Minuscola carolingia o pregotica) in diversi gradi calligrafici, fino alle forme più disarticolate delle aggiunte necrologiche nei calendari.
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Crispí, Marta. "Liturgical Spaces and Devotional Spaces: Analysis of the Choirs of Three Catalan Nuns’ Monasteries during the Fourteenth and Fifteenth Centuries." Arts 13, no. 4 (June 25, 2024): 112. http://dx.doi.org/10.3390/arts13040112.
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Choirs in female monastic and convent communities are spaces whose complexity has been highlighted because of their multipurpose and multifunctional nature. Although they are within the community’s private sphere of prayer of the divine office, it has also been noted that they play a liturgical role as the space from which the nuns ‘hear’ and follow the celebrations taking place in the church and even in the choral altars. The devotional–liturgical binomial is joined by other contrasting terms, like esglesia dintra–sgleya de fora, indicating a duality, as follows: the claustration (as an enclosed, internal and private space of the nuns) and the external church accessible to priests and laypeople, as well as private devotion versus community devotion. The Poor Clares of the monastery of Sant Antoni i Santa Clara actually mentioned the choir altar as nostro altar, underscoring the close bonds that joined them to a liturgical table in this private space, as opposed to those of the esglesia defora. The objective of this article is to study the choirs of three female monasteries in Barcelona during the fourteenth and fifteenth centuries—Sant Pere de les Puel·les (Benedictines), Sant Antoni i Santa Clara and Santa Maria de Pedralbes (both Clarissan)—from a holistic standpoint, including spaces, functions, goods, furnishings and decorations.
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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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Palmieri, Alice. "The Wheel and the Cloister in the Rule of Seclusion: Architectural Elements or Elements of a Communication System?" Resourceedings 2, no. 3 (November 27, 2019): 171. http://dx.doi.org/10.21625/resourceedings.v2i3.655.
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When Walter Benjamin describes Naples, he defines its architecture ’porous like this stone’ assimilating the structural characteristic of the tuff to an architectural model, characterized by voids and openings that create an interpenetration between interior and exterior. These continuous breakthroughs also characterize the life of Neapolitans who are used to living the street as part of social life. Right in the historical centre, where these dynamics are deeply present, there are some cloistered convents that by definition are closed to the city. This paper investigates sacred architecture not as a celebrative space, but as a place of living for religious communities. The focus is on the monasteries: peculiar structures deeply marked in the architecture by the need for confidentiality and therefore to create filters, physical and visual, with the rest of the urban area. The convents of Naples, through the wheels (intended for the passage of offerings) and through the cloisters, establish a relationship with the city that over the centuries has changed with a progressive opening to the inhabitants who are now allowed to get closer to these realities. The research finally deepens the architecture of the convent of Santa Maria in Gerusalemme, commonly known as the monastery of ‘the Thirty-three’, adjacent to the historical hospital of the Incurabili with which it shares its origins since both were founded by the Venerable Maria Lorenza Longo. Despite the closure and the high fence wall, the presence of the monastery is very strong: it is a reference and a listening point, where the ancient wooden wheel still represents a way of communication between the residents of the district and the nuns. In the same way, the cloister and the refectory have transformed their function over the centuries, becoming spaces for public events, while remaining in line with the rules of the Order.The study of the structure and dynamics of communication from/to the convent proposes a reflection on the transformations of religious architecture in the urban context and on the changes in language and meaning of the architectural elements characterizing the monastery.
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Streit, Jessica Renee. "Penitence and Crusade in the Assumption Chapel of the Real Monasterio de Las Huelgas, Burgos." Medieval Encounters 26, no. 6 (February 11, 2021): 578–606. http://dx.doi.org/10.1163/15700674-12340089.
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Abstract This study aims to interpret the visual qualities of the Assumption Chapel, located in the Cistercian monastery of Santa Maria La Real de Las Huelgas, Burgos. Rejecting the “mudejar” paradigm often used to explain the chapel’s connections to Andalusi architecture, the article instead considers its relationships to a group of twelfth- and thirteenth-century domed churches in Iberia and the French Pyrenees, as well as to Las Huelgas’s adjacent, late-Romanesque cloister. In so doing, it situates the Assumption Chapel in a broader context of monuments related to penitence and crusade in the Holy Land and Iberia. It also considers the chapel’s form and function in the light of Las Huelgas’s ritual topography. Most broadly, this study shows how seemingly incongruent visual languages—in this case Romanesque and Andalusi—can comprise a coherent program of imagery.
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Scirea, Fabio. "Riconsiderare l'insediamento monastico di Torba: la torre e le sue funzioni." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 169–202. http://dx.doi.org/10.54103/fenestella/19447.
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This article reconsiders some aspects of the early medieval monastic settlement of Torba, starting from an established historiography and the very recent publication of new archaeological data. Focusing on the Monastery tower, which had been part of the late antique curtain wall of Castelseprio, the research has led to a new interpretation of the construction phases and functions. The contribution thus offers new hypotheses for interdisciplinary evaluation, particularly about the possibility that the monastic choir might have been installed in a space not consecrated. The mural paintings of both the tower and the church of Santa Maria remain to be reconsidered in detail, as well as the relationship with the monastic building leaning against the curtain wall. The results should later be compared with the updated research on female monastic settlements in the early medieval West.
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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.
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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies.
This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.
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Martínez Lema, Paulo. "O Cartulário de Fiães enquanto corpus toponímico: acerca de alguns nomes de lugar na fronteira galego-portuguesa." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 487–520. http://dx.doi.org/10.1515/zrp-2018-0029.
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AbstractThe chartulary of the Monastery of Santa Maria de Fiães consists of documentation dating mostly back to the 12th century which concerns the process of constitution of the land patrimony of the Benedictine abbey located on the Galician-Portuguese border. This documentary source offers several interesting aspects for linguistic research. In particular, it is worth highlighting the fact that this source contains some of the earliest records (or even, in some cases, the only ones) available for the analysis of a significant number of place-names in the extensive geographic area (the Portuguese Minho land as well as the southern and southwestern regions of Galicia) in which the monastery had a greater number of properties. Therefore, the purpose of this paper is to explore this line of research, by collecting the records in the chartulary for a micro-corpus of four place-names (one being Portuguese and three Galician) and by using them to identify both their etymon and their formal and semantic evolution. Moreover, we will establish, when necessary, their possible relations with other toponymic items, finally analyzing certain dynamics and phenomena (essentially phonetic ones). Their research interest stems from their relatively rare nature in the context of Galician-Portuguese toponymy.
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SÁNCHEZ CARRASCO, Juan José. "evolución patrimonial del monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada (siglos XV-XVII)." Medievalismo, no. 28 (October 8, 2018): 295–317. http://dx.doi.org/10.6018/medievalismo.28.345181.
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El objetivo del presente trabajo es estudiar el desarrollo patrimonial del Monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada. Para la elaboración del ensayo se ha realizado una exhaustiva búsqueda documental en archivos tanto granadinos como nacionales y se han empleado los datos de las publicaciones existentes sobre el monasterio que datan de los años 90 del pasado siglo. Se ha conseguido realizar un estudio completo sobre todas las transacciones que realizó la orden durante los siglos XV-XVI y ubicar sus propiedades mediante Sistemas de Información Geográfica (SIG). The aim of this work is to study the heritage development of the Monastery of Santa Maria de la Concepción of the Order of Saint Jerome in Granada. For this purpose, an exhaustive data search has been undertaken in both local and national archives, in addition to the use of information contained in the literature published on the topic in the 90s of the twentieth century. It has been possible to achieve a comprehensive study of all the transactions carried out by the Order during the 15th and 16th centuries and locate their properties using geographic information systems (GIS).
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Juncosa Bonet, Eduard. "«Nós vivim e passam ab gran afany e misèria nostra vida e stat». Las dificultades económicas de una reina viuda. El caso de Margarita de Prades (v. 1410-1430). 2ª parte: El reinado de Alfonso el Magnánimo hasta la muerte de la reina (1416-1430)." Aragón en la Edad Media, no. 32 (May 4, 2021): 187–224. http://dx.doi.org/10.26754/ojs_aem/aem.2021325222.
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Resumen: En los últimos años, se han incrementado considerablemente los estudios dedicados a las reinas medievales; sin embargo, se ha prestado una menor atención a lo que sucedía con aquellas que enviudaban. El presente artículo tiene como objetivo analizar en profundidad el prolongado periodo de viudedad de Margarita de Prades (1410-1430), el cual contrasta con su efímero reinado de poco más de ocho meses y medio. Todo un elenco de fuentes, en gran parte inéditas, custodiadas en los archivos reales, papales, nobiliarios, notariales y municipales nos servirá para reconstruir una realidad marcada por las graves y recurrentes dificultades económicas a las que tuvo que hacer frente esta reina fugaz. Teniendo en cuenta la amplitud del corpus documental manejado y primando la exhaustividad por encima de una mera perspectiva de síntesis, el artículo se divide en dos partes, abordándose en esta segunda los años de reinado de Alfonso el Magnánimo hasta el fallecimiento de la reina viuda. Palabras clave: Margarita de Prades, reginalidad, reina viuda, dificultades económicas, monja, Corona de Aragón, dinastía Trastámara, Alfonso el Magnánimo, Monasterio de Santa Maria de Valldonzella, Monasterio de Bonrepòs, siglo xv. Abstract: Whereas we have come to find a substantial increase in the number of studies focusing on medieval queens in recent years, less attention has been paid to those who became widowed. This article’s aim is to conduct a detailed analysis of the prolonged period of time that Margarita de Prades remained a widow (1410-1430), a considerably long period when compared to her short reign which lasted for just over eight and a half months. A wide range of largely unpublished sources kept in royal, papal, nobility, notarial and municipal archives will provide us with the information needed to recreate a reality marked by the severe and recurring financial difficulties faced by this short-reigning queen. Considering the breadth of documents and prioritising thoroughness over a simple summary of viewpoints, a decision to split the article in two was made. This second instalment will deal specifically with the years of the reign of Alfonso the Magnanimous until the death of the queen dowager. Keywords: Margarita de Prades, queenship, queen dowager, financial difficulties, nun, Crown of Aragon, Trastamara dynasty, Alfonso the Magnanimous, Monastery of Santa Maria de Valldonzella, Monastery of Bonrepòs, 15th century.
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Lucía Gómez-Chacón, Diana. "Reflexos dirige calles. The Iconographic Program of the Monastery of Santa Maria la Real de Nieva’s ecclesia fratrum (1414-1432)." Hortus Artium Medievalium 22 (May 2016): 451–61. http://dx.doi.org/10.1484/j.ham.5.111363.
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Vila-Chã, Eduarda, Alberto Barontini, and Paulo B. Lourenço. "Implementation of a Condition Monitoring Strategy for the Monastery of Salzedas, Portugal: Challenges and Optimisation." Buildings 13, no. 3 (March 9, 2023): 719. http://dx.doi.org/10.3390/buildings13030719.
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The implementation of condition monitoring for damage identification and the generation of a reliable digital twin are essential elements of preventive conservation. The application of this promising approach to Cultural Heritage (CH) sites is deemed truly beneficial, constituting a minimally invasive mitigation strategy and a cost-effective decision-making tool. In this light, the present work focuses on establishing an informative virtual model as a platform for the conservation of the monastery of Santa Maria de Salzedas, a CH building located in the north of Portugal. The platform is the first step towards the generation of the digital twin and is populated with existing documentation as well as new information collected within the scope of an inspection and diagnosis programme. At this stage, the virtual model encompasses the main cloister, whose structural condition and safety raised concerns in the past and required the implementation of urgent remedial measures. In the definition of a vibration-based condition monitoring strategy for the south wing of the cloister, five modes were identified by carrying out an extensive dynamic identification. Nonetheless, significant challenges emerged due to the low amplitude of the ambient-induced vibrations and the intrusiveness of the activities. To this end, a data-driven Optimal Sensor Placement (OSP) approach was followed, testing and comparing five heuristic methods to define a good trade-off between the number of sensors and the quality of the collected information. The results showed that these algorithms for OSP allow the selection of sensor locations with good signal strength.
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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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Fico, D., E. Margapoti, A. Pennetta, and G. E. De Benedetto. "An Enhanced GC/MS Procedure for the Identification of Proteins in Paint Microsamples." Journal of Analytical Methods in Chemistry 2018 (2018): 1–8. http://dx.doi.org/10.1155/2018/6032084.
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The chemical characterization of materials used in works of art is extremely useful for gaining a better knowledge of the artistic heritage and to guarantee its preservation. A derivatization GC/MS procedure for the identification of proteins in a microsample from painted works of art has been optimized. The amino acid fraction is derivatized using anhydrous dimethylformamide (DMF) as solvent instead of pyridine (Py), commonly used to facilitate the reaction. Although pyridine is often considered a silylation catalyst, there are many instances in which silylation reactions actually are slower in pyridine than other solvents. In addition, pyridine also may have other undesirable effects such as the promotion of secondary products and other chromatographic anomalies. Using DMF, the formation of artifacts is limited and the derivatization yield of hydrophilic amino acids such as proline and hydroxyproline has improved, thus making the identification of organic paint media more straightforward. The method has been validated and successfully applied to identify the binder of the sample taken from the pictorial cycle of the 12th century monastery of Santa Maria delle Cerrate (Lecce, Italy), thus highlighting the use of eggs as a binding medium.
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Sánchez Carrasco, Juan José. "Las dos dotaciones fundacionales del Monasterio de Santa María de la Concepción de Granada = The Two Founding Endowments of the Monastery of Santa Maria de la Concepción of Granada." Espacio Tiempo y Forma. Serie III, Historia Medieval, no. 30 (May 2, 2017): 505. http://dx.doi.org/10.5944/etfiii.30.2017.18689.
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Aronberg Lavin, Marilyn. "El Pueblo de Nuestra Señora la Reina de los Ángeles de la Porciúncula: Or How Los Angeles Got its Name." Religion and the Arts 18, no. 1-2 (2014): 11–25. http://dx.doi.org/10.1163/15685292-01801003.
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This study traces the route by which the city of Los Angeles came to be called by that name. Late in life St. Francis retired to a tiny hut on “a little piece of property,” una porziuncola near Assisi. Because angels were frequently heard singing there, the area around his hut was known as “La Valle di Nostra Donna degli Angeli.” Here, Francis experienced two appearances of Mary and her Son, during which he obtained the revolutionary plenary indulgence known as Il Perdono d’Assisi. The Porziuncola became a pilgrims’ shrine, and Francis’s hut was transformed into a huge basilica dedicated to Santa Maria degli Angeli. Reception of the indulgence slowly spread throughout Europe, and most particularly in Spain. Columbus, who was a Franciscan Tertiary, after a stay in the monastery of Our Lady of the Angels at La Rábida, set sail on his momentous journey on the feast of the Perdono (2 August). The indulgence was carried to the New World by the Franciscans where the devotion developed a wide-spread cult. Three hundred years later, the Spanish king’s army, accompanied by Franciscan friars, journeyed up the western coast and came upon a clear stream, which they called la Porciúncula. In 1781, the New World City of the Angels was founded in the cult’s honor.
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De Benedetto, Giuseppe E., Daniela Fico, Eleonora Margapoti, Antonio Pennetta, Antonio Cassiano, and Brizia Minerva. "The study of the mural painting in the 12th century monastery of Santa Maria delle Cerrate (Puglia-Italy): characterization of materials and techniques used." Journal of Raman Spectroscopy 44, no. 6 (April 9, 2013): 899–904. http://dx.doi.org/10.1002/jrs.4298.
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Räsänen, Marika. "Ecce novus: Saint Thomas Aquinas and Dominican Identity at the End of the Fourteenth Century." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 161–76. http://dx.doi.org/10.5617/acta.7805.
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Thomas Aquinas (1224/25-1274) joined the Order of Preachers around the year 1244 and became one of the most famous friars of this own time. He died in 1274 at the Cistercian monastery of Fossanova where his remains were venerated for almost a hundred years. The Dominicans, who had desired the return of the body of their beloved brother, finally received it by the order of Pope V in 1368. The Pope also ordered that the relics should have been transported (translatio) to Toulouse, where they arrived on 28 January 1369. In this article, I argue that his joining the Order was considered Thomas's first coming, and the transportation of his relics to Toulouse was his second coming to the Order. I will analyse the Office of Translatio (ca.1371) in the historical contexts of the beginning of the Observant reform of the Dominican Order in a period which was extremely unstable regarding both the papacy itself and politics between France and Italy. I will propose that the Office of Translatio inaugurated Thomas as the leader of a new era and the saviour of good Christians in a Christ-like manner. The liturgy of Translatio appears to offer a new interpretation of new apostles, the Dominicans, and the construction of eschatological self-understanding for the Dominican identity.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Lisitano, Ivana Mattea, Deborah Laggiard, Stefano Fantucci, Valentina Serra, and Elisa Fenoglio. "Evaluating the Impact of Indoor Insulation on Historic Buildings: A Multilevel Approach Involving Heat and Moisture Simulations." Applied Sciences 11, no. 17 (August 27, 2021): 7944. http://dx.doi.org/10.3390/app11177944.
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The energy refurbishment of historic buildings is a complex task for building envelope designers who need to carefully consider building conservation guidelines and principles. In most cases, external wall insulation techniques can determine an unacceptable alteration of the historical value of a building. For this reason, internal wall insulation techniques have been used widely in the last few decades. Nevertheless, dealing with internal wall insulation requires a complex design to avoid the risk of condensation and moisture-related pathologies. Moreover, an internal wall insulation may have a relevant impact on indoor comfort conditions. In this paper, the Monastery of Santa Maria de Monfero in Galicia (Spain) has been adopted as a building case study to compare different technological solutions based on: (i) an insulating plaster layer, (ii) dry counter wall systems. In the first step, heat and moisture transfer simulations of the wall components were performed to analyze the hygrothermal behavior of the different alternatives considering two different climate conditions. In a second step, a simulation of the whole building was performed to analyze the impact of the retrofitting strategies on the indoor climate and on the building heating and cooling demand. The obtained results show that the counter wall solution leads to higher energy savings during the heating season in the colder winter climate. However, the use of insulating thermal plaster could also be a viable solution since they lead to several advantages in summer because of their higher thermal inertia. Therefore, the selection of the most appropriate insulation technique has to be evaluated carefully considering the outdoor/indoor climate and using a case-by-case approach.
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Castellano-Tresserra, Anna. "El projecte fundacional del monestir de Santa Maria de Pedralbes i el palau de la reina Elisenda de Montcada a través de dos inventaris del 1364." Anuario de Estudios Medievales 44, no. 1 (June 30, 2014): 103–39. http://dx.doi.org/10.3989/aem.2014.44.1.04.
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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.
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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.
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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.
Full textAbstract:
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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Remígio, André Varela. "The altarpiece of the Transit of the Soul of Saint Bernard of the Real Monastery of Saint Mary of Alcobaça: history, execution and conservation." Conservar Património 15-16 (2012): 3–30. http://dx.doi.org/10.14568/cp15-16_1.
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Dyadyunova, Natalya Arturovna. "The Frontal of Sant' Marti de Puigbo and the Saint Martin of Tours Iconography in the Catalan Altar Painting Tradition." Человек и культура, no. 3 (March 2022): 23–34. http://dx.doi.org/10.25136/2409-8744.2022.3.38220.
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The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century – the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the frontal of Sant' Marti de Puigbo with the special cult of Saint Martin of Tours in the Catalan Comarques, as well as with his patronage of the counts of Barcelona. In the course of the study, the author concluded that the creation of the Frontal Sant' Marti de Puigbo is connected with the reign of Count Ramon Berenguer III of Barcelona, whose patron saint was Saint Martin. This conclusion made it possible to more accurately date the frontal from the church of Sant'marti de Puigbo. The connection between the veneration of the cult of St. Martin and the activities of Ramon Berenguer is evidenced by archival documents, as well as some monuments dedicated to St. Martin located in the territories controlled by the Count of Barcelona. The analysis made it possible to link the iconography of St. Martin on the frontal from Puigbo with the iconography of Ramon Berenguer III on the tombstone of the count from the monastery of Santa Maria de Ripoll, which also allowed the author to conclude that the frontal and the sculptural tombstone could have been made in the same workshop. The novelty of the research lies in the fact that no attempt has yet been made to completely reconstruct the context of commission of this example of the Catalan altarpiece painting and determine the exact time and place of its creation.
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Carvalho, Fernanda, Ana Nunes, Ana Pagará, Isabel Costeira, Teresa Pereira da Silva, Maria Margarida Rolim Augusto Lima, and João Pedro Veiga. "Historical lime‐based flooring mortars from the Church of Santa Maria de Alcobaça monastery (12th century), Portugal: A multi‐analytical approach." Archaeometry, March 28, 2024. http://dx.doi.org/10.1111/arcm.12971.
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AbstractThe Monastery of Alcobaça houses in reserve the ceramic tiles that adorned the floor of the church's apse. These tiles were removed during rehabilitation works and many preserve part of their original fixing mortars. A comprehensive analysis of 21 samples was conducted using a multi‐analytical approach (X‐ray fluorescence, X‐ray diffraction, scanning electron microscopy–energy‐dispersive X‐ray spectroscopy, μ‐Raman spectroscopy, thermogravimetry–differential thermal analysis, optical microscopy, and colorimetry). Results suggest compositional variations in the samples from the back and sides of the ceramic tiles; however, the mineralogy and general characteristics of the aggregates remained consistent between the samples and are coherent with the local geology, suggesting a shared historical origin.
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Krąpiec, Marek, Sławomir Moździoch, and Ewa Moździoch. "DATING OF REMAINS OF THE MEDIEVAL CHURCH SANTA MARIA DI CAMPOGROSSO IN SICILY IN THE LIGHT OF MULTIDISCIPLINARY STUDIES." Radiocarbon, August 19, 2020, 1–12. http://dx.doi.org/10.1017/rdc.2020.85.
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ABSTRACT Excavations of the remains of the medieval church of Santa Maria di Campogrosso (Sicily) were conducted by the Institute of Archaeology and Ethnology of the Polish Academy of Sciences as part of scientific cooperation with Soprintendenza per i Beni Culturali ed Ambientali di Palermo. Based on the records of post-medieval historians, the construction of the church was placed in the second half of the 11th century, which contradicts the findings of architectural historians, who dated the building to the 13th-century and even later. As a result of archaeological excavations carried out in 2015–2018, it was possible to locate unknown fragments of the church’s structure and the remains of the cemetery adjacent to it. The 14C dating carried out for samples obtained from the walls of the existing building as well as from bone remains from the churchyard in combination with stratigraphic information from archaeological trenches and the chronology of coins indicates a high probability of the church construction in the second half of the 12th century and confirms the end of the monastery complex existence at the end of the 13th century.
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Folgar de la Calle, M. Carmen, and Enrique Fernández Castiñeiras. "From Heyday to Ruin. The Preservation of the Liturgical Furniture from the Church of the Santa Maria de Montederramo Cirstercian Monastery (Ourense)." Estudos de Conservação e Restauro 1, no. 3 (October 23, 2013). http://dx.doi.org/10.7559/ecr.3.3116.
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Lloveras, Lluís, Josep Cruells, Anna Castellano‐Tresserra, Santiago Riera, and Jordi Nadal. "Monastic meals: The role of birds in the diet of the Poor Clares at the Monastery of Santa Maria de Pedralbes (Barcelona, Spain) from medieval to modern periods (14th‐19th centuries AD)." International Journal of Osteoarchaeology, October 20, 2022. http://dx.doi.org/10.1002/oa.3173.
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Royer, Suzana. "ALGUNOS ASPECTOS DE LAS RELACIONES ENTRE UN MONASTERIO Y SU ENTORNO: VALPARAISO." História: Questões & Debates 37, no. 2 (December 31, 2002). http://dx.doi.org/10.5380/his.v37i0.2702.
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Los monasterios medievales y sus monjes cumplieron múltiples tareas. En primer lugar, la labor espiritual de la que desgraciadamente han quedado escasos testimonios en la documentación monacal, documentación que se explaya en las relaciones de tipo económicosocial anudadas a través de la tierra, ya sean las donaciones, las permutas o las compras, para continuar con los contratos, aforos y otras formas de cesión de bienes; luego, los documentos que hablan de las relaciones de los monasterios con otras instancias religiosas, con el clero secular o con el pontificado romano; otros señalan pleitos llevados ante jueces ciudadanos o ante la justicia del rey en tanto se encuentran en disputa la posesión de montes, pastos o términos; algunos más señalan la agresión que reciben los monasterios de determinados sectores de la sociedad medieval, o por el contrario describen la admisión en los cenobios de determinada categoría de personas. A través de esta documentación es posible percibir las relaciones sociales, los contactos humanos que se establecen entre la comunidad monástica y los diferentes actores de la vida de la región: los concejos, las aldeas, los magnates y el mismo rey de Castilla. Son estos vínculos, estos lazos, el motivo del presente trabajo que supuso, desde el punto de vista metodológico, una interpretación del documento que pusiera de relieve este aspecto, que hace a la vida cotidiana del convento de Santa Maria de Valparaíso, de la orden del Císter. Este monasterio será actor principal en el acercamiento a otras instancias de la vida regional y será testigo y víctima de hechos violentos que atentaron contra su integridad física, contra la seguridad de sus miembros y que llegaron a amenazar su supervivencia como institución. Si, para la tardía Edad Media, es un lugar común hablar del eclipse de los tradicionales monasterios que florecieron en Castilla a partir de la importación de órdenes ultrapirenaicas, ello no supuso una resignación de sus funciones. En el caso del monasterio de Santa María de Valparaíso, de la diócesis de Zamora, es dable observar una mayor interacción con el entorno, que dio origen a nuevos vínculos que se anudaron entre los monjes del monasterio y las diferentes instancias de la vida medieval, tales como concejos, aldeas, nobleza, clero secular y el mismo pontificado. Abstract An interesting feature found in documentary sources of Spanish monasteries is that of the relationship forged between monks and the different social layers found in Medieval life: city groups, the nobility, secular clergy, those living in villages and peasants. One is also able to take a close look at the personal contacts between the above mentioned layers as a result of disputes or money controversies, e.g. those pertaining to the payment of taxes (or tax exemptions) and the jurisdictional boundaries. Going beyond this area of analysis, we can also see the political components in the relationship between the clergy and the nobility, or the links resulting from the use (or abuse) of power over the peasants, thus resulting in a strong hostility and eventually leading to violent uprisings. The original isolation of the Citeaux Order was thus impacted by the links born between the monks and lay people in the context of solemn ceremonies, where the traditional silence would be interrupted by those approching the monastery to ask, demand, or simply benefit fron the spiritual goods pouring of it.