Relevant bibliographies by topics / Santa Maria in Monasterio (Church)

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Academic literature on the topic 'Santa Maria in Monasterio (Church)'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Santa Maria in Monasterio (Church)"

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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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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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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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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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Wang, Weiqiao. "Comparative Review of Worship Spaces in Buddhist and Cistercian Monasteries: The Three Temples of Guoqing Si (China) and the Church of the Royal Abbey of Santa Maria de Poblet (Spain)." Religions 12, no. 11 (November 8, 2021): 972. http://dx.doi.org/10.3390/rel12110972.

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Although the two parallel architectural forms, Han Buddhists and the Cistercian monasteries, seem, on the surface, to be very different—belonging to different religions, different cultural backgrounds, and different ways of construction—they share many similarities in the internal institutional model of monks’ lives and the corresponding architectural core values. The worship space plays the most significant role in both monastic life and layout. In this study, the Three Temples of Guoqing Si and the Church of the Royal Abbey of Santa Maria de Poblet are used as examples to elucidate the connotations behind the architectural forms, in order to further explore how worship spaces serve as an intermediary between deities, monks, and pilgrims. Based on field research and experience of monastic life, this comparative study highlights two fundamental similarities between the Three Temples and the Church: First, both worship spaces are derived from imperial prototypes, have a similar priority of construction, occupy the most important place in both sacred venues, and both serve as a reference for the development of monastic layout. Second, both worship spaces are composed of a similar programmed functional layout, including similar space dominators as well as itineraries. Beyond the surface similarities, this article further analyzes the reasons behind the three differences found. Due to their different understanding of deities, both worship spaces show different ways of worship, images of deities, and distances towards them.
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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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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.

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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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Dissertations / Theses on the topic "Santa Maria in Monasterio (Church)"

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Roy, Brian E. "The façade of Santa Maria Novella : architecture, context, patronage and meaning." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34772.

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This thesis is a monograph on the facade of the church of Santa Maria Novella in Florence, Italy. The present appearance of the facade is the result of three building campaigns effected over the period of two centuries (c1300--c1500), and two restorative campaigns conducted in the twentieth century. Each of the three major campaigns is considered in isolation, with attention to reconstructions, formal and comparative analyses, and extensive contextualization and discussion of patronage networks. The twentieth-century interventions are cursorily presented in an epilogue. Major themes developed and continued through the five chapters of the dissertation are: architecture and its projected meanings in late medieval and Renaissance Florence, urban organization, political structures, the Dominican order and the position of the Florentine chapter within local and international ecclesiastical, social and political structures.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.

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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /." Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.

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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Guedes, Edson Claiton. "O Seminário Seráfico Santa Maria e as tensões nas identidades sacerdotal e franciscana no pós-vaticano II (1966-1987)." Universidade Estadual de Ponta Grossa, 2018. http://tede2.uepg.br/jspui/handle/prefix/2533.

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Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-06-11T13:47:12Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Guedes, Edson.pdf: 5459690 bytes, checksum: 513dfe3b873b4dd331245e84d40918a0 (MD5)
Made available in DSpace on 2018-06-11T13:47:12Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Guedes, Edson.pdf: 5459690 bytes, checksum: 513dfe3b873b4dd331245e84d40918a0 (MD5) Previous issue date: 2018-03-27
O objetivo desta pesquisa é analisar de que maneira as tensões cotidianas no Seminário Seráfico Santa Maria, localizado em Irati, sudoeste do Paraná, expressam as dificuldades na reformulação das identidades sacerdotal e franciscana, proposta pelo Concílio Vaticano II (1962-1965). As disputas em torno das referidas identidades geraram discussões e debates na Igreja Católica, presentes nos documentos conciliares e numa extensa produção bibliográfica, e que se desdobraram em instituições como a Ordem dos Frades Menores Capuchinhos, mantenedora do Seminário Santa Maria. A partir da análise dos documentos do Concílio Vaticano II, da Ordem dos Frades Menores Capuchinhos, do Seminário Santa Maria, do estudo bibliográfico, bem como de entrevistas e fotografias, é possível perceber as competições, usos, consumos e práticas dos discursos produzidos pela hierarquia católica entre os sujeitos sociais envolvidos. Resultados revelam que as identidades não são reformuladas por decreto e que mesmo em ambientes onde prevalece a posição hierárquica, elas são ressignificadas de forma constante nos embates do cotidiano.
The objective of this research is to analyze how the daily tensions in the Santa Maria Seraphic Seminary, located in Irati, southwestern Paraná, express difficulties in the reformulation of priestly and Franciscan identities proposed by the Second Vatican Council (1962- 1965). The disputes over these identities generated discussions and debates in the Catholic Church, present in the conciliar documents and in an extensive bibliographical production, and which were deployed in institutions such as the Capuchin Order of Friars Minor, maintainer of the Santa Maria Seminary. From the analysis of the documents of the Second Vatican Council, the Order of the Capuchin Friars Minor, the Santa Maria Seminary, the bibliographic study, as well as interviews and photographs, it is possible to perceive the competitions, uses, consumptions and practices of the discourses produced by the hierarchy among the social subjects involved. Results reveal that identities are not reformulated by decree and that even in environments where the hierarchical position prevails, they are constantly re-signified in the everyday struggles.
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Flor, Pedro 1972. "O túmulo de D. João de Noronha e de D. Isabel de Sousa na Igreja de Santa Maria de Óbidos-um exemplo da tumulária renascentista em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/29848.

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Simons, Patricia. "Portraiture and patronage in quattrocento Florence with special reference to the Tornaquinci and their chapel in S. Maria Novella /." Connect to thesis, 1985. http://eprints.unimelb.edu.au/archive/00000836.

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Segobia, De Lima Da Luz Lucas. "Methodological considerations about the worksite design for the restoration project of the church of S.Maria del Torrione in Ravenna." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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The preservation of cultural heritage is, today, more than ever, a practice of remembering. Of researching the contact with the past, sometimes in very concrete forms. One of the major expressions of this linking activity is represented by the architecture, where memory becomes a visible, tangible and useful. Preserving the memory is preserving the link between our sense of civilization. Preserving, restructuring, consolidating are also productive practices, very complex ones if related with the new building productions. The practice of Restoration is very delicate and specific. This thesis aims to afford the thematic of those specificity, analyzing one case study: the Restoration of the church of Santa Maria del Torrione, in Ravenna. A little baroque church that, besides its dimensions, has the importance of a cathedral in therms of restoring the link between the objects and the city life of Ravenna.
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Moretti, Laura. "Dagli Incurabili alla Pietà : le chiese degli ospedali grandi di Venezia tra architettura e musica, 1522-1790 /." Firenze : Olschki, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017044031&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Di, Napoli Beatrice. "Modelling and safety assessment of the Santa Maria Maddalena Church, Ischia, Italy." Master's thesis, 2019. http://hdl.handle.net/1822/62506.

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Dissertação de mestrado em Structural Analysis of Monuments and Historical Constructions
The church of Santa Maria Maddalena in Casamicciola Terme, Ischia Island, Italy, represents one of the very rare examples of the particular building technique of the Borbonic Baraccato system, one of the earliest engineered earthquake resisting systems developed in Southern Italy between the 18th and 19th Centuries. Its unicity lies on the materials adopted. It presents Neapolitan yellow tuff-masonry walls embraced in iron frames, while the traditional Baraccato system utilizes embedded timber frames in the masonry texture. The church was stroke by the recent earthquake of 21st August, 2017 with epicenter in Casamicciola Terme. Though the moderately high seismic intensity of the event, the post-seismic surveys carried out in the frame of the emergency protocols did not evidence relevant structural damage thanks to the constructive system. The present work aimed at developing a better understanding of the structural behavior of the church. The scope was addressed by developing a three-dimensional numerical Finite Element Model (FEM) in order to assess the structural safety of the building under gravitational and seismic loads performing advanced numerical analyses. The modelling workflow has been guided by the following preliminary tasks which are considered mandatory to rely on the outcomes of the numerical analyses: historic review and definition of the territorial framework in terms of geology and seismicity proneness; geometrical overview of the church and description of the structural elements main features, understanding also the level of knowledge reached for the structural details; description of the observed pre- and post-seismic damage; definition of the modelling strategies to adopt in the numerical model and the material characteristics to use; modal identification of the structure through the post-processing of ambient vibration tests performed under operational conditions; calibration of the numerical model. The execution of preliminary safety assessment of the structure was carried out through the application of nonlinear static analyses to different model versions, capable of describing a possible range of responses of the building under horizontal loads. The numerical models considered for the analyses namely involved the response of the structure under the assumption of a behavior mainly governed by the non-linear response of the masonry walls, discarding the contribution of the Baraccato frames (lower-bound response), conversely a second model was analyzed by taking the response of the frames as infinitely elastic (upper-bound response). The work accomplished the full implementation of the numerical model and the performance of sensitivity analyses based on its response with regards to the uncertainties and the modelling strategies adopted. However, the refinement of the knowledge of structural details, deeper investigation of the influence of different modelling strategies for the Baracccato system, more experimental tests, and the improvement of ambient vibration tests are recommended in the scope of executing non-linear dynamic analyses that could comply with the effective observed post-seismic damage and better define the seismic safety assessment of the church.
A igreja de Santa Maria Madalena em Casamicciola Terme, Ilha de Ischia, Itália, representa um dos exemplos mais raros da singular técnica construtiva do sistema Baraccato de época Borbonica, um dos primeiros sistemas resistentes aos terramotos existentes, desenvolvidos no sul da Itália entre os séculos XVIII e XIX. A sua unicidade está nos materiais adotados. Apresenta paredes de alvenaria napolitanas de tufo amarelo envolvidas por armações de ferro, enquanto o sistema Baraccato tradicional utiliza molduras de madeira embebidas na textura de alvenaria. A igreja foi atingida pelo recente terremoto que aconteceu no dia 21 de agosto 2017 com epicentro em Casamicciola Terme. Apesar da intensidade sísmica moderadamente alta do evento, as inspeções pós-sísmicas realizadas no âmbito dos protocolos de emergência não evidenciaram danos estruturais relevantes devido ao bom funcionamento do sistema construtivo. O presente trabalho teve como objetivo obter uma melhor compreensão do comportamento estrutural da igreja. O tema foi abordado com o desenvolvimento de um modelo numérico aos elementos finitos (FEM) tridimensional para avaliar a segurança estrutural do edifício sob cargas gravitacionais e sísmicas realizando análises numéricas avançadas. O fluxo de trabalho de modelação foi guiado pelos seguintes passos preliminares que são considerados obrigatórios para validar os resultados das análises numéricas: revisão histórica e definição do quadro territorial em termos de geologia e propensão à sismicidade; visão geral geométrica da igreja e descrição das características dos elementos estruturais principais, analisando também o nível de conhecimento alcançado nos detalhes estruturais; descrição dos danos pré e pós-sísmicos observados; definição das estratégias de modelação que tem de ser adotadas no modelo numérico e as características do material utilizadas; identificação modal da estrutura através do pós-processamento de ensaios de vibrações ambientais realizados em condições operacionais; calibração do modelo numérico. A execução da avaliação preliminar de segurança da estrutura foi realizada através da aplicação das análises estáticas não lineares considerando diferentes versões de modelos capazes de descrever uma possível gama de respostas do edifício sob cargas horizontais. Os modelos numéricos considerados para as análises envolviam a resposta da estrutura sob o pressuposto de um comportamento principalmente governado pela resposta não linear das paredes de alvenaria, descartando a contribuição do esqueleto (ou armação) de Baraccato (resposta conservadora), por outro lado um segundo modelo foi analisado tomando a resposta da armação como infinitamente elástica (limite superior da resposta). O trabalho realizou a implementação completa do modelo numérico e o desempenho das análises de sensibilidade baseado na sua resposta em relação às incertezas e às estratégias adotadas durante a fase de modelagem adotadas. No entanto, o refinamento do conhecimento dos detalhes estruturais, a investigação mais profunda da influência de diferentes estratégias de modelação para o sistema Baraccato, mais ensaios experimentais e a melhoria dos ensaios de vibração ambiental são recomendados para a executar análises dinâmicas não lineares que podem validar os danos pós-sísmicos observados e mais bem definir a avaliação da segurança sísmica da igreja.
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Books on the topic "Santa Maria in Monasterio (Church)"

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Marquès i Planagumà, Josep Maria, 1939-, Pruenca i. Bayona Esteve, and Santa Maria d'Amer (Monastery : Spain), eds. Diplomatari de Santa Maria d'Amer. Barcelona: Fundació Noguera, 1995.

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Isabel, Navascués, Bello i Gener Gonzalvo, Carme., Catalunya (Spain) Servei d'Arxius, and Catholic Church. Secretariat d'Arxivers Eclesiàstics de Catalunya., eds. Inventari de l'arxiu del monestir de Santa Maria de Vallbona. Barcelona: Departament de Cultura de la Generalitat de Catalunya, 1992.

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Giandolfo, Giusy. Il Monastero di Santa Maria Annunziata di Mandanici. [Messina]: A. Siciliano, 1990.

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Guinea, Miguel Angel García. Monasterio de San Andres de Arroyo. Becerril del Carpio: Iglesia de San Vicente, Iglesia de Santa Maria. Vallespinoso de Aguilar : iglesia de Santa Cecilia. Palencia: Dpto. de Culrura, Diputación Provincial de Palencia, 1992.

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Cristiano, Riggio, ed. Le carte del Monastero di Santa Maria di Montescudaio in una trascrizione settecentesca. Pisa: ETS, 2006.

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Plamagumaà, Josep Maria Marquès i. Canònica de Santa Maria de Vilabertran: Guia històrica i arquitectònica. Barcelona: Curial Ediciones Catalanes, 1993.

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Pozzi, Alessandra. Il convento di Santa Maria della Ripa: Istruzioni per l'uso. Bergamo: Lubrina Bramani editore, 2018.

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Josep Maria Marquès i Planagumà. El cartoral de Santa Maria de Roses (segles X-XIII). Barcelona: Institut d'Estudis Catalans, 1986.

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Gómez, Carlos Alberto Rivera. Las decoraciones pictóricas murales en el monasterio de Santa Maria de las Cuevas de Sevilla: Análisis histórico y caracterización del material. Sevilla: Universidad de Sevilla, Secretariado de Publicaciones, 2007.

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editor, Ferraro Vettore Paola, ed. Santa Maria Assunta di Praglia: Storia, arte, vita di un'abbazia benedettina. Teolo (PD): Edizioni Scritti monastici, Abbazia di Praglia, 2013.

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Book chapters on the topic "Santa Maria in Monasterio (Church)"

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Planells, Ana, Jaume Segura, Arturo Barba, Salvador Cerdá, Alicia Giménez, and Rosa M. Cibrián. "Virtual Acoustic Reconstruction of the Church at the Lost Monastery of Santa Maria de la Murta." In Lecture Notes in Computer Science, 457–64. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13969-2_37.

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Serrano, P., I. Guillem, and V. Gómez. "Ray Tracing Study of the Effectiveness of Acoustic Intervention in the Church of Santa Maria De La Valldigna Monastery." In Construction and Building Research, 383–89. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7790-3_46.

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Arena, Adriana. "Church of Santa Maria Alemanna in Messina: Raimondo D’Aronco’s Surveys." In Graphical Heritage, 513–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47979-4_44.

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Gabrielli, Rossana, Marika Oprandi, Michela Boni, Antonino Libro, and Maria Luisa Laddago. "Collegiate church of Santa Maria Maggiore in Pieve di Cento." In Built Heritage in post-Disaster Scenarios, 267–82. London: CRC Press, 2024. http://dx.doi.org/10.1201/9781003253730-28.

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Bolgia, Claudia. "The new Franciscan church." In Reclaiming the Roman Capitol: Santa Maria in Aracoeli from the Altar of Augustus to the Franciscans, c. 500–1450, 146–289. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420743-5.

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Rislow, Madeline. "Sacred Signs: Genoese Portal Sculptures in the Dominican Church of Santa Maria di Castello." In Mendicant Cultures in the Medieval and Early Modern World, 183–222. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.es-eb.5.108260.

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Vasconcelos, Ana. "Álvaro Siza Vieira’s Santa Maria church: Harmony in the conflict between tradition and innovation." In Tradition and Innovation, 217–22. London: CRC Press, 2021. http://dx.doi.org/10.1201/9780429297786-32.

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Maria, S. "The 'extended' space of the Franciscan church." In Reclaiming the Roman Capitol: Santa Maria in Aracoeli from the Altar of Augustus to the Franciscans, c. 500–1450, 290–393. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420743-6.

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Schiavoni, Mattia, Gianluca Standoli, Francesca Bianconi, Ersilia Giordano, and Francesco Clementi. "Discontinuous Dynamics of Santa Maria Annunziata Church Under Seismic Loading: A Non-smooth Contact Dynamics Approach." In RILEM Bookseries, 484–93. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39450-8_40.

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Carnevali, Laura, and Fabio Lanfranchi. "Design and Graphical Analysis of the Church of Santa Maria della Misericordia in the Verano Cemetery in Rome." In Graphical Heritage, 297–309. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47983-1_27.

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Conference papers on the topic "Santa Maria in Monasterio (Church)"

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Massaro, Luigi, Luciana Di Gennaro, Mariateresa Guadagnuolo, and Giorgio Frunzio. "STRENGTHENING OF MASONRY ARCHES: THE “SANTA MARIA DELLE GRAZIE” CHURCH." In 9th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research National Technical University of Athens, 2023. http://dx.doi.org/10.7712/120123.10567.20441.

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Condoleo, Paola, Luca Pezzoli, and Alberto Taliercio. "The church of Santa Maria Elisabetta in Peia (Italy): From history to structural issues." In The 10th International Conference on Structural Analysis of Historical Constructions, SAHC 2016. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315616995-250.

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Leucci, Giovanni, Lara De Giorgi, Ivan Ferrari, Francesco Giuri, Lucrezia Longhitano, Alberto Felici, and Cristiano Riminesi. "Non destructive diagnosis at the Brancacci Chapel, Church of Santa Maria del Carmine (Florence)." In 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest: IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.098.

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Fernández Mora, Víctor, and Carles Boigues. "Old methods for new solutions: Historical restoration of Santa Maria la Mayor church in Rubielos de Mora." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15236.

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The main goal of the patrimonial intervention in Santa Maria la Mayor, the main church of Rubielos de Mora in Spain, has a clear focus on eliminating the humidity coming from the subsoil and its related pathologies. These problems are inherent to the building’s structure. Many historical buildings’ foundations and walls directly contact the soil, creating a common cause for different pathologies. In our study case, this is aggravated as the church has been built on a ravine with flowing water.The solution for the new pavement needs to solve two problems. On the one hand, a technical one to solve water access inside the church and its pathologies. On the other hand, a geometrical one, to solve a geometrically accurate mesh of industrial cut stone pavement with the irregular geometry of the church. Historically we can find different individual solutions for these problems. The presented solution comes from a different starting point to unite both problems as one, as they are related.Historically, churches were built based on layouts that tried to solve with the same method different and diverse problems. These layouts looked for spatial harmony and proportions across the church, sizing the structural elements based on numerical relationships. Iconic shapes reference iconic meanings and links between the physical and the metaphysical world, where every element found its exact place.Following this train of thought laid by the master builders who predeceased us, the solution must be unique, coherent, and based upon the church layout. The new pavement fuses the old and the new, creating a contemporary solution for historical problems, employing historical methods with current technology. It solves humidity and geometry with a mutual solution for Santa Maria la Mayor.
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Mariz, Vera. "Restoration of historic monuments as utopia: The bell tower(s) of Santa Maria de Belém church." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-36.

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Casapulla, Claudia, Francesca Ceroni, Carlo Rainieri, L. U. Argiento, P. Arcamone, and Giovanni Fabbrocino. "STRUCTURAL ASSESSMENT OF SANTA MARIA MADDALENA CHURCH IN ISCHIA ISLAND (ITALY) BY EXPERIMENTAL MODAL ANALYSIS UNDER OPERATIONAL CONDITIONS." In 7th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research School of Civil Engineering National Technical University of Athens (NTUA) Greece, 2019. http://dx.doi.org/10.7712/120119.7040.19382.

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Sfarra, S., A. Bendada, C. Ibarra-Castanedo, D. Ambrosini, D. Paoletti, and X. Maldague. "Discovering the mysteries of the Santa Maria di Collemaggio Church (L''Aquila, Italy) by non-destructive testing techniques." In 2012 Quantitative InfraRed Thermography. QIRT Council, 2012. http://dx.doi.org/10.21611/qirt.2012.127.

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Colica, Emanuele, Giovanni Leucci, Giorgio Rizzo, Sebastiano D'Amico, Lara De Giorgi, Raffaele Persico, Luciano Galone, and Lucrezia Longhitano. "GPR and passive seismic investigations in the church of Santa Maria delle Grazie at Campi Salentina (Lecce, Italy)." In 2021 11th International Workshop on Advanced Ground Penetrating Radar (IWAGPR). IEEE, 2021. http://dx.doi.org/10.1109/iwagpr50767.2021.9843185.

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Micheloni, Michelangelo, Anna Livia Ciuffreda, Gabriela Simoni, and Federico Salvini. "THE CHURCH OF SANTA MARIA DELLE GRAZIE AL CALCINAIO: FROM DIAGNOSTIC STUDIES TO ARCHITECTURAL AND STRUCTURAL REHABILITATION PROJECT." In 9th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research National Technical University of Athens, 2023. http://dx.doi.org/10.7712/120123.10758.20785.

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Di Napoli, B., M. Ciocci, T. Celano, P. Lourenço, and C. Casapulla. "Calibration of a FEM Model with Complex Geometry: the Case Study of Santa Maria Maddalena Church in Ischia, Italy." In 12th International Conference on Structural Analysis of Historical Constructions. CIMNE, 2021. http://dx.doi.org/10.23967/sahc.2021.042.

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