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Relevant bibliographies by topics / Santa Maria Maggione (Church : Rome, Italy)

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Academic literature on the topic 'Santa Maria Maggione (Church : Rome, Italy)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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Journal articles on the topic "Santa Maria Maggione (Church : Rome, Italy)"

1

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

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

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2

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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3

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

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

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4

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

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

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5

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

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

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Dissertations / Theses on the topic "Santa Maria Maggione (Church : Rome, Italy)"

1

Matos, Michael Anton Hahn Cynthia J. "The icon of the Madonna Della Clemenza patronage, placement, purpose /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04102005-191335.

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Thesis (M.A.)--Florida State University, 2005.
Advisor: Dr. Cynthia Hahn, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vii, 70 pages. Includes bibliographical references.

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2

Kalas, Gregor A. "Sacred image, urban space image, installations, and ritual in the early medieval Roman forum /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/49623530.html.

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Books on the topic "Santa Maria Maggione (Church : Rome, Italy)"

1

Polidoro, Luca. Il Frammento liberiano: Un testimone della Raccolta aragonese nell'Archivio del Capitolo della Basilica papale di Santa Maria Maggiore. Roma: Lisanti, 2011.

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2

Roberto, Luciani, and Amato Francesco Maria, eds. Santa Maria Maggiore e Roma. Roma: F.lli Palombi, 1996.

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3

Italy) Santa Maria Maggiore (Church : Rome. Basilica di Santa Maria Maggiore: Fede e spazio sacro. Roma: Basilica papale di Santa Maria Maggiore, 2010.

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4

Paulis, Franco De, and Alba Masconi. The Basilica of St. Mary Major: Faith and sacred space. Genoa, Italy: San Giorgio Editrice, 2010.

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5

Casali, Vittorio. La basilica di Santa Maria Maggiore a Roma e i suoi dintorni. Roma: Gangemi editore SpA international publishing, 2016.

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6

vaticana, Biblioteca apostolica. Bibliothecae apostolicae vaticanae corpus manuscriptorum musicalium. Citta del Vaticano: Biblioteca apostolica vaticana, 1994.

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7

Fabrizio, Bisconti, and Nestori Aldo, eds. I mosaici paleocristiani di Santa Maria Maggiore negli acquarelli della collezione Wilpert. Città del Vaticano: Pontificio Istituto di archeologia cristiana, 2000.

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8

Aldo, Nestori, Bisconti Fabrizio, Wilpert Josef 1857-1944, and Pontificio Istituto di archeologia cristiana., eds. I mosaici paleocristiani di Santa Maria Maggiore negli acquarelli della collezione Wilpert. Città del Vaticano: Pontificio istituto di archeologia cristiana, 2000.

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9

Baraja, Juan. Santa María la Mayor: Proyecto de iluminación de la Fundación Endesa. Madrid]: Turner, 2018.

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10

Cipollone, Mario. Santa Maria Maggiore a Roma: La dimora di una regina : un palinsesto di leggende, avvenimenti e personaggi : un caleidoscopio di immagini e messaggi. Roma: Edizioni Martini Maria Cristina, 2022.

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