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Artículos de revistas sobre el tema "Sacro Monte di Varallo"

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Autor: Grafiati
Publicado: 14 de marzo de 2023

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1

Acuto, Greta. "Communicating a conservation-restoration project: The case of Chapel of ‘the original sin’ at the Sacro Monte di Varallo". Protection of Cultural Heritage, n.º 13 (7 de enero de 2023): 37–50. http://dx.doi.org/10.35784/odk.2943.

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The Sacro Monte di Varallo (Sacro Monte of Varallo) is a natural reserve and religious place near Monte Rosa, Piedmont (Italy). Some of the greatest artists of the time worked there to create a representation of the places and events of Christ life with life-size statues and mural paintings, starting from the 15th century. The Conservation and Restoration Center 'La Venaria Reale' carried out a model conservation-restoration project focusing on the conservation of Chapel 1 (which represents the Original Sin). This project was developed as a case study efforts to properly communicate the conservation-restoration issued and the work carried out to different audiences. This initiative is part of a broader project, the Interreg Italy-Switzerland 'Main10ance', which aims to develop a sustainable conservation program for the UNESCO Sacro Montes. Communication was carried out on several levels, based on the interest of visitors, through the following avenues:1 - explanatory panels near Chapel 1;2 – explanatory tours with conservators and other professionals;3 – creation of website with information, insights and news dedicated to the work in progress.To create a more effective and engaging communication, information relating to visitors was collected. The public was grouped according to different characteristics in three public targets: Children; Adult; and Blind people. For each, a reference guidelines and a specific narrative was developed:• to involve children it was decided to use games;• to address adults, it was decided to focus the discussion on the frequently asked questions posed by visitors;• to bring the blind public closer, an evocative visit was proposed. Mock-ups were prepared to give the possibility to touch them, in order to make people understand the difference between surface in good condition and in degraded state.
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2

Piqué, Francesca y Giacinta Jean. "ETHICAL CHALLENGES IN THE CONSERVATION OF THE WALL PAINTINGS OF CHAPEL 11 AT THE SACRO MONTE DI VARALLO". Protection of Cultural Heritage, n.º 8 (20 de diciembre de 2019): 255–68. http://dx.doi.org/10.35784/odk.1092.

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Chapel 11 is one of the 45 chapels of the Sacro Monte di Varallo. It is decorated with 16th century polychrome terracotta statues and wall paintings representing the Massacre of the Innocents. Since 2015, the University of Applied Sciences and Arts of Southern Switzerland (SUPSI) is in charge of its conservation. Up-close examination of the wall paintings allowed to observe the presence of overpainting, which were evaluated to have no aesthetical and/or technical quality. During the study phase and with preliminary tests for treatment development, it became clear that the removal of this overpaint was risky for the underlying original decoration. Moreover, it was not possible to determine if under the overpainting there was the original layer and in what condition it was. Although IR Reflectography showed the presence of underdrawings, this information did not always coincided with the presence of a paint layer. Considering that the overpainting covers about 80% of the surface, SUPSI strongly advised against embarking on its removal. This conclusion was achieved after several removal attempts and through regular communication meeting with the stakeholders aimed at illustrating the situation and the results achieved. SUPSI considered more ethical to focus on the development of a ‚reversible’ stabilization intervention considering that in the future new technologies (to assess the presence of paintings below and to remove overpainting) could make the recovery of what remains of the original decoration easier.This paper describes the project in terms of the ethical challenges faced when conflicting expectations about the project arised.
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3

David Karmon. "The Sacro Monte at Varallo and the Choreography of an Olfactory Landscape". Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 13, n.º 2 (2016): 57. http://dx.doi.org/10.5749/futuante.13.2.0057.

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4

Leatherbarrow, David. "The Image and Its Setting: A Study of the Sacro Monte at Varallo". Res: Anthropology and Aesthetics 14 (septiembre de 1987): 107–22. http://dx.doi.org/10.1086/resv14n1ms20166777.

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5

Manino, Federico y Ursula Zich. "The Narration Project. Skiagraphic Reading of the Ecce Homo Chapel at the Sacro Monte at Varallo". Proceedings 1, n.º 9 (24 de noviembre de 2017): 1095. http://dx.doi.org/10.3390/proceedings1091095.

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6

Gill, Rebecca M. "Conception and Construction: Galeazzo Alessi and the Use of Drawings in Sixteenth-Century Architectural Practice". Architectural History 59 (2016): 181–219. http://dx.doi.org/10.1017/arh.2016.6.

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AbstractThis article examines drawings associated with the sixteenth-century Italian architect, Galeazzo Alessi, focusing primarily on two important collections: the 112 folios held in the Biblioteca Ambrosiana in Milan for the Milanese church of S. Maria presso S. Celso and the so-called Libro dei Misteri in Varallo's Biblioteca Civica, which contains 318 drawings for the pilgrimage site of the Sacro Monte there. By comparing Alessi's handwriting and drawing style across a variety of different letters and drawings present in archives in Genoa, Milan and Varallo, it is argued that all the drawings held in the Biblioteca Ambrosiana folder and in the Libro dei Misteri must be the work of Alessi himself. The article then moves on to a discussion of Alessi's use of drawings in his practice and the developing role of the architect in the sixteenth century , which, it is argued, was increasingly defined by the ability of the architect to invent and to draw rather than to build.
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7

Formia, Alessandra, Chiara Letizia Serra, Marco Zerbinatti y Jean-Marc Tulliani. "The plasters of the Sacro Monte of Varallo Sesia. From the characterisation to the proposition of a restorative mix". Case Studies in Construction Materials 1 (2014): 46–52. http://dx.doi.org/10.1016/j.cscm.2014.04.001.

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8

Brodie, Nicholas Dean. "Jerusalem in the Alps: The Sacro Monte of Varallo and the Sanctuaries of North-Western Italy by Geoffrey Symcox". Parergon 39, n.º 2 (2022): 170–71. http://dx.doi.org/10.1353/pgn.2022.0074.

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9

Sarnecka, Zuzanna. "Experiencing La Verna at Home: Italian Sixteenth-Century Maiolica Sanctuaries and Chapels". Religions 11, n.º 1 (20 de diciembre de 2019): 6. http://dx.doi.org/10.3390/rel11010006.

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The present study describes the function of small-scale maiolica sanctuaries and chapels created in Italy in the sixteenth century. The so-called eremi encouraged a multisensory engagement of the faithful with complex structures that included receptacles for holy water, openings for the burning of incense, and moveable parts. They depicted a saint contemplating a crucifix or a book in a landscape and, as such, they provided a model for everyday pious life. Although they were less lifelike than the full-size recreations of holy sites, such as the Sacro Monte in Varallo, they had the significant advantage of allowing more spontaneous handling. The reduced scale made the objects portable and stimulated a more immediate pious experience. It seems likely that they formed part of an intimate and private setting. The focused attention given here to works by mostly anonymous artists reveals new categories of analysis, such as their religious efficacy. This allows discussion of these neglected artworks from a more positive perspective, in which their spiritual significance, technical accomplishment and functionality come to the fore.
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10

Ponciano, Jean-Jacques, Claire Prudhomme y Frank Boochs. "From Acquisition to Presentation—The Potential of Semantics to Support the Safeguard of Cultural Heritage". Remote Sensing 13, n.º 11 (7 de junio de 2021): 2226. http://dx.doi.org/10.3390/rs13112226.

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The signature of the 2019 Declaration of Cooperation on advancing the digitization of cultural heritage in Europe shows the important role that the 3D digitization process plays in the safeguard and sustainability of cultural heritage. The digitization also aims at sharing and presenting cultural heritage. However, the processing steps of data acquisition to its presentation requires an interdisciplinary collaboration, where understanding and collaborative work is difficult due to the presence of different expert knowledge involved. This study proposes an end-to-end method from the cultural data acquisition to its presentation thanks to explicit semantics representing the different fields of expert knowledge intervening in this process. This method is composed of three knowledge-based processing steps: (i) a recommendation process of acquisition technology to support cultural data acquisition; (ii) an object recognition process to structure the unstructured acquired data; and (iii) an enrichment process based on Linked Open Data to document cultural objects with further information, such as geospatial, cultural, and historical information. The proposed method was applied in two case studies concerning the watermills of Ephesos terrace house 2 and the first Sacro Monte chapel in Varallo. These application cases show the proposed method’s ability to recognize and document digitized cultural objects in different contexts thanks to the semantics.
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11

Lasansky, D. Medina. "The “Catholic Grotesque” at the Sacro Monte of Varallo: the Protestant aversion to a graphic space during the late 19th and early 20th centuries". Senses and Society 12, n.º 3 (2 de septiembre de 2017): 317–32. http://dx.doi.org/10.1080/17458927.2017.1376473.

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12

Babich, Babette. "Genius Loci - Lo spazio scolpito e il mistero di Nietzsche, Lou e il Sacro Monte". Rivista di estetica, n.º 53 (1 de junio de 2013): 235–62. http://dx.doi.org/10.4000/estetica.1579.

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13

Panzanelli, Roberta. "Jerusalem in the Alps: The Sacro Monte of Varallo and the Sanctuaries of North-Western Italy. Geoffrey Symcox. Cursor Mundi 37. Turnhout: Brepols, 2019. xii + 310 pp. €85." Renaissance Quarterly 73, n.º 3 (2020): 1084–85. http://dx.doi.org/10.1017/rqx.2020.182.

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14

Lingua, A., F. Noardo, A. Spanò, S. Sanna y F. Matrone. "3D MODEL GENERATION USING OBLIQUE IMAGES ACQUIRED BY UAV". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-4/W2 (5 de julio de 2017): 107–15. http://dx.doi.org/10.5194/isprs-archives-xlii-4-w2-107-2017.

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In recent years, many studies revealed the advantages of using airborne oblique images for obtaining improved 3D city models (including façades and building footprints). Here the acquisition and use of oblique images from a low cost and open source Unmanned Aerial Vehicle (UAV) for the 3D high-level-of-detail reconstruction of historical architectures is evaluated. The critical issues of such acquisitions (flight planning strategies, ground control points distribution, etc.) are described. Several problems should be considered in the flight planning: best approach to cover the whole object with the minimum time of flight; visibility of vertical structures; occlusions due to the context; acquisition of all the parts of the objects (the closest and the farthest) with similar resolution; suitable camera inclination, and so on. In this paper a solution is proposed in order to acquire oblique images with one only flight. The data processing was realized using Structure-from-Motion-based approach for point cloud generation using dense image-matching algorithms implemented in an open source software. The achieved results are analysed considering some check points and some reference LiDAR data. The system was tested for surveying a historical architectonical complex: the “Sacro Mo nte di Varallo Sesia” in north-west of Italy. This study demonstrates that the use of oblique images acquired from a low cost UAV system and processed through an open source software is an effective methodology to survey cultural heritage, characterized by limited accessibility, need for detail and rapidity of the acquisition phase, and often reduced budgets.
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15

Terpstra, Nicholas. "Jerusalem in the Alps. The Sacro Monte of Varallo and the sanctuaries of north-western Italy. By Geoffrey Symcox. (Cursor Mundi.) Pp. xii + 313 incl. 57 colour and black-and-white ills and 2 maps. Turnhout: Brepols, 2019. €85. 978 2 503 58057 9". Journal of Ecclesiastical History 71, n.º 4 (octubre de 2020): 849–50. http://dx.doi.org/10.1017/s0022046920001402.

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16

Terry-Fritsch, Allie. "Performing the renaissance body and mind: somaesthetic style and devotional practice at the Sacro Monte di Varallo". Open Arts Journal, n.º 4 (febrero de 2015). http://dx.doi.org/10.5456/issn.2050-3679/2015w07.

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17

Bell, Margaret F. "Image as Relic: Bodily Vision and the Reconstitution of Viewer/Image Relationships at the Sacro Monte di Varallo". California Italian Studies 5, n.º 1 (2014). http://dx.doi.org/10.5070/c351022540.

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18

Wolfzettel, Friedrich. "Berg(-Landschaft) bei Dante – mit einem Ausblick auf Boccaccio". Deutsches Dante-Jahrbuch 92, n.º 1 (26 de octubre de 2017). http://dx.doi.org/10.1515/dante-2017-0007.

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RiassuntoNella sua concezione del monte del Purgatorio Dante sembra voler ignorare deliberatamente la lunga tradizione di un purgatorio infernale descritta da Jacques Le Goff, per riallacciarsi invece alla tradizione del monte sacro dell’Antico e del Nuovo Testamento. Non a caso, il monte del Purgatorio è coronato dal Paradiso Terrestre. La nuova posizione del monte al confine del mondo, a differenza della tradizione medievale, sottolinea pure la novità di una concezione quasi reale della montagna sacra la cui ascensione viene descritta con un realismo dinamico inaudito fino ad allora. Ma la »montagna bruna« descritta alla fine del celebre canto XXVI dell’Inferno funge anche da simbolo della verticalità tipica della cultura medievale che il grande dantista Giovanni Boccaccio non potrà accettare. Il ripudio della montagna - a favore di un paesaggio erotico della pianura umida e soleggiata - sarà dunque una caratteristica di tutta la sua opera fino al Decameron. Però, alla fine della sua vita, l’autore riprenderà il motivo del monte sacro di Dante per farne, nella sua visione satirica intitolata Corbaccio, il simbolo di una nuova libertà intellettuale nei confronti delle tentazioni erotiche e della schiavitù della carne. Si tratta però di un tentativo di autoliberazione a spese del dinamismo e del realismo della rappresentazione dantesca: il progresso intellettuale viene contrariato dal regresso estetico.
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19

"Giancarlo Andenna, ed., Religiosità e civiltà: Le comunicazioni simboliche (secoli IX–XIII). Atti del Convegno Internazionale, Domodossola, Sacro Monte e Castello di Mattarella, 20–23 settembre 2007. Index by Elisabetta Filippini. (Storia, Ricerche.) Milan: Vita e Pensiero, 2009. Paper. Pp. xvi, 460; black-and-white figures. €35." Speculum 86, n.º 1 (enero de 2011): 291. http://dx.doi.org/10.1017/s0038713410003520.

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