Gotowa bibliografia na temat „Santa Maria (Cistercian Abbey)”

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.

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.

Abstract: The renewed academic interest in religious women has not resulted in any overarching or detailed study of Latium. A thorough historiography is still lacking for the region's late medieval convents. This is surprising as the region was densely populated by female monastic settlements between the thirteenth and fourteenth centuries. An emblematic case in this regard is the convent of Santa Maria in Viano in Sgurgola (Frosinone). By the fourteenth century, almost half of the Conti family estate in Sgurgola was owned by the nunnery of Santa Maria in Viano. The convent played a pivotal role in shifting the delicate power balance between feudal lords in the region. What emerges is the prominent and strategic role of female monastic communities whose political agency casts a new light on an overlooked but historically dynamic period. Rural monastic settlements functioned as strategic frontiers, which were crucial to regional baronial land interests during the earlier period. Unsurprisingly, the presence of innovative architectural and artistic elements inside the church of Santa Maria in Viano also showcases the synthesis of Cistercian architectural models and local building traditions.

This article uses analytical concepts from cognitive science to explore and deepen our understanding of how medieval monastics imagined themselves as characters within biblical narratives. It argues that Cistercian monks - and in particular Bernard of Clairvaux - used techniques of imaginative immersion to enter and blend themselves into biblical viewpoints and events, thereby engaging the monks in epistemically and personally transformative experiences. The article concludes that this served to build community and to enculture monks and converts. Specifically, the article offers a close reading of two of Bernard's liturgical sermons, Sermon Two for Palm Sunday and Sermon Two on the Resurrection, to show how his sermons 1) traverse time and space and 2) blend viewpoints. Examples are also taken from texts by John Cassian, Augustine, Gregory the Great, and William of St. Thierry. Keywords: Bernard of Clairvaux, blended viewpoint, deictic displacement, lectio divina, liturgical time and space. 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.

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.

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.

Quentin Metsys and Italy : Pictures of a Trip The hypothesis that Quentin Metsys went for a trip to Italy has only been suggested by Limentani Virdis, who gives the painter the authorship of the fresco in the Oratory of Santa Maria di Rovegnano Abbey. Beyond its Italian features, the master of Antwerp’s artistic production shows proximity to Leonardo’s painting, both in the use of iconography of grotesque and in the sentimentalism expressed in depictions of the Madonna and Child, hardly explainable since there is not a direct, even short, experience in the peninsula. It is therefore possible that Metsys saw Italy with his own eyes : Ecce Homo of Venice could corroborate this hypothesis, a trait d’union between Erasmus, Metsys, Cardinal Grimani and Italy.

RESUMEN Este trabajo recupera la historia de la botica del monasterio cisterciense de La Oliva desde su fundación en el siglo xvi hasta su definitiva desaparición en el xix. Aunque nada queda de aquella botica, los documentos acreditan que tuvo un desarrollo y funcionamiento acorde con la importancia de la abadía, atendiendo la salud de la comunidad monástica y de sus criados, así como de los vecinos de varios pueblos colindantes y otras personas necesitadas. Finalmente se transcribe y analiza el inventario de fármacos y efectos de la botica, confiscados y entregados al Cuerpo de Sanidad Militar (Farmacia) en 1836 tras la desamortización de Mendizábal. LABURPENA Lan honek La Olivako monasterio zistertarreko botikaren historia berreskuratzen du, xvi. mendean sortu zenetik xix. mendean behin betiko desagertu zen arte. Botika haren ezer geratzen ez den arren, dokumentuek frogatzen dute abadiaren garrantziaren araberako garapena eta funtzionamendua izan zuela, komunitate monastikoaren eta haren morroien osasuna zainduz, baita inguruko herrietako bizilagunena eta beste pertsona behartsu batzuena ere. Azkenik, Mendizabalen desamortizazioaren ondoren 1836an konfiskatu eta Farmazia Militarrari emandako botiken eta botikako gauzen inbentarioa transkribatzen eta aztertzen da. ABSTRACT This paper retrieves the history of the apothecary of the Cistercian monastery of La Oliva since its establishment in the 16th century until its final disappearance in the 19th century. Nothing remains of that apothecary but some documents prove that it had a development and was operated in accordance with the importance of the abbey, by taking care of the health of the monastic community and its servants, as well as of the neighbours of several neighbouring towns and other needy people Finally, the inventory of drugs and effects of the apothecary is transcribed and analyzed, confiscated and delivered to the Military Pharmacy in 1836 after the confiscation of Mendizábal.

Countess Urraca Lope de Haro was the daughter of the noble Lord Diego Lope de Haro, friend and advisor to King Alfonso VIII of Castilla-León and granddaughter of Lord Lope Díaz de Haro and Lady Aldonza Ruiz de Castro, aristocratic courtiers as well as popular monastic patrons. As a young and wealthy widow, Countess Urraca took monastic vows at the Cistercian nunnery of Santa María de Cañas founded by her grandparents. Within a short time of uniting herself to this monastery, she was chosen as its fourth abbess in 1225, a position she held for thirty-seven years until her death in 1262. Following the tradition of monastic patronage established by her noble family members, Countess Urraca expanded the monastery's small real estate holdings, oversaw extensive building projects to create permanent structures for the nunnery, and patronized artistic projects including statuettes of the Virgin Mary and St. Peter in addition to her own decorative stone sarcophagus during her term as abbess. This thesis examines the artistic decoration and architectural patronage of this powerful woman and the influences she incorporated into the monastic structures at Cañas as she oversaw their construction. In dating the original buildings of the monastery at Cañas to the period of Countess Urraca's leadership, the predominant architectural features and decorative details of female Cistercian foundations in northern Spain are discussed. Comparisons with additional thirteenth-century Cistercian monasteries from the same region in northern Spain are offered to demonstrate the artistic connections with the structures Countess Urraca patronized. In addition, this thesis examines Countess Urraca's obvious devotion to the Virgin Mary and St. Peter by considering the medieval monastic world in which she lived and the strong emphasis the Cistercian Order placed on such worship practices. The potent spiritual connections Countess Urraca made by commissioning images of essential, holy intercessors testifies to her devotion to them and the powerful salvatory role she herself played in the lives of the nuns for whom she was responsible. As a nun and abbess, Countess Urraca was urged to emulate Mary's mothering, nurturing qualities, and, as she did so was simultaneously empowered by the Virgin's heavenly authority as administrator of mercy. Indeed, through studying her art it is clear that she saw herself as an intercessor on behalf of the nuns for whom she was responsible. Furthermore, discussion of the imagery displayed on Countess Urraca's decorative stone sarcophagus demonstrates not only a similar message of salvation through intercessors such as Peter and Mary, but also testifies of Abbess Urraca's aristocratic lineage. Through this artistic commission, the Abbess creates another direct, personal link between herself and the Virgin by including the symbol of the rosary throughout the iconography of her tomb. Such a symbol represents her devotion to Mary as Queen of Heaven and simultaneously empowers Countess Urraca as an intercessor herself. All of these architectural and artistic commissions confirm that she was a powerful woman who wielded a great deal of influence.

La recherche porte sur l'étude historique et architecturale de l'église de Sainte-Marie-Majeure à Ferentino (province de Frosinone, Italie), l'un des plus importants édifices construits dans le Latium méridional au XIIIe siècle. Le contexte scientifique montre d'énormes désaccords relatifs à la période d'édification et, par conséquent, aux différentes références culturelles ayant inspiré l'architecture de l'église, à partir des abbayes de Fossanova (1208) et Casamari (1217). D'autre part, en raison de la rareté des sources médiévales qui nous sont parvenues, nous ne connaissons pas avec précision la chronologie relative et absolue du bâtiment. Le texte de synthèse, qui est supporté de deux volumes supplémentaires rassemblant les sources iconographiques et toute la documentation écrite (inédite ou non) sur Sainte-Marie-Majeure, se compose de trois parties. Après avoir retracé l'histoire de l'église, depuis ses origines jusqu'aux dernières restaurations, à partir de l'exposé critique de questions historiographiques, l'architecture de l'édifice et ses principales phases de construction sont analysées de manière exhaustive. Enfin, la dernière section contextualise notre étude de cas dans le cadre du renouvellement architectural du Latium méridional et, plus largement, dans l'histoire de l'architecture médiévale, sans se limiter à l'Italie. En sélectionnant tel édifice-clé, constituant un exemplum sous le point de vue architectural, la recherche a spécifié les modalités de réception et de transmission des modèles provenant de la Bourgogne et de l'Ile-de-France à l'architecture religieuse et civile dans la province ecclésiastique de Campagna et Marittima au XIIIe siècle
My research deals with the historical and architectural study of Santa Maria Maggiore in Ferentino (in the modern province of Frosinone), one of the most important buildings erected in southern Lazio during the thirteenth century. The existing scholarship on the church was out of date and suffered from large gaps that left the history of its construction unexplained. Neither the date of the site‟s foundation nor that of its completion are known because of the lack of medieval documentary sources. Consequently, the main disagreements about Santa Maria Maggiore had concerned the sources of inspiration for its architecture, as scholars generally compared it to the model of the Cistercian abbeys of Fossanova (1208) and Casamari (1217). My dissertation is accompanied by two additional volumes containing the images supporting the text and a catalogue of written sources including unpublished archival documents, and it is divided into three parts. The first traces the entire history of the building and begins with a critical exposition of related historiographical issues. The second section exhaustively analyses the architecture of the church and its building phases by reconciling documentary evidence and visual analysis of the church. The third section contextualizes the design of Santa Maria Maggiore within the territory of southern Lazio and the panorama of "Cistercian" architecture. By taking this exemplary monument as its subject, my research demonstrates the complex reception of architectural models from Burgundy and the Ile-de-France, analysing their subsequent reworkings in thirteenth-century religious and civil architecture in the ecclesiastical province of Campagna and Marittima
La ricerca affronta lo studio storico-critico della chiesa di Santa Maria Maggiore a Ferentino (FR), uno dei più importanti edifici costruiti nel Lazio meridionale durante il XIII secolo. Nonostante sia stata dichiarata Monumento Nazionale nel 1884, non era mai stata oggetto di uno studio sistematico ed è ancora oggi pressoché inedita. Il contesto scientifico, ormai desueto, soffre di grandi lacune sulle vicende costruttive della fabbrica, di cui non sono note né la data di fondazione né quella di completamento del cantiere a causa della scarsità di fonti documentarie medievali. Di conseguenza, i principali disaccordi hanno riguardato le influenze culturali fonte d‟ispirazione per l‟architettura di Santa Maria Maggiore, troppo genericamente ricondotte al modello delle abbaziali cistercensi di Fossanova (1208) e Casamari (1217). La dissertazione, accompagnata da due volumi supplementari che contengono le immagini di supporto al testo e il repertorio delle fonti documentarie, è suddivisa in tre parti: quella iniziale ripercorre l‟intera storia dell‟edificio a partire dall‟esposizione critica delle questioni storiografiche; la seconda sezione analizza in modo esaustivo l‟architettura della fabbrica e le fasi edilizie riconosciute; la terza parte, infine, contestualizza il caso studio nel quadro del Lazio meridionale e nel panorama dell‟architettura “cistercense”. Estendendo il campo di indagine, il lavoro ha acquisito un valore a scala territoriale poiché la ricostruzione delle vicende edilizie di Santa Maria Maggiore ha permesso l‟istituzione di raffronti con diverse altre architetture coeve sia italiane che francesi, al di là dei due magniloquenti monasteri di Fossanova e Casamari. A questi ultimi, infatti, la storiografia ha attribuito da sempre un ruolo privilegiato nell‟introduzione del linguaggio gotico ultramontano nel territorio a sud di Roma, di cui la chiesa ferentinese rappresenta una derivazione locale. Selezionando tale exemplum, la ricerca ha precisato le modalità di accoglienza dei modelli provenienti dalla Borgogna e dall‟Ilede-France, rintracciando le successive rielaborazioni nell‟edilizia duecentesca sia religiosa che civile nella Provincia ecclesiastica di Campagna e Marittima

The stratigraphic analysis of the masonries has been variously used to interpret the construction phases of the historical buildings of different eras and has assumed the contours of a consolidated method. In this chapter the stratigraphic analysis of a portion of an important and exemplary architectural complex of southern Piedmont (the church of the medieval Staffarda Abbey) will be presented highlighting two relevant objectives. The first aim concerns the methods of investigation: the deep observation of the signs of alteration of the masonries has been flanked by 3D modeling methods generated by integrated photogrammetric and lidar techniques, and the representation of the stratigraphic units has been realized through the support of GIS technology. The connection between 3D surveys and historical documents and the direct reading on the constructive elements and its 3D models, allowed the rewriting and new interpretation of the construction phases of the Santa Maria Church, previously unknown.