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Добірка наукової літератури з теми "Rome (Italy). Basilica Costantiniana"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "Rome (Italy). Basilica Costantiniana"

1

Coates-Stephens, Robert. "Dark age architecture in Rome." Papers of the British School at Rome 65 (November 1997): 177–232. http://dx.doi.org/10.1017/s0068246200010631.

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ARCHITETTURA DELLA DARK AGE A ROMANonostante un notevole numero di recenti scavi e ricerche, la visione generalmente accettata dell'architettura della Roma alto medievale resta quella di Richard Krautheimer. Il suo quadro ciclico consiste di una serie di fasi distinte che vanno dalla ‘basilica costantiniana a forma di T’, attraverso il ‘rinascimento sistino’ della metà del quinto secolo, al periodo bizantino del sesto e dell'inizio del settimo secolo, seguito dalla ‘Dark Age’ della durata di un secolo, ed infine, dal tardo ottavo secolo, il ‘rinascimento carolingio’. L'architettura del decimo secolo resta sconosciuta. Un chiaro contrasto viene delineato tra le tendenze occidentali e classicizzanti e quelle bizantine, tipicamente orientali, ed anche tra la minima attività dei periodi 640-772 e 860-1000 — le due dark ages — e la prolifica attività costruttiva del periodo carolingio. Quest'articolo fornisce dati sulle costruzioni del periodo, finora trascurato, delle due dark ages. Un corpus di chiese è presentato; questo si basa in parte su una nuova lettura delle notizie costruttive del Liber Pontificalis (640–772), ed anche sulle variegate ma scarse informazioni storiche sulle chiese del decimo secolo, così come sulle descrizioni degli oramai scomparsi palazzi del sedicesimo secolo e dei periodi successivi. Molte nuove informazioni derivanti da rilevamenti e recenti ricerche archeologiche viene presentata per specifici monumenti quali San Giorgio in Velabro, San Gregorio Nazianzeno, San Tommaso in Formis e San Cosimato. I risultati mostrano una sostanziale continuità di attività architettoniche in entrambi i periodi. L'accelerato programma costruttivo del cosiddetto ‘rinascimento carolingio’ sembra esser cominciato durante il pontificato di Gregorio III (731–41), e molte delle distinzioni, finora considerate chiare, tra l'architettura ‘carolingia’ e quella ‘orientale’ vengono messe in dubbio. Il decimo secolo si rivela essere un periodo di notevole attività, per lo più derivante da finanziamento privato.
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2

Kalas, Gregor. "Architecture and élite identity in late antique Rome: appropriating the past at Sant'Andrea Catabarbara." Papers of the British School at Rome 81 (September 26, 2013): 279–302. http://dx.doi.org/10.1017/s0068246213000111.

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The conversion of a fourth-century secular basilica into the church of Sant'Andrea Catabarbara in Rome during the 470s invites a discussion of how architectural adaptation contributed to the identity of its restorer, Valila. More than a century after the praetorian prefect of Italy, Junius Bassus, founded the basilica in 331, a Goth named Valila, belonging to the senatorial aristocracy, bequeathed the structure to Pope Simplicius (468–83). References to Valila's last will in the church's dedicatory inscription were inserted directly above Junius Bassus's original donation inscription, inviting reflections upon the transmission of élite status from one individual to another. The particularities of Valila's legacy as a testator, as indicated in the references to his will in the Sant'Andrea Catabarbara inscription and confirmed by a charter he wrote to support a church near Tivoli, suggest that he sought to control his lasting memory through patronage. Valila's concern for a posthumous status provides a context for interpreting the interior of the Roman church. Juxtaposed to the church's fifth-century apse mosaic were opus sectile panels depicting Junius Bassus, together with scenes of an Apollonian tripod and an illustration of the exposed body of Hylas raped by two nymphs originating from the earliest phase of the basilica. The article proposes that Valila nuanced his élite identity by preserving the fourth-century images and thereby hinted that preservation fostered both the accretion of physical layers and the accrual of multiple identities by a Gothic aristocrat in Rome.
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3

TANGARI, NICOLA. "Mensural and polyphonic music of the fourteenth century and a new source for the Credo of Tournai in a gradual of the Basilica di Santa Maria Maggiore in Rome." Plainsong and Medieval Music 24, no. 1 (April 2015): 25–69. http://dx.doi.org/10.1017/s0961137115000029.

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ABSTRACTAn early fourteenth-century gradual produced for use in Avignon and today preserved in Rome at the Basilica di Santa Maria Maggiore is a new source for understanding the musical and liturgical exchange between France and Italy in the fourteenth century. The present article will consider compositions written after the main body of the gradual, and found now in the initial fascicle and on the last three folios of the manuscript. These folios contain a hitherto unknown source for the Credo of Tournai as well as other works not recorded elsewhere; for example, a polyphonic Gloria, a polyphonic Credo, a troped Sanctus and a Credo in cantus fractus.
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4

Cardarelli, Ettore, and Gerardina Di Filippo. "Integrated geophysical methods for the characterisation of an archaeological site (Massenzio Basilica — Roman forum, Rome, Italy)." Journal of Applied Geophysics 68, no. 4 (August 2009): 508–21. http://dx.doi.org/10.1016/j.jappgeo.2009.02.009.

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5

Chiabrando, Filiberto, Dario Piatti, and Fulvio Rinaudo. "Multi-Scale Modeling of the Basilica of San Pietro in Tuscania (Italy). From 3D Data to 2D Representation." Geoinformatics FCE CTU 6 (December 21, 2011): 300–306. http://dx.doi.org/10.14311/gi.6.37.

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The Basilica of San Pietro is a Romanic architecture located in the municipality of Tuscania in the Lazio Region about 100 km far from Rome. In 1971 the apse dome collapsed during the earthquake and the important fresco of a Christ Pantocrator was destroyed. In 1975 the dome was reconstructed using reinforced concrete.In 2010 an integrated survey of the Church has been performed using LiDAR techniques integrated with photogrammetric and topographic methodologies in order to realize a complete 2D documentation of the Basilica of San Pietro. Thanks to the acquired data a complete multi-scale 3D model of the Church and of the surroundings was realized.The aim of this work is to present different strategies in order to realize correct documentations for Cultural Heritage knowledge, using typical 3D survey methodologies (i. e. LiDAR survey and photogrammetry).After data acquisition and processing, several 2D representations were realized in order to carry out traditional supports for the different actors involved in the conservation plans; moreover, starting from the 2D drawing a simplified 3D modeling methodology has been followed in order to define the fundamental geometry of the Basilica and the surroundings: the achieved model could be useful for a small architectural scale description of the structure and for the documentation of the surroundings. For the aforementioned small architectural scale model, the 3D modeling was realized using the information derived from the 2D drawings with an approach based on the Constructive Solid Geometry. Using this approach the real shape of the object is simplified. This methodology is employed in particular when the shape of the structures is simple or to communicate new project ideas of when, as in our case, the aim is to give an idea of the complexity of an architectural Cultural Heritage. In order to follow this objective, a small architectural scale model was realized: the area of the Civita hill was modeled using the information derived from the 1:5000 scale map contours; afterwards the Basilica was modeled in a CAD software using the information derived from the 2D drawings of the Basilica. Finally, a more detailed 3D model was realized to describe the real shape of the transept. All this products were realized thanks to the data acquired during the performed survey. This research underlines that a complete 3D documentation of a Cultural Heritage during the survey phase allows the final user to derive all the products that could be necessary for a correct knowledge of the artifact.
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6

Bezhuk, O. M. "Religious relics of Italy." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 91 (November 16, 2018): 111–15. http://dx.doi.org/10.32718/nvlvet9123.

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Religions have always played a significant role in the formation of the statehood and development of such powerful states as the Byzantine Empire, the Holy Roman Empire, the Kievan Rus, or the Empire of Charlemagne. Peculiarities of the national culture are dictated by its faith. This is due to the fact that folk traditions, mentality, political structure, peculiarities of the historical trajectory of each nation including the religious development, have a tremendous influence on the religious aspects of nations and states. Religious attitudes, religious morality, practice of ceremonies, and church institutions deeply penetrate into everyday lives of people and countries in particular, largely determine their local originality as well as national and cultural identity. In general, the influence of religious-confessional factors is felt at all levels of organization of society’s life. The diversity of its manifestations is unlimited, and basically, it is not the impact on the life, but the life itself. This thesis should always be remembered either when illuminating the tourist resources of the country or the conditions of organization of the tourism business. The article is referred to the religious tourism in Italy – the country on the territory of which Christianity (Holy Roman Empire) arose. The article concideres such religious objects of Rome as Vatican, the Basilica of St. Peter, the area around the Capitol, religious practices of the city of Loreto called the Holy House, as well as the worship of sacred Turin Shroud.
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7

Struckmeier, Caroline, Frank Drewnick, Friederike Fachinger, Gian Paolo Gobbi, and Stephan Borrmann. "Atmospheric aerosols in Rome, Italy: sources, dynamics and spatial variations during two seasons." Atmospheric Chemistry and Physics 16, no. 23 (December 9, 2016): 15277–99. http://dx.doi.org/10.5194/acp-16-15277-2016.

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Abstract. Investigations on atmospheric aerosols and their sources were carried out in October/November 2013 and May/June 2014 consecutively in a suburban area of Rome (Tor Vergata) and in central Rome (near St Peter's Basilica). During both years a Saharan dust advection event temporarily increased PM10 concentrations at ground level by about 12–17 µg m−3. Generally, in October/November the ambient aerosol was more strongly influenced by primary emissions, whereas higher relative contributions of secondary particles (sulfate, aged organic aerosol) were found in May/June. Absolute concentrations of anthropogenic emission tracers (e.g. NOx, CO2, particulate polycyclic aromatic hydrocarbons, traffic-related organic aerosol) were generally higher at the urban location. Positive matrix factorization was applied to the PM1 organic aerosol (OA) fraction of aerosol mass spectrometer (HR-ToF-AMS) data to identify different sources of primary OA (POA): traffic, cooking, biomass burning and (local) cigarette smoking. While biomass burning OA was only found at the suburban site, where it accounted for the major fraction of POA (18–24 % of total OA), traffic and cooking were more dominant sources at the urban site. A particle type associated with cigarette smoke emissions, which is associated with a potential characteristic marker peak (m∕z 84, C5H10N+, a nicotine fragment) in the mass spectrum, was only found in central Rome, where it was emitted in close vicinity to the measurement location. Regarding secondary OA, in October/November, only a very aged, regionally advected oxygenated OA was found, which contributed 42–53 % to the total OA. In May/June total oxygenated OA accounted for 56–76 % of the OA. Here a fraction (18–26 % of total OA) of a fresher, less oxygenated OA of more local origin was also observed. New particle formation events were identified from measured particle number concentrations and size distributions in May/June 2014 at both sites. While they were observed every day at the urban location, at the suburban location they were only found under favourable meteorological conditions, but were independent of advection of the Rome emission plume. Particles from sources in the metropolitan area of Rome and particles advected from outside Rome contributed 42–70 and 30–58 % to the total measured PM1, respectively. Apart from the general aerosol characteristics, in this study the properties (e.g. emission strength) and dynamics (e.g. temporal behaviour) of each identified aerosol type is investigated in detail to provide a better understanding of the observed seasonal and spatial differences.
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8

Tucci, Pier Luigi. "A funerary monument on the Capitoline: architecture and painting in mid-Republican Rome, between Etruria and Greece." Journal of Roman Archaeology 31 (2018): 30–52. http://dx.doi.org/10.1017/s104775941800123x.

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The debate on the relationships between Rome, Italy, and the Mediterranean world in the Archaic and mid-Republican periods remains very lively. Complementing the most recent discoveries and interpretations, I present two unknown mid-Republican documents from the Arx, the N summit of the Capitoline hill (fig. 1). Excavations for the Monument to Victor Emmanuel II brought to light after 1887 many walls and artifacts, which have been studied almost exclusively to produce archaeological maps or catalogues of objects, but the structures sealed beneath the basilica of Santa Maria in Aracoeli toward the end of the 13th c., rediscovered in the 1980s and surveyed by the present author since 2001, shed new light on a number of religious, historical, topographical, architectural and art-historical issues.The new archaeological evidence may be summarized as follows. In the 1st c. B.C., an aristocratic domus set on three levels occupied the NW sector of the Arx; it was remodeled in the Flavian and Severan periods (figs. 2-3). Apparently a location of the temple of Juno Moneta on the site of the Aracoeli must be ruled out. Among the structures still preserved beneath the basilica, which include an Imperial-era wall with huge curvilinear spurs that can be associated with the Iseum Capitolinum, we may mention an ashlar wall in blocks of Grotta Oscura tuff (a stone available after the defeat of Veii in 397 B.C.) that constituted the façade of a monument with a false arch dating from the 4th c. B.C. (fig. 2).
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9

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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Camuffo, Dario, Giovanni Sturaro, and Antonio Valentino. "Thermodynamic exchanges between the external boundary layer and the indoor microclimate at the Basilica of Santa Maria Maggiore, Rome, Italy: the problem of conservation of ancient works of art." Boundary-Layer Meteorology 92, no. 2 (August 1999): 243–62. http://dx.doi.org/10.1023/a:1002026711404.

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Дисертації з теми "Rome (Italy). Basilica Costantiniana"

1

Merrill, Aaron Thomas. "The subterranean strata of the basilica San Clemente." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Книги з теми "Rome (Italy). Basilica Costantiniana"

1

Marina, Magnani Cianetti, Pavolini Carlo, and Italy. Soprintendenza archeologica di Roma., eds. La basilica costantiniana di Sant'Agnese: Lavori archeologici e di restauro. Milano: Electa, 2004.

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2

Gallio, Paola. The basilica of Saint Praxedes. 3rd ed. Genova: Edizione d'Arte Marconi, 2009.

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3

Ferrua, Antonio. La Basilica e la catacomba di S. Sebastiano. 2nd ed. Città del Vaticano: Pontificia Commissione di archeologia sacra, 1990.

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4

Mario, Bagordo, ed. The Basilica of Santa Cecilia in Trastevere. Roma: Nuove Edizioni Romane, 2001.

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5

Caperna, Maurizio. La Basilica di Santa Prassede: Il significato della vicenda architettonica. Roma: Basilica di S. Prassede, 1999.

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6

Carlo, Giavarini, and Centro interdipartimentale di scienza e tecnica per la conservazione del patrimonio storico-architettonico., eds. The Basilica of Maxentius: The monument, its materials, construction, and stability. Roma: L'Erma di Bretschneider, 2005.

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7

Cerioni, Anna Maria. The Basilica of Saint Paul outside the Walls. Roma: Pontificia Amministrazione della Patriarcale Basilica di San Paolo, 1991.

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8

E, Boyle Leonard, Krupa Pawels, Gy Pierre-Marie, Ecole française de Rome, Institut de recherche et d'histoire des textes (France), Istituto storico domenicano S. Sabina (Rome, Italy), and Biblioteca apostolica vaticana, eds. Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L 1. Rome: École française de Rome, 2004.

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9

E, Boyle Leonard, and Gy Pierre-Marie, eds. Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L 1. Roma: Ecole française de Rome, 2004.

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10

E, Boyle Leonard, and Gy Pierre-Marie, eds. Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L 1. Rome: École française de Rome, 2004.

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Частини книг з теми "Rome (Italy). Basilica Costantiniana"

1

Liverani, Paolo, Ian Haynes, and Lex Bosman. "Dai Castra Noua alla Basilica Lateranensis, trasformazioni della Roma costantiniana." In Topographie et urbanisme de la Rome antique, 153–60. Presses universitaires de Caen, 2022. http://dx.doi.org/10.4000/books.puc.28989.

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2

Story, Joanna. "Alcuin and the Epitaph." In Charlemagne and Rome, 111–41. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199206346.003.0004.

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Abstract The chapter examines the evidence for Alcuin’s authorship of the memorial verses that were cut onto the marble slab to adorn Hadrian’s tomb in the south transept of St Peter’s basilica. It reviews Alcuin’s career and his travels in Francia and Italy while working for the archbishops of York, before moving to Charlemagne’s court and retirement at the monastery of St Martin’s at Tours in western Francia. The content and structure of Alcuin’s epitaph for Hadrian is analysed, and the superiority of the extant inscribed version is emphasised, especially regarding internal verse patterns that are dependent on the form and layout of capital script of the stone slab, and the use of a monogram of Charlemagne’s name. The chapter surveys the extant manuscript copies of the poem, correcting earlier commentators and editions. It reveals that Hadrian’s epitaph was transmitted as part of a short anthology of texts linked to St Peter’s basilica, collected in the early ninth century, underscoring the close contemporary link between the building and the epitaph. Incidentally, two of the epigrams in that anthology had been quoted verbatim by an earlier English scholar, Aldhelm of Malmesbury, and provides unequivocal evidence of his close knowledge of inscriptions in Rome, likely from first-hand observation.
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3

"Atoms Go South: The Italians Volta, Avogadro, and Cannizzaro (Italy)." In Traveling with the Atom A Scientific Guide to Europe and Beyond, 222–43. The Royal Society of Chemistry, 2019. http://dx.doi.org/10.1039/9781788015288-00222.

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No chapter on Italian science could be complete without mentioning Galileo whose works mark the beginning of modern science. In Rome, we visit Campo de' Fiori to contemplate the hooded statue of Giordano Bruno who was burned at the stake for holding views akin to those of Galileo. Galileo sites in Pisa are followed by those in Florence including the Galileo Museum and his tomb in the Basilica di Santa Croce. Next, we discuss Alessandro Volta's background, his correspondence with Ben Franklin, his skepticism regarding Luigi Galvani's “animal electricity”, and the construction of his “voltaic piles”, considered to be the first batteries. In the scenic lake-side city of Como we explore the myriad Volta landmarks with a special emphasis on the Tempio Voltiano, a magnificent neoclassical temple. At the University of Pavia, we visit the Volta Cabinet. Finally, we discuss Stanislao Cannizzaro's promotion of Amedeo Avogadro's Hypothesis at the first International Chemical Congress held in Karlsruhe, Germany in 1860. Several Avogadro sites in Vercelli, the site of the Congress in Karlsruhe and several Cannizzaro sites including The Museum of Science “Primo Levi” in Rome are described.
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Story, Joanna. "Charlemagne, St Peter’s, and the Imperial Coronation." In Charlemagne and Rome, 311—C8F2. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199206346.003.0009.

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Abstract This chapter returns the analysis to St Peter’s basilica, focusing on Charlemagne’s imperial coronation at Christmas 800 and on the inscriptions that were visible there to Frankish viewers. It argues that the form, script, and materials of the epitaph made for Hadrian reflects ideas about empire that were current in the 790s in Carolingian court circles, and that the inscription probably arrived in Rome before the end of 796. It discusses the sources for the early years of the pontificate of Leo III, and the build-up to the attempted assassination of the pope in 799, which precipitated his flight from Italy to Charlemagne in Francia, and the events leading to the imperial coronation in Rome the following year. Contemporary texts and manuscripts are discussed, including Theodulf’s debt to the verse of Corippus describing earlier imperial ceremonial in Constantinople. Inscriptions in St Peter’s associated with Constantine are discussed in the context of Carolingian understanding of the antiquity of that building and its connection to the first Christian emperor. Carolingian manuscripts are the first to record some of these inscriptions, and modifications to those texts, possibly done in the fifteenth century, serve to illuminate the internal struggles of the late medieval Church and the arguments surrounding the veracity of the document known as the Donation of Constantine that underpinned the temporal powers of the Church. The chapter also analyses antiquarian sources for the famous Lateran mosaic, much discussed in the sixteenth century because of its supposed connection to the Donation, which showed Pope Leo and Charlemagne kneeling at the feet of St Peter. This chapter closes with a discussion about the role of materiality and spatial intertextuality in the patronage of inscriptions set within sacred spaces and how a building can shape the content, form, and audience engagement with such texts.
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5

Kateusz, Ally, and Luca Badini Confalonieri. "Women Church Leaders in and around Fifth-century Rome." In Patterns of Women's Leadership in Early Christianity, 228–60. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867067.003.0013.

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This chapter considers artistic representations, showing evidence of ‘Women Church Leaders in and around Fifth-century Rome’. It focuses on two artefacts that portrayed women church leaders operating in this broad context. It addresses frescoes of deceased women painted with open gospel books in the San Gennaro Catacombs in Naples; it proposes that the most logical interpretation of the iconographic motifs associated with them is that they were women bishops, perhaps two of the women about whom Pope Gelasius complained to male bishops in southern Italy c.496. For cultural context it next considers an ivory reliquary box discovered in 1906, which depicts three pairs of men and women in the altar area of Old St Peter’s Basilica in Rome. This scene has recently been re-analysed; one of the pairs appears to have been sculpted jointly officiating the Eucharist at the basilica’s altar. Additional fifth- and sixth-century artefacts that portray women as clergy, sometimes paired with men, sometimes independently, affirm both the identification of women bishops in the two Naples catacomb frescoes and also the scene of the woman and man officiating at the altar in Old St Peters on the ivory box.
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Mlsová, Nella. "Ján Kollár and Slavic traces in Italy in the light of the Italian travel Genre." In Inter-Slavic cultural ties. Results and perspectives of research, 67–76. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.05.

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The topic of the article is related to the second unfinished book of travel notes by the Czech and Slovak educator and poet Jan Kollar (1793-1852), emerging as a result of his trip to Italy in 1844. It was preceded by essays reflecting the impressions of a trip there in 1841, in which the author, citing curious arguments, puts forward the thesis that Upper (Northern) Italy belonged to the Slavic space in the Middle Ages, In the treatise Staroitalia slavjanská (“Old Italy Slavic”, 1853), Kollar extends the settlement of the Slavs to the whole of Italy, including Sicily. Special attention in the unfinished essays is paid to Rome. Considering it as the cradle and guardian of the great European culture, the faithful Kollar managed to “discover” a lot of Slavic traces there, including in St. Peter's Cathedral, in the Lateran Basilica and in other monuments of the ancient city. However, pan-Slavism did not prevent Kollar from connecting the identity of the Slavs with the Christian world, with an educated Christian Europe.
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Haynes, I., P. Liverani, S. Piro, and D. Zamuner. "INTEGRATED ARCHAEOLOGICAL AND GEOPHYSICAL INVESTIGATIONS TO STUDY THE AREA OF S. GIOVANNI IN LATERANO BASILICA (ROME, ITALY)." In Archaeological Prospection, 203–5. Verlag der österreichischen Akademie der Wissenschaften, 2013. http://dx.doi.org/10.2307/j.ctvjsf630.77.

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Schroeder, F., A. Merritt, C. Menkiti, M. Caianiello, D. Potts, and R. Sorge. "Assessing the effects of constructing the Colosseo/Fori Imperiali station on the Basilica di Massenzio in Rome, Italy." In Numerical Methods in Geotechnical Engineering, 801–6. CRC Press, 2014. http://dx.doi.org/10.1201/b17017-143.

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Тези доповідей конференцій з теми "Rome (Italy). Basilica Costantiniana"

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Cardarelli, E. "Integrated geophysical methods for the characterisation of an archaeological site (Massenzio Basilica - Roman forum, Rome, Italy)." In 8th EEGS-ES Meeting. European Association of Geoscientists & Engineers, 2002. http://dx.doi.org/10.3997/2214-4609.201406172.

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2

Ochoa Caballero, María José. "Space, function and symbol. Architectural furniture in domestic spaces." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15217.

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The Baldaquin of the Saint Peter’s Basilica in Rome represents the spiritual core of the building and holds a distinctive meaning for the complex and the people in it. This piece, defined for this research as architectural furniture, conditions the use of the space it belongs to, affects its scale, gives purpose to its routing, and defines the symbolic reading of the whole.This monumental object is used as a reference, and its personal, social, spatial, and functional implications are relayed across the field of architecture to the domestic space. An approach to furniture to create a home molded to the needs and desires of the individual and the society he belongs to is detected in the pieces of furniture by Ettore Sottsass and Joe Colombo, presented in the exhibition Italy, the new domestic landscape in 1972. This paper intends to indicate those concepts embodied in a selection of four contemporary housing renovation projects that have used furniture as a complex design element to shape homes.
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