scholarly journals Coptic Stuccoes at Santa Maria Antiqua

1970 ◽  
Vol 25 ◽  
pp. 159-175
Author(s):  
David Knipp

This paper deals with a part of the decoration in the presbytery of S. Maria Antiqua in Rome, which has as yet remained in the shadow of the famous early medieval wall-paintings: the stucco-relief frieze that was employed as a running pattern on the eastern and western walls. A Coptic style may be recognized in these stucchi which, as is proposed, were executed by recent immigrants from Egypt in Rome at the time of the church’s foundation in the late 6th century.

Author(s):  
Joseph Shatzmiller

This chapter briefly reviews the art history from 1230–1450 CE in order to better understand the cultural profile of the rabbi, and to evaluate the contribution of the wall paintings in his house as indications of the artistic horizons of German Jews of the fourteenth century. It also shows how Jews had to abandon the art that they cherished for generations, yet they found ways to keep alive their fascination with the beautiful and to nurse their aesthetic needs. The interior synagogue of Santa Maria la Blanca of Toledo and that of the recently reconstructed Sinagoga Mayor of Segovia manifest a profound attachment to Islamic public architecture. Jews showed great appreciation for the decorative value of their Hebrew alphabet. They also learned to paint inanimate or geometric images in miniature letters on the covers of their Bibles.


1981 ◽  
Vol 49 ◽  
pp. 82-90 ◽  
Author(s):  
John Osborne

AFFRESCHI ALTOMEDIEVALI NELLE CATACOMBE DI SAN VALENTINO, ROMALo studio dello stile e dell'iconografia degli affreschi parietali del vestibolo delle Catacombe di San Valentino sulla Via Flaminia suggerisce che essi risalgano all'inizio dell'VIII secolo d.C. e che siano associati al patronato di Giovanni VII (705–707). Essi vengono confrontati ai mosaici di una cappella nella Vecchia San Pietro, ed alle decorazioni parietali di S. Maria Antiqua, ambedue riconducibili a questo stesso Pontefice.


Scanning ◽  
2019 ◽  
Vol 2019 ◽  
pp. 1-14
Author(s):  
Livio Ferrazza ◽  
María T. Pastor Valls ◽  
Gemma M. Contreras Zamorano ◽  
David Juanes Barber ◽  
Roxana Radvan ◽  
...  

This paper deals with the development of a multidisciplinary study on the current state of conservation of the facade of the Arciprestal Church of Santa María de Morella (Castellón, Spain), a work of the Gothic period of great historical and artistic value. The aim of this diagnosis was to undertake the preventive conservation actions required and increase the knowledge about the conservation of paintings on stones. During the diagnosis scanning, electron microscopy was demonstrated to be a valuable analytical method for wall paintings on stone. The facade, which since its construction has not undergone major architectural changes, has reached our days as it was configured in its creation, adding the traces of the passage of time and interventions that have suffered polychromies. Because of the conservation situation, it was decided to have an interdisciplinary project for the structural study of the work, an exhaustive study of the materials and their state of conservation. The study of the materials includes the identification of stone supports, mortars, the pictorial technique of the original and added polychromies, and the superficial patinas. On-site studies were carried out by ground penetration radar (GPR) and X-ray fluorescence (XRF). Among the techniques used in laboratory were optical polarized light microscopy (MO-LP), X-ray diffraction (XRD), scanning electron microscopy with microanalysis (SEM-EDX) and Fourier-transform infrared spectroscopy (FTIR). The study allowed to determine the different pathologies of alteration and degradation of stone substrate and polychromies, chromatic alterations, biological patinas, etc. During this study, it was demonstrated that the diagnosis of wall paintings is a complex issue that needs to be addressed in a multidisciplinary approach, where scanning electron microscopy with microanalysis is the key methodology to get a deeper understanding of subsurface characterization of wall paintings and highlight the weathering processes. In a second phase of previous studies, this technique (SEM) has been used in assessing the viability of consolidation systems and cleaning both the stone and the polychrome.


2017 ◽  
Vol 28 ◽  
pp. 48-55 ◽  
Author(s):  
Kristin de Ghetaldi ◽  
Marcie B. Wiggins ◽  
Carla Bertorello ◽  
Zachary Voras ◽  
Amanda Norbutus ◽  
...  
Keyword(s):  

Author(s):  
Giovanna Vasco ◽  
Antonio Serra ◽  
Daniela Manno ◽  
Giovanni Buccolieri ◽  
Lucio Calcagnile ◽  
...  
Keyword(s):  

2007 ◽  
Vol 8 (2) ◽  
pp. 119-125 ◽  
Author(s):  
Scilla Grassi ◽  
Emiliano Carretti ◽  
Paolo Pecorelli ◽  
Fabrizio Iacopini ◽  
Piero Baglioni ◽  
...  

Antiquity ◽  
1996 ◽  
Vol 70 (267) ◽  
pp. 20-30 ◽  
Author(s):  
John Mitchell ◽  
Richard Hodges

San Vincenzo al Volturno is an early medieval monastery in the high province of Molise, southeast of Rome, and site of most substantial excavations over the last 15 years. The publication of portrait wall-paintings from the crypt of its great church, San Vincenzo Maggiore, is occasion to examine the place of the individual in that religious society.


Author(s):  
Juan Carlos Hernández Núñez ◽  
Alfredo J. Morales

ABSTRACT: Santa María La Blanca, a medieval Church in Sevilla, was renovated in the XVII century. At that time a unique ornamentation program was developed in light of the brief pontifical in 1661about the immaculate conception of Mary. The restoration in 2015 of its plasterwork and wall paintings has allowed the recovery of the images and texts of its program, an iconographic message about Marian praise and eucharistic cult that is analyzed in this study.    KEYWORDS: Justino de Neve; Murillo; Faux Plasterwork; Litanies; Baroque Festivity.    RESUMEN: La iglesia medieval de Santa María la Blanca de Sevilla fue renovada durante el siglo XVII, desarrollándose su ornamentación tras el Breve Pontificio de 1661 sobre la concepción inmaculada de María. La restauración en 2015 de las yeserías y pinturas murales de su interior ha permitido recuperar las imágenes y textos del programa de exaltación mariana que, junto al culto eucarístico, integran su mensaje iconográfico.   PALABRAS CLAVES: Justino de Neve; Murillo; yeserías fingidas; letanías; fiesta barroca.


Arts ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 82
Author(s):  
Carles Sánchez Márquez ◽  
Joan Soler Jiménez

The wall paintings adorning the south transept apse of Santa Maria at Terrassa are among the most notable surviving items pertaining to the iconography of St. Thomas Becket. Recently found documents in which diplomatic archives reveal English connections are essential for understanding the quick reception of the Becket cult in the Crown of Aragon. The presence of an Anglo-Norman canon—Arveus or Harveus (Harvey)—and his position of scribe during the second half of the twelfth century when Reginald, probably also of English origin, was prior there—seem to be the likely source of inspiration for this project. These English connections, which are essential for understanding the quick reception of the Becket cult in the Crown of Aragon, stemmed from the endeavours undertaken some years earlier south of the Pyrenees by the abbot of Saint-Ruf at Avignon, Nicholas Breakspear, who subsequently became Pope Adrian IV.


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