Specificity of arrangement of apse space in the Franciscan Church of San Lorenzo Maggiore in Naples (1260-1340)

2020 ◽  
pp. 146-154
Author(s):  
Lada Igorevna Kovalchuk
Keyword(s):  
Spatial Planning ◽  
San Lorenzo ◽  
Architectural Monument ◽  
Kingdom Of Naples ◽  
Research Problems ◽  
Architectural Language ◽  
Planning And Construction ◽  
The Church ◽  
Italian Architecture

This article explores the peculiarities of spatial planning and construction phases of apse in the Franciscan Church of San Lorenzo Maggiore in Naples. Gothic deambulatory with a crown of radial chapels in the Church of San Lorenzo Maggiore is a unique typology of apse structure for the architecture of Franciscans in Italy. The architectural monument is ranked with a number of other Franciscan churches in Naples, built under the patronage of the monarchs of the Kingdom of Naples from Anjou Dynasty. Analysis is conducted on engineering aspects and system of orders of the Neapolitan Church. The analysis of formal-stylistic features and taking and consideration of historical peculiarities of the architectural monuments, the author suggests possible influence of the architectural language of French Gothicism upon the plan of the Church of San Lorenzo Maggiore. The article revises historiography of the question of origin of oriental hue in the Church of San Lorenzo Maggiore. The author substantially broadens the vector of research problems and interpretations associated with examination of French influence upon the plan of the apse of the Church of San Lorenzo Maggiore. The novelty of consists in the analysis of apse of the Church of San Lorenzo Maggiore the context of logics of the development of deambulatory in French Gothicism, rather than borrowing of this shape from medieval Italian architecture.

scholarly journals Liturgical renovation of modern churches in Rome (Italy)

2019 ◽  
Vol 2 (3) ◽  
pp. 39
Author(s):  
Daniela Concas
Keyword(s):  
Twentieth Century ◽  
Roman Catholic ◽  
Point Of View ◽  
Second Vatican Council ◽  
Direct Reading ◽  
Liturgical Movement ◽  
Vatican Council ◽  
Architectural Language ◽  
Historical Moment ◽  
The Church

At the beginning of the first half of the twentieth century the bond between ars-venustas and cultus-pietas has produced many churches of Roman Catholic cult.It’s between the 20s and 60s of the twentieth century that the experiments of the Liturgical Movement in Germany lead to the evolution of the liturgical space, which, even today, we see engraving in modern churches in Rome (Italy).The Council of Trent (1545-1563) constitutes the precedent historical moment, in which the Church recognised the need for major liturgical renovation of its churches. In comparison with this, the Second Vatican Council (1959-65) introduced some radical changes within the church architectural spaces.The observations come from the direct reading of the present architectural space and the interventions already realised in modern churches in Rome. The most significant churches from an historical-artistic point of view were selected (1924-1965). Significantly, although every single architecture is unique for dimensions, architectural language and used materials, a comparison, in order to gather the discovered characteristics and to compare the restrictions regarding the different operations, would extremely effective, as demonstrated below.Since the matter is considerably vast, in this work, only some brief notes regarding the liturgical renovation of the Presbytery area will be outlined.

scholarly journals Carthusian symbolism in Architecture and Art: San Lorenzo of Padula

2019 ◽  
Vol 2 (3) ◽  
pp. 76
Author(s):  
Maria Fernanda García Marino
Keyword(s):  
Eighteenth Century ◽  
Exponential Growth ◽  
San Lorenzo ◽  
Desert Fathers ◽  
And Function ◽  
The Universe ◽  
The Church ◽  
New Settlements

The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the theme of martyrdom and angels (the creatures closest to God), present within the monasteries of the order, both for what interests the architectural structure of buildings. Always the same as themselves, especially for the design, distribution and function of the spaces, which as a whole and in particular, they reflect, strictly and everywhere, the immutability of the Carthusian Rule, never changed since the foundation of the order in 1084. Following the model of the first monastery, built on the Chartreuse massif, in Grenoble (France), made by St. Bruno of Cologne, new settlements were erected and spread throughout Europe, with an exponential growth that does not suffer interruptions until the end of eighteenth century and that, left a deep and unequivocal cultural mark in the territory on which they extended. The Charterhouse model, a kind of Earthly Jerusalem like an imitation of the Celestial Jerusalem, can be well included in the universe of utopian architecture, but of the possible ones, where spirituality became tangible reality and where the sacredness of space conceived and built by the monks puts us in touch today the man with sensitive and perceptible experience, the so-called hierophany.

Contemporary Rural Settlements

2020 ◽  
pp. 318-334
Author(s):  
Dženana Bijedić ◽  
Rada Čahtarević ◽  
Denis Zvizdić ◽  
Adna Proho
Keyword(s):  
Built Environment ◽  
Complexity Theory ◽  
Spatial Planning ◽  
Spatial Organization ◽  
Geographical Area ◽  
Trial And Error ◽  
Rural Settlements ◽  
Natural Park ◽  
Environmentally Sound ◽  
Planning And Construction

Throughout history, built environment developed intuitively on empirical experience led by trial and error. Such approach provided resilience and evolvement of patterns that guided spatial organization. Newer interventions in the rural environment resulted in disconnected spatial fragments. By comparing vernacular and contemporary planning and construction practice in the natural park Blidinje, the authors tried to identify the reason for which contemporary interventions resulted in new patterns in spatial planning, ones completely unfamiliar for this geographical area. They identified the reason in the fact that men started to treat the natural space as a commodity, forcing stakeholders to be led primarily by economic principles. Such principles are rigid and linear, instead of contextual in this matter. At the same time, the environmentally sound approach should respect complexity of whole endeavor aiming to achieve diversity and variability. The models developed based on complexity theory and self-organization should preserve continuity and integrity of the place and man.

The Site of Michelangelo's Laurentian Library

1990 ◽  
Vol 49 (4) ◽  
pp. 407-429 ◽  
Author(s):  
Frank Salmon
Keyword(s):  
18Th Century ◽  
Urban Redevelopment ◽  
Early Career ◽  
State Archive ◽  
San Lorenzo ◽  
The Past ◽  
Sequence Of Events ◽  
History Of ◽  
The Church ◽  
Site History

In his monographic article on Michelangelo's Laurentian Library in Florence, first published in 1934, Rudolf Wittkower relegated the history of its siting within the canonica (claustral buildings) of San Lorenzo to a third appendix. Since then a number of scholars have given detailed consideration to the site history, realizing it to be a significant aspect of Michelangelo's early career as an architect. The present paper maintains that some study of the canonica as Michelangelo probably encountered it should be prerequisite to any account of the site and presents new observations, measurements, and previously unnoticed 18th-century plans preserved in Prague to make such a study. The comprehensive publication of Michelangelo's correspondence, records, and drawings during the past 20 years facilitates reconstruction of the sequence of events in his development of the site, and this further illuminates the artist's working methods and relations with both his patron and his assistant. Consideration is also given to an abandoned idea for a library beyond the confines of the canonica, bordering on piazza San Lorenzo and perpendicular to the church façade. Documents from the Florence State Archive confirm the identity and location of properties as shown on Michelangelo's own plan of the vicinity, which is newly oriented, and the rejected scheme is briefly examined in relation to contemporary urban redevelopment in Florence.

scholarly journals Su te stenderà la sua ombra. Iconografia e tipologia biblica in due Annunciazioni di Filippo Lippi

1970 ◽  
Vol 28 ◽  
pp. 11-124
Author(s):  
Lasse Hodne
Keyword(s):  
New York ◽  
Natural Light ◽  
San Lorenzo ◽  
The Difference ◽  
The Church ◽  
Theological Concept ◽  
The Way ◽  
Power Of God

This study is devoted to the symbolic significance of shadow and light in two works by Filippo Lippi: The Annunciation in the Martelli Chapel in the Church of San Lorenzo in Florence and the painting of the same subject in the Frick Collection in New York. In the Renaissance, the shadow that appears in the Annunciation is often associated with the procreative power of God. The fact that Filippo Lippi makes use of this sense of the shadow is particularly evident in his Frick Annuciation. It is less well known that in the art of Filippo the shadow has a dual meaning. In fact, the contrast between light and shade in these pictures was not a result of experimentation with natural light; nor is it a difference - as some have argued - caused by the fact that the two halves of the picture were originally intended to be installed separately like the wings of an organ or an "armadio" (closet for ex voto). Instead, I believe that the difference in the way in which the two parts of these paintings are illuminated is a pun intended to emphasize the theological concept of a typological relationship between the Testaments and the realization of the prophecies about the birth of the Messiah.

scholarly journals Duties and Powers of The Department of Public Works and Spatial Planning in The Implementation of Road in Kendal

2018 ◽  
Vol 1 (3) ◽  
pp. 785
Author(s):  
Nabella Maharani Novanta
Keyword(s):  
Local Government ◽  
Spatial Planning ◽  
Legal Theory ◽  
Public Works ◽  
Support Material ◽  
Legal Research ◽  
The Road ◽  
Research Activities ◽  
Research Problems

This study discusses the role of the Department of Public Works and Spatial Planning in the implementation of the road in Kendal. Here is more towards the implementation of the supervision. Research problems concerning form of oversight, relations with relevant institutions, as well as the obstacles faced by the Department of Public Works and Spatial in Kendal. To answer these problems required legal research activities, using empirical juridical approach. Sources of data obtained through interviews with sources as well as legislation, legal theory, and the opinions of the leading scholars as support material, and then analyze it in order to get an answer scientifically.Keywords: Local Government; Roads Implementation; Monitoring.

I mercati coperti di Giuseppe Mengoni

2021 ◽  
Author(s):  
Rita Panattoni
Keyword(s):  
19Th Century ◽  
Town Planning ◽  
New Markets ◽  
San Lorenzo ◽  
European Context ◽  
Interdisciplinary Perspective ◽  
Great Transformation ◽  
International Standing ◽  
The 19Th Century ◽  
Italian Architecture

Florence, the new capital of the Kingdom of Italy (1864-1870), went through a period of great transformation, which would leave significant traces in the city’s image and structure. The construction of the new markets is emblematic of the city’s infrastructural modernisation, with the introduction of new architectural languages and construction technologies of international standing. The Central Market at San Lorenzo is one of the most representative buildings of this modernisation process, a true masterpiece by Giuseppe Mengoni, the renowned designer of the Galleria Vittorio Emanuele II in Milan. This volume reconstructs its history from a comparative and interdisciplinary perspective, based on largely unpublished documentation. It places Florence and its new market in a European context where architecture, town planning, politics and finance are tightly intertwined. The Florentine case becomes a paradigm of the renewal of Italian architecture in the second half of the 19th century.

Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza

1996 ◽  
Vol 55 (2) ◽  
pp. 158-177
Author(s):  
Manuela Morresi ◽  
Dorothy Hay
Keyword(s):  
Andrea Palladio ◽  
Architectural Analysis ◽  
Architectural Elements ◽  
Architectural Language ◽  
Catholic Reform ◽  
The Church

In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in the work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones in the basilica of S. Croce in Gerusalemme, Rome.

Rewriting Antiquity, Renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia

2011 ◽  
Vol 17 (4-5) ◽  
pp. 439-463
Author(s):  
Stefano Riccioni
Keyword(s):  
Travel Literature ◽  
Visual Art ◽  
San Lorenzo ◽  
New Meanings ◽  
New Churches ◽  
New Construction ◽  
Ancient Monuments ◽  
The City ◽  
Santa Maria ◽  
The Church

AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as symbols of authority, as can be seen in the altar of the church of Santa Maria in Portico, in the papal thrones (San Clemente, Santa Maria in Cosmedin, San Lorenzo fuori le mura) and also in mosaics (San Clemente, Santa Maria in Trastevere). Inscriptions appeared on porticoed atriums built on new churches and added to older foundations, and they were used to renew ancient monuments and places. The Roman Commune used a similar strategy with civil buildings. The image of Rome was transformed through restoration and new construction that used spolia as meaningful objects, and inscriptions for their authoritative value.

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