DOCSLIB.ORG

Capitolo 2. I Sacri Monti Di Piemonte E Lombardia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Capitolo 2. I Sacri Monti Di Piemonte E Lombardia POLITECNICO DI TORINO Collegio di Ingegneria Edile Corso di Laurea Magistrale in Ingegneria Edile Tesi di Laurea Magistrale HBIM e GIS 3D per la gestione del patrimonio architettonico: il caso del Sacro Monte di Varallo Relatore Prof. Andrea Maria Lingua Correlatori Candidata Arch. Francesca Matrone Prof. Marco Zerbinatti Isabella Palazzo Luglio 2020 Indice ABSTRACT ................................................................................................................. 1 INTRODUZIONE ....................................................................................................... 2 1 PATRIMONIO CULTURALE: RISORSA DA VALORIZZARE E TRASMETTERE ........................................................................................................ 4 1.1 PROGETTO MAIN10ANCE ................................................................................... 5 1.1.1 Tecnologie e strumenti ............................................................................................... 6 1.1.2 Presupposti per un database interoperabile e multi-scala: analisi degli Standard ..... 7 1.1.3 Progettazione di un database ................................................................................... 12 Modello concettuale di Main10ance ................................................................................................. 13 Modello logico di Main10ance ......................................................................................................... 14 2 I SACRI MONTI DI PIEMONTE E LOMBARDIA ..................................... 17 2.1 IL SACRO MONTE DI VARALLO SESIA .............................................................. 21 2.1.1 La storia ................................................................................................................... 25 2.1.2 Manutenzione e conservazione ................................................................................ 30 2.1.3 Cappella 17- La Trasfigurazione di Gesù sul Monte Tabor ..................................... 32 3 IL RILIEVO DEL PATRIMONIO CULTURALE ....................................... 36 3.1 TECNICHE DI RILEVAMENTO ............................................................................. 38 3.1.1 Il rilievo topografico ................................................................................................ 38 L’acquisizione dei dati tramite rilievo topografico al Sacro Monte di Varallo ................................. 41 3.1.2 Il rilievo tramite tecnica LIDAR .............................................................................. 46 L’acquisizione dei dati tramite tecnica LIDAR al Sacro Monte di Varallo ...................................... 51 3.1.3 Rilievo fotogrammetrico .......................................................................................... 53 Acquisizione dei dati tramite UAV al Sacro Monte di Varallo ......................................................... 56 4 ELABORAZIONE DEI DATI ......................................................................... 61 4.1 ELABORAZIONE DEI DATI ACQUISITI DAL RILIEVO TOPOGRAFICO ................... 61 4.2 ELABORAZIONE DEI DATI ACQUISITI CON LASER SCANNER ............................... 64 4.2.1 Il software Faro Scene ............................................................................................. 64 4.2.2 Importazione delle scansioni in Faro Scene ............................................................ 64 4.2.3 Divisione ed estrazione delle scansioni “Tribu” ...................................................... 65 4.2.4 Collocazione delle scansioni .................................................................................... 67 Collocazione delle scansioni per forma ............................................................................................ 68 Registrazione dei marker .................................................................................................................. 69 I Collocazione delle scansioni basata sui target .................................................................................. 70 4.2.5 Risultati scansione e Tensione dei Target ................................................................ 71 4.2.6 Colorazione delle scansioni ed esportazione delle nuvole di punti .......................... 73 4.2.7 Il software CloudCompare ....................................................................................... 75 4.2.8 Pulizia e Unione delle nuvole di punti ..................................................................... 75 4.2.9 Filtraggio .................................................................................................................. 78 4.3 ELABORAZIONE DEI DATI ACQUISITI TRAMITE TECNICA FOTOGRAMMETRICA 80 4.4 NUVOLA LASER SCANNER E NUVOLA FOTOGRAMMETRICA A CONFRONTO ....... 81 4.4.1 Cloud to cloud Distance ........................................................................................... 85 Muro perimetrale cappella 17 ........................................................................................................... 87 Lanterna cappella 17 ......................................................................................................................... 88 4.4.2 Confronto della densità ............................................................................................ 88 4.5 PREPARAZIONE DELLA NUVOLA DI PUNTI PER LA MODELLAZIONE .................. 91 4.5.1 Taglio e unione delle nuvole da laser scanner e da fotogrammetria........................ 91 4.5.2 Suddivisione della nuvola di punti in sottoregioni ................................................... 92 4.5.3 Esportazione delle sottoregioni della nuvola di punti .............................................. 93 Il software Autodesk ReCap Pro ....................................................................................................... 93 Importazione ed esportazione tramite ReCap Pro ............................................................................ 93 5 LA MODELLAZIONE TRIDIMENSIONALE ............................................. 95 5.1 LA METODOLOGIA BIM .................................................................................... 95 5.2 LA METODOLOGIA HBIM ................................................................................. 98 5.2.1 Modellazione della Cappella 17 con Autodesk Revit ............................................... 99 Il software Autodesk Revit .............................................................................................................. 100 5.2.2 Modello federato esistente e importazione della nuvola di punti ........................... 101 5.2.3 Le famiglie di sistema nel modello ........................................................................ 103 5.2.4 Le famiglie locali nel modello ............................................................................... 106 5.2.5 Le famiglie caricabili nel modello ......................................................................... 109 5.2.6 Modellazione della volta ........................................................................................ 112 5.2.7 Scostamento del modello BIM dalla nuvola di punti ............................................. 113 5.2.8 Modellazione dell’unità volumetrica costituente la Cappella 17 ........................... 117 5.2.9 Inserimento del modello della cappella 17 nel modello federato esistente del Sacro Monte di Varallo .................................................................................................................. 117 6 IL NUOVO MODELLO FEDERATO .......................................................... 119 6.1 REALIZZAZIONE DEL MODELLO DIGITALE DEL TERRENO ............................. 119 6.1.1 Realizzazione del modello digitale del terreno tramite CloudCompare ................. 120 6.1.2 Realizzazione del modello digitale del terreno tramite 3DReshaper ..................... 122 Il Software 3DReshaper .................................................................................................................. 122 Realizzazione del modello digitale del terreno conclusivo ............................................................. 122 II 6.2 INSERIMENTO DEL DTM E DELLA CAPPELLA 17 NEL NUOVO MODELLO FEDERATO DEL SACRO MONTE DI VARALLO .............................................................. 124 7 L’INTEROPERABILITÀ .............................................................................. 128 7.1 GIS ................................................................................................................. 128 7.1.1 Il software ArcGIS ................................................................................................. 129 7.2 INTEROPERABILITÀ DBMS-HBIM E DBMS-GIS .......................................... 130 7.2.1 Test di interoperabilità tra i software Revit e PostgreSQL ..................................... 132 Struttura del database generato in ambiente BIM e creazione dei parametri condivisi .................. 135 7.2.2 Test di interoperabilità tra i software Revit e Microsoft SQL Server ..................... 137 7.2.3 Test di interoperabilità tra i software Revit e Microsoft Access ............................. 140 7.2.4 Test di interoperabilità tra i software Microsoft SQL Server e ArcGIS Desktop .... 142 7.2.5 Test di interoperabilità tra i software Microsoft Access e ArcGIS Desktop ........... 145 7.3 IMPLEMENTAZIONE DEL DATABASE DI MAIN10ANCE...................................... 146 7.4 VISUALIZZAZIONE DEL PROGETTO
Load more

Recommended publications
  • Abbildungsverzeichnis
    Abbildungsverzeichnis Trotz intensiver Recherchen war es nicht in allen Fällen möglich, die Rechteinhaber der Abbil- dungen ausfndig zu machen. Berechtigte Ansprüche werden selbstverständlich im Rahmen der üblichen Vereinbarungen abgegolten. B = Bühnenbild, M = Musik, P = Premierendatum, R = Regie, T = Text Abb. 1 Johan Torn Prikker, Ecce Homo, Dreikönigenkirche, Neuss, Einzelscheibe aus dem mittleren Chorfenster, 1912, Fotografe: Stefan Johnen, Glottertal. Abb. 2 Rekonstruktion der Sonderbundkapelle anlässlich der Ausstellung 1912 – Mission Moderne im Wallraf-Richartz-Museum & Fondation Corboud, Köln, 2012, Fotografe: © Raimond Spekking/CC-BY-SA-4.0 (via Wikimedia Commons). Abb. 3 Henry van de Velde, Bühnenbildentwurf zu Émile Verhaerens Das Kloster, Werkbund- theater Köln, R: Victor Barnowsky, P: Juli 1914, Gouache und Kreide auf Karton, 35,2 × 50,5 cm, Teaterwissenschafliche Sammlung der Universität zu Köln, Fotografe: Christina Vollmert, © VG Bild-Kunst, Bonn 2018. Abb. 4 Szenenfotografe zu Émile Verhaerens Das Kloster, Werkbundtheater Köln, R: Victor Barnowsky, B: Henry van de Velde, P: Juli 1914, Teaterwissenschafliche Sammlung der Universität zu Köln, Fotografe: Christina Vollmert. Abb. 5 Szenenfotografe zu Hugo von Hofmannsthals Jedermann, Domplatz Salzburg, R: Max Reinhardt, B: Alfred Roller, P: 22.08.1920, Teaterwissenschafliche Sammlung der Univer- sität zu Köln. Abb. 6 Wilhelm Willinger, Szenenfotografe zu Hugo von Hofmannsthals Das Salzburger Große Welttheater, Kollegienkirche Salzburg, R: Max Reinhardt, B: Alfred Roller, P: 13.08.1922, Teaterwissenschafliche Sammlung der Universität zu Köln. Abb. 7 Carl Meyer nach einer Zeichnung von Ernst Friedrich Zwirner, Der Dom zu Cöln im Frühjahre 1851, Stahlstich, in: Kölner Domblatt. Amtliche Mittheilungen des Central-Dombau- Vereins 75 (1851): S. 21, Dombauarchiv Köln, Fotografe: Universitätsbibliothek Heidelberg/ CC-BY-SA-3.0.
    [Show full text]
  • Download Article In
    Journal Director: R. Gulli e-ISSN 2421-4574 Vol. 7, No. 1 (2021) Issue edited by Editor in Chief: R. Gulli Cover illustration: Azulejos, Casa de Pilatos, Seville. © Renato Morganti, 2017 Editorial Assistants: C. Mazzoli, D. Prati e-ISSN 2421-4574 Vol. 7, No. 1 (2021) Year 2021 (Issues per year: 2) Journal Director Riccardo Gulli Scientific Committee Construction History and Preservation Santiago Huerta, Antonio Becchi, Camilla Mileto, Amedeo Bellini, Stefano Della Torre, Alberto Grimoldi, Claudio Varagnoli, Tullia Iori, Antonello Sanna, Renato Morganti, Giovanni Fatta, Marco Dezzi Bardeschi, Corrado Fianchino Construction and Building Performance Matheos Santamuris, Francisco Javier Neila González, M. Hyle, John Richard Littlewood, Gianfranco Carrara, Riccardo Nelva, Enrico Dassori, Marina Fumo Building and Design Technology Maurizio Brocato, José Luis Gonzalez, Emilio Pizzi, Francesco Polverino, Raffaella Lione, Angelo Salemi, Giorgio Cacciaguerra, Enrico Sicignano, Antonella Guida Editor in Chief Riccardo Gulli Assistant Editors Marco D’Orazio, Annarita Ferrante, Enrico Quagliarini Editorial Assistants Cecilia Mazzoli, Davide Prati Scientific Society Partner: Ar.Tec. Onlus c/o DICEA, Università Politecnica delle Marche, Polo Montedago, Via Brecce Bianche 12 60131 Ancona - Italy Phone: +39 071 2204587 Email: [email protected] [email protected] Media Partner: Edicom Edizioni Via I Maggio 117 34074 Monfalcone (GO) - Italy Phone: +39 0481 484488 Vol. 7, No. 1 (2021) e-ISSN 2421-4574 TEMA: Technologies Engineering Materials Architecture TEMA: Technologies Engineering Materials Architecture Vol. 7, No. 1 (2021) e-ISSN 2421-4574 Editorial Discipline and research: borders and frontiers 5 Renato Morganti DOI: 10.30682/tema0701a CONSTRUCTION HISTORY AND PRESERVATION Representation and knowledge of historic construction: HBIM for structural use in the case of Villa Palma-Guazzaroni in Terni 8 Edoardo Currà, Alessandro D’Amico, Marco Angelosanti DOI: 10.30682/tema0701b Displacement and deformation assessment of timber roof trusses through parametric modelling.
    [Show full text]
  • Arte E Fede in Provincia Di Varese
    Terra di confine e di transito, attraversata da stori- A border and transit land, criss-crossed by historical che “vie” di comunicazione, Sempione e Gottardo, “roads” of communication such as those of the la provincia di Varese conserva un considerevole Simplon and Saint Gothard passes, the province of patrimonio d’arte religiosa: monasteri, abbazie, Varese safeguards a considerable wealth of santuari molti dei quali dedicati alla Vergine, sono religious art: monasteries, abbeys, and sanctuaries, ancor oggi luoghi non solo di preghiera ma anche many of which are dedicated to the Virgin Mary, are siti che, per la loro bellezza, lasciano senza parole. still nowadays not only places of worship but places Alcune chiese sorgono in particolari località, basti that for their intrinsic beauty, leave one speechless. pensare al maestoso complesso della Via Sacra del Several churches stand in particular locations: it is Sacro Monte di Varese, punto di riferimento religio- sufficient to think of the majestic complex of the “Via so sin dai tempi di S.Ambrogio (IV sec.d.C), baluar- Sacra” of the Sacred Mountain of Varese, a reli- do contro le eresie nordiche. Con l’aiuto di esperte gious landmark since the times of Saint Ambrogio guide locali, seguendo gli itinerari proposti, invitia- (IV century a. C.), rampart against Nordic heresies. mo a scoprire questi gioielli di arte: per la loro parti- With the help of expert local guides, and by fol- colare bellezza saranno ricordati a lungo. lowing the proposed itineraries, we invite you to discover these art jewels: their particular beauty will be long remembered.
    [Show full text]
  • Depliant-English.Pdf
    The Sacro Monte of Varallo is the most ancient and most evocative of all the sacred mountains in the area of Piedmont and LombardY Detail of the Square of the Law Courts Varallo Carcoforo Rimella SEMPIONE Fobello Omegna Rima Lago Maggiore Lago d’Orta Gravellona Rimasco Orta Alagna Balmuccia Civiasco Gozzano Scopello Arona VARALLO Sesto Calende Borgomanero Valduggia Borgosesia Gallarate A26 he “Sacro Monte” (Sacred Mountain) of Varallo is the most ancient MALPENSA MILANO and most evocative of all the sacred mountains in the area of Piedmont Gattinara Romagnano Ticino T and Lombardy. Its origin is due to an ingenious idea of a Milanese monk, Sesia Agognate Bernardino Caimi, who after many years in Palestine, decided to rebuild in TORINO Greggio MILANO these rocks the same Holy Places. Due to the war with Turkey, it was difficult A4 Biandrate NOVARA to make the journey to the Holy Land. We are at the end of 1400. So the New VERCELLI GENOVA ALESSANDRIA Jerusalem is born. From 1500 the first shrines (Nazareth, Bethlehem, Calvary and the Holy Sepulchre) were annexed to a much larger project, wished for Times of Masses Sacro Monte di Varallo by S. Carlo Borromeo, who, through images and sculptures (45 shrines, 800 SOLAR TIME: h. 9,30-11,30-16 SS. Mass weekdays 16 statues) developped beautifully the story of our salvation. In this place, im- SUMMER TIME: h. 9,30-11,30-17 SS. Mass weekdays 1 The Basilica “How could you forget the Sacro Monte of Varallo with mersed in natural and enchanting surroundings, the pilgrim of 2000 can still Chapel 1 its many beautiful shrines.
    [Show full text]
  • Sacro Monte Di Varallo
    SACRI MONTI DI PIEMONTE E LOMBARDIA - UNESCO WORLD HERITAGE Briga (CH) SACRO MONTE DI VARALLO Locarno (CH) Surface area: 22 hectares United Nations Sacri Monti del Piemonte Riserva speciale DOMODOSSOLA Educational, Scientific and e della Lombardia Sacro Monte Cultural Organization Iscritti nella lista del Patrimonio di Varallo Lugano (CH) Mondiale nel 2003 Elevation: 455 - 650 metres GHIFFA SS33 Environment: Mountain SS34 Verbania OSSUCCIO SS340 Aosta-Ginevra (CH) VARESE Como Sacro Monte VARALLO ORTA A26 SP229 A9 OROPA A8-A26 A5 SP299 A8 SP144 Borgomanero di Varallo Biella Romagnano SP338 Venezia SP230 A4 PROTECTED AREA Cuorgné Ivrea The Sacro Monte di Varallo is the most important of the SS565 A4-A5 Novara MILANO Valperga pre-alpine Sacro Monte both for its artistic and historical Vercelli Bologna BELMONTE A4 Firenze significance and for its naturalistic make-up, rich in SP460 Roma M. Dallago SP590 A26-A4 A26 autochthonous and exotic plants arranged following the Serralunga Photo SP457 Casale Monferrato patterns of the Italian Renaissance gardens which aimed at CREA TORINO emphasizing the nearby architectural structures. Although Savona Moncalvo Alessandria-Genova the territory of the Reserve has been profoundly altered by man, after years of gradual abandonment, the forest covering has slowly been returning floral elements that Access to the Sacred Mount is free of charge have developed and today accounts for more than 421 HOW TO GET THERE species. Inside the sacred area, the natural environment Note: Access by bus is subject to specific rules and payment has been strongly shaped by man to resemble the typical Info and permits: Municipal Police of Varallo - tel +39 0163 562727 gardens of Renaissance Italy.
    [Show full text]
  • Terracotta Tableau Sculpture in Italy, 1450-1530
    PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy.
    [Show full text]
  • The Sacro Monte of Varallo As a Physical Manifestation of the Spiritual Exercises Ryan Gregg
    The Sacro Monte of Varallo as a Physical Manifestation of the Spiritual Exercises Ryan Gregg Still an active religious institution, the Sacro Monte, or Sa- Despite Longo’s insightful discussion, scholars have failed cred Mountain, of Varallo in Italy’s Piedmont region is the to examine the most significant alteration made at the Sacro culmination of more than four centuries of construction, in- Monte during the sixteenth century, the addition of grilles. To tention, and use. The complex now consists of forty-three chap- aid in the implementation of Borromeo’s plan, gates and grilles els set within a forested park traversed by pathways (Figure were added to all of the chapels, barring a pilgrim from entry 1). Each chapel displays a scene from the life of Jesus com- and restricting his participation in the scene to that of dis- posed of three-dimensional polychromed figure groups, illu- tanced observer. This paper examines the addition of the grilles sionistic frescoes, and assorted props, such as tables, chairs, in terms of how it affected the spatial experience of the viewer and table settings (Figure 2). The created scenes resemble as dictated by Post-Tridentine doctrine. Specifically, it con- tableaux vivants in their lifelikeness, a quality enhanced by siders these barriers in terms of the Spiritual Exercises and the original freedom of a pilgrim to physically enter the chap- what Loyola termed the meditative “composition of place.”4 els and walk through the scenes, becoming, in effect, a par- Beginning with a brief discussion of the origins and early ticipant in the action.
    [Show full text]
  • The Thyroid in Art
    THE THYROID IN ART Luigi Massimino SENA Clinical Pathology Faculty of Medicine University of Turin (Italy) 1 TAKE ART AND PUT IT IN SCIENCE Art and science are different aspects of human creativity. Over the centuries, artists have made use of the expressive power of images to awaken both emotions and empathy, which are often universal. 2 The thyroid gland (tireos, oblong "shield" , but which in reality meant big stone used as a door or for shutting the wooden door: cover, defend with the shield) is located in a part of the human body, i.e., in the neck, making it clearly visible in the throat when enlarged (goiter from Latin guttur). The prevalence of goiter was already known in ancient times, but the writings that described it were almost always devoid of explanatory drawings. The representation of the goiter is illustrated in the numerous depictions of goitrous men, women and children in coins, sculptures, paintings, simple craft objects and even in forms of folklore that involved persons not engaged in the medical art. The depictions were the works of artists living in endemic areas, or of travelers who illustrated the reality they encountered. The size of the goiter has always provoked amazement or fear, feelings that are associated with the mystery surrounding its origin and function. Over the centuries, it has stimulated the imagination of people, while at the same time it has paved the way to understanding the historical relationship between disease and society (pathocoenosis). 3 PATHOCOENOSIS In 1969, Mirko Drazen Grmek (1924-2000) created the neologism pathocenose or pathocoenosis , that is a “community of diseases”: “the collection of pathological states present in a given population in a certain time and space”.
    [Show full text]
  • Jerusalem in Renaissance Italy the Holy Sepulchre on the Sacro Monte of Varallo
    Jerusalem In Renaissance Italy 215 Chapter 9 Jerusalem in Renaissance Italy The Holy Sepulchre on the Sacro Monte of Varallo Bram de Klerck The iconography of St Charles Borromeo (1538–84) contains some interesting instances of the kneeling saint in the immediate vicinity of the recumbent fig- ure of the deceased Christ. The Saviour’s largely nude body, head sometimes still crowned with thorns, is placed on a catafalque or marble slab. An example is a painting executed after 1615 for the Church of Santi Carlo e Giustina in Pa- via, by the Milanese artist Giulio Cesare Procaccini (1574–1625), now in Milan, Pinacoteca di Brera (Fig. 9.1). The work represents St Charles, dressed as a car- dinal, kneeling and looking up to an angel who is pointing at the body of Christ.1 What is especially striking in this painting and images like it is that they suggest the real presence of the sixteenth-century Milanese archbishop at Christ’s bier. By uniting the figures of Christ and St Charles in one and the same space, realistically proportioned to each other, the painters emphasize that, to the saint, the body of the dead Christ is almost tangible. It is as if, long after the biblical events of Christ’s crucifixion and burial, Borromeo found a miraculous way to go back in time some one-and-a-half millennia to find the Saviour’s body inside the hermetically closed tomb. However improbable the scene may appear, these paintings reflect a spe- cific religious experience and practice, as they are documented in the earliest written accounts of Charles Borromeo’s life.
    [Show full text]
  • Giovanni Battista Braccelli's Etched Devotions Before the Vatican
    Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de).
    [Show full text]
  • Carlo Meazzacarlo
    I LUOGHI UNESCO in Lombardia Carlo MeazzaCarlo Foto di Foto 2020 Una strada per il cielo. Sacro Monte diVarese. Monte perilcielo. Sacro strada Una 2020 Capodanno 1 mercoledì 18 sabato 2 giovedì 19 domenica 3 venerdì 20 lunedì 4 sabato 21 martedì 5 domenica 22 mercoledì Epifania 6 lunedì 23 giovedì 7 martedì 24 venerdì 8 mercoledì 25 sabato 9 giovedì 26 domenica 10 venerdì 27 lunedì 11 sabato 28 martedì 12 domenica 29 mercoledì 13 lunedì 30giovedì 14 martedì 31 venerdì 15 mercoledì Il borgo di Santa Maria del Monte di Il Sacro Monte di Varese rappresenta nell’epoca Varese (foto grande). della Controriforma cattolica un esempio di Dall’alto, la via Sacra, ottava cappella, 16 giovedì armoniosa integrazione tra architettura, arti, Coronazione di Spine; decima cappella, paesaggi e motivazioni religiose. Un esempio che Crocifissione, Maria sorretta da una ha influenzato i successivi sviluppi degli altri Sacri pia donna; due delle cinquanta stature Monti nel resto d’Europa. di terracotta dipinta realizzate verso la 17 venerdì metà del 1600 da Dionigi Bussola. La storia scritta nella roccia. Arte rupestre in Valle Camonica. inValle Arterupestre roccia. scritta nella storia La 2020 1 sabato 18 martedì 2 domenica 19 mercoledì 3 lunedì 20 giovedì 4 martedì 21 venerdì 5 mercoledì 22 sabato 6 giovedì 23 domenica 7 venerdì 24 lunedì 8 sabato 25 martedì 9 domenica 26 mercoledì 10 lunedì 27 giovedì 11 martedì 28 venerdì 12 mercoledì 29 sabato 13 giovedì 14 venerdì 15 sabato Nella Valle Camonica l’arte rupestre conobbe Disegno di capanna incisa nella roccia la sua migliore stagione tra l’850 e il 400 a.c.
    [Show full text]
  • Victory of Samson XVII Century
    anticSwiss 29/09/2021 09:41:35 http://www.anticswiss.com Victory of Samson XVII century FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Villa Stampanoni Antiques Style: Gaiba Alta epoca Height:200cm 393386233246 Width:152cm Material:Olio su tela Price:29.000€ DETAILED DESCRIPTION: Extraordinary work depicting Samson victorious over the Philistines drinking from a donkey's jaw datable to the mid-17th century, oil on canvas. The unprecedented and vast canvas framed by a frame carved with gold leaf, shows in all its splendor some typical characteristics of the Bergamo painters, in particular that of Giovanni Stefano Danedi known as il Montalto (Treviglio 1612 - Milan 1690). Declaration of authenticity drawn up by Dr. Vittorio Preda - Expert Old Master Paintings Paris. Restoration carried out by Dr. Daniela Galoppi - Fine Arts of Sienne and Arezzo Oil on canvas, Height 200 cm x Width 152 cm (78.74 inc x 59.84 inc) GIOVANNI STEFANO DANEDI: Born in Treviglio in 1612, Giovanni Stefano Danedi is the most important exponent of a family of artists which includes, among others, his brother Giuseppe - three years older and also known by the nickname of Montalto - with whom he executed several works. Giovanni Stefano would have been in Milan, in the thirties of the seventeenth century, a pupil of Morazzone. And in fact, after the discovery of the Lamentation over Christ, today in the Castelvecchio Museum in Verona, it is clear how his artistic beginnings are linked precisely to the influence of Morazzone and the youthful style of Francesco Cairo, evident in two canvases such as Herodias with the head of the Baptist (Milan, Civic Collections of Art of the Castello Sforzesco) and the Miracle of the mule (1645) in the basilica of Treviglio.
    [Show full text]