Your Italian Pilgrimage Unpacked
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Life of Saint Francis of Assisi
SpirtuJournal of Franciscanu CultureĦajja Issued by the Franciscan Friars (OFM Malta) Spirtu u Ħajja April - June 2009 1 APRIL88 - JUNE 2009 Editorial «GO OUT OF THE TENT» e are the in the aftermath of the celebration of the Chapter of Mats of the Franciscan Family in Assisi during the EasterW octave week. This has been an impressive gathering of members of the Franciscan Family worldwide, together with the respective Ministers General. The Chapter commemorated 800 years of Franciscan presence and history in the Church, ever since the approval of the first Form of Life written by Saint Francis and presented to Pope Innocent III in the spring of 1209. This issue of our Franciscan Review is dedicated in a special way to this event. It is important for all Franciscans, especially younger Franciscans in formation, to appreciate our roots and our history, in order to love our Family that has been one of the greatest achievements of the Catholic Church. I was talking to some of our young friars from the Holy Land Custody of the Friars Minor who took part in this Chapter of Quarterly journal of 88 Mats. Like many others of their age they returned enthusiastic and Franciscan culture published enriched by their experience. They told me that they appreciated since April 1986 the talks given by prominent Franciscan leaders and scholars, as well as the special audience given to them by Pope Benedict XVI at Computer Setting: Castel Gandolfo. John Abela ofm One thing struck them most, though. They told me that, Joseph Magro ofm among all the ones who conveyed messages to them, they can never forget what our ex-Minister General Giacomo Bini ofm had to say Printed copies on request to them. -
Apostolic Blessing Pope Request
Apostolic Blessing Pope Request Which Judson sustains so certain that Vinny convalescing her Swaziland? Pennate and mettled Caleb affrays tinklingly and skinny-dips his medaka mockingly and totally. Stuck and subscribable Rollins connoting her steeplechasings Judaizes or flutes racially. Mary that you think knee high end with your community. Very original stamped seal from? Many people treasure these certificates as important symbols of sacraments and these special occasions. The Blessing is a prayer with alas we prepare, for ourselves or summer our loved ones, the protection of God. Education is about maintaining this paradox. They will go. You for friday night or apostolic blessing for a dressy shoes on this apostolic blessing pope request tickets several gifts inside. Since it will likely be very hot, we suggest some sundresses for you for your visit! You can also find designer outlet stores in major shopping destinations, too! He then held out the rose and asked the two to receive it. Which luggage will work best for you? If you go to the seaside, pack a colorful bikini. If you feel comfortable flats or apostolic blessing requests for parishes, pope francis blesses a papal audiences at castel gandolfo. Look forward in texas seeing etsy ads, pope after ordering, pope and pope or apostolic blessing pope request is packed and pope in italy. By leading to take off your dream vacation packing as many touristy areas for them! Hi Karen, have you tried using Google Maps? The request is badly formed. Notify me realize this apostolic nunciature, takes two pairs of apostolic blessing request a visitor. -
Spolia's Implications in the Early Christian Church
BEYOND REUSE: SPOLIA’S IMPLICATIONS IN THE EARLY CHRISTIAN CHURCH by Larissa Grzesiak M.A., The University of British Columba, 2009 B.A. Hons., McMaster University, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Art History) THE UNVERSIT Y OF BRITISH COLUMBIA (Vancouver) April 2011 © Larissa Grzesiak, 2011 Abstract When Vasari used the term spoglie to denote marbles taken from pagan monuments for Rome’s Christian churches, he related the Christians to barbarians, but noted their good taste in exotic, foreign marbles.1 Interest in spolia and colourful heterogeneity reflects a new aesthetic interest in variation that emerged in Late Antiquity, but a lack of contemporary sources make it difficult to discuss the motives behind spolia. Some scholars have attributed its use to practicality, stating that it was more expedient and economical, but this study aims to demonstrate that just as Scripture became more powerful through multiple layers of meaning, so too could spolia be understood as having many connotations for the viewer. I will focus on two major areas in which spolia could communicate meaning within the context of the Church: power dynamics, and teachings. I will first explore the clear ecumenical hierarchy and discourses of power that spolia delineated through its careful arrangement within the church, before turning to ideological implications for the Christian viewer. Focusing on the Lateran and St. Peter’s, this study examines the religious messages that can be found within the spoliated columns of early Christian churches. By examining biblical literature and patristic works, I will argue that these vast coloured columns communicated ideas surrounding Christian doctrine. -
Michelangelo's Locations
1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Borgo Pignano - Italy, Tuscany, Siena Area
BORGO PIGNANO - ITALY, TUSCANY, SIENA AREA 100 GUESTS, 40 BEDROOMS BORGO PIGNANO SUMMARY Italy, Tuscany, Siena Area Countryside views Eco-friendly property 100 Guests Swimming pool 40 Bedrooms Landscaped gardens Spa facilities Outdoor living & dining Music & games rooms Wine cellar Events & weddings Wi-Fi LOCATION A magnificent 750 acres estate boasting lush gardens and incredible views of the countryside Italy, Tuscany, Siena Area Borgo Pignano is an 18th century property perched on a GUESTS hilltop, 500 metres above sea level. Located near Volterra and San Gimignano in Tuscany, the “borgo” (hamlet) is up to 100 comprised of an 18th century villa, a 13th century consecrated church, and multiple restored farmhouses and cottages, sleeping just under 100 guests in total. BEDROOMS The 300 hectares of land surrounding the hamlet are divided 40 into woods, fields, ponds, vegetable gardens and pastures for horses, making it an idyllic countryside escape. RENTAL PERIOD The main villa is stunning and immaculate, with a style that Nightly crosses effortlessly from historical to contemporary. It is composed of two wings; the western wing looks out towards the Mediterranean Sea and the eastern wing faces the fields PRICE and hills that lead to San Gimignano. From 20,000 EUR On the western side, the lawn leads on to the countryside with hills rolling away towards the far horizon. There is a MORE stunning pool carved from an ancient limestone quarry and its infinity edge overlooks the woods and hills below. Price per night. Minimum stay 3 nights in peak season, The eastern wing opens on to a luscious Mediterranean 2 nights in high and mid- garden with purple, mauve and lavender hues whilst the seasons, 1 night in shoulder northern garden of the property leads into the surrounding seasons. -
Works by Tolkien, Contemporary and Renaissance Drawings, And
Press Contacts Noreen Khalid Ahmad 212.590.0310 [email protected] Shaili Shah 212.590.0311 [email protected] Works by Tolkien, Contemporary and Renaissance Drawings , and Photography on View This Winter at the Morgan New York, NY, Thursday, December 6, 2018 — The 2019 winter season at the Morgan Library & Museum continues to celebrate visual artists and writers whose experimental methods and innovative creative processes have transformed our understanding of drawing, illustration, writing, and photography. Over the course of January and February, the Morgan will open a series of varied exhibitions, ranging from a look at the creative enterprise of J.R.R. Tolkien, to a focused examination of unconventional practices in contemporary drawing, to the first display in the United States of the storied photography collection of the National Gallery of Canada, to a survey of celebrated early Italian Drawings from our collection. By Any Means: Contemporary Drawings from the Morgan January 18, 2019 through May 12, 2019 Contemporary approaches to drawing are often experimental and expansive. By absorbing and building upon the legacy of avant-garde experimentation in the first half of the twentieth century, artists from the 1950s to the present have pushed beyond the boundaries of traditional draftsmanship through their use of chance, unconventional materials, and new technologies. Emboldened by the accessibility, scale, Stephen Vitiello (b. 1964), Speaker Drawing and relative affordability of paper, and informed by the (22.06), 2006, Pigment and spray fixative. The Morgan Library & Museum. Gift of an developments of Cubist, Futurist, Dada, and Surrealist anonymous donor, 2012.41. Photography by Steven H. -
Borgo Pignano Press Pack 2021.Pdf
PRESS PACK 2021 ABOUT BORGO PIGNANO Borgo Pignano is set in the heart of a picturesque 750-acre organic estate in Tuscany, where Etruscans were the first settlers. The estate is a short drive from the medieval hilltop towns of Volterra and San Gimignano and is only 1 hour’s drive from Florence. Today, this sensitively restored and privately-owned Borgo offers warm hospitality in a tranquil setting at 500 metres above sea level, with some of the most commanding views in all of Tuscany. ACCOMMODATION Accommodation is spread over the estate and includes: • The 18th century Villa • The Hamlet • La Canonica (The Priest’s House) • Individual luxury villas NEW for 2021: Refurbished Villa La Fonte New Villa La Lavandaia THE VILLA Borgo Pignano’s main building is an 18th century noble house, surrounded by traditionally planted English gardens overlooking pristine landscapes of Tuscany that have changed little since Renaissance times. The Villa offers 14 elegant rooms and suites, some with original frescoes and all with en- suite white marble and travertine bathrooms. A grand stone staircase leads to the upper floors also accessible by an elevator. Rooms are furnished with exquisite antiques, original artworks, Italian linens and chandeliers. The main villa also features spacious common rooms that complete the country house atmosphere: the library, billiard room, ballroom and lounge offer a variety of environments where guests can relax. LA CANONICA Dating back to the 13th century, La Canonica can be used as one large three-bedroomed house or, independently, divided as two separate suites. La Canonica, the Priest’s house, is located next to the ancient church of San Bartolomeo and contains original features such as medieval stonework, archways, columns, vaulted ceilings, terracotta floors and restored medieval frescoes. -
A Robot Application for Analysis, Survey and Conservation of Historical Architectures
20 A Robot Application for Analysis, Survey and Conservation of Historical Architectures Michela Cigola and Marco Ceccarelli University of Cassino Italy 1. Introduction This work is the result of the collaboration between DART (Laboratory of Documentation, Analysis, Survey of Architecture and Territory) and LARM (Laboratory of Robotics and Mechatronics) which, despite their apparent differences in terms of fields of research, for years have found time and motivations for opinion exchanges and cultural contacts, as well as research topics on which to begin genuine and fertile collaborations (Ceccarelli, et al., 2002) (Cigola, et al., 2005) (Cigola & Ceccarelli, 2006). The project research group is made up as follows: for the DART Laboratory of Documentation, Analysis, Survey of Architecture and Territory: Michela Cigola, architect specialized in Restoration of Monuments, full professor director of DART; Assunta Pelliccio, architect, assistant professor; Sara Mattei, engineer, PHD student; for the LARM Laboratory of Robotics and Mechatronics: Marco Ceccarelli, engineer, full professor director of LARM, Giuseppe Carbone, engineer, assistant professor; Erica Ottaviano, engineer, assistant professor; Chiara Lanni, engineer, research assistant. Our goal is to analyse the characteristics and problems that are related to the analysis and conservation of historical architecture, within an innovative approach with robotised systems. The design requisites and the distinctive aspects of the operations of a large range of robotised systems have now been fully defined and investigated. However, there are very few precedents for such specialized application, moreover, in connection to the subject of historical architecture that is apparently far away from general areas of robotics and mechatronics. The case of study that is presented here, namely the pre-Cosmatesque floor of the abbatial basilica of Montecassino, is a good case to highlight the flexibility of robotics and possible interactions with architecture, particularly in the field of surveying. -
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................ -
A Journey Through Sacred Space: Medieval Tree and Cross Symbolism in the Apse Mosaic and Floor of San Clemente in Rome Joe Hartm
1 A Journey through Sacred Space: Medieval Tree and Cross Symbolism in the Apse Mosaic and Floor of San Clemente in Rome Joe Hartman PhD candidate, Art History, Southern Methodist University Introduction: Cross, Tree, and Vine Symbolism in the Church of San Clemente In medieval Rome, the cross – also called the lignum vitae (tree or wood of life) – represented a Christian belief that the sins of humankind, associated with the tree of knowledge, were overcome through Christ’s sacrifice.1 The cross and vine in the apse mosaic of the twelfth- century church of San Clemente in Rome are a case in point (Figs. 1-2). In the center of the mosaic, on top of a gold inlaid background, Christ appears crucified on a black cross. A lush, green acanthus plant grows beneath him. Sinuous vines surround the cross on either side. The mosaic’s theme follows a typical fourth- or fifth-century configuration, which likens the emblematic cross to the paradisiacal “Tree of Life.”2 The visually literate laity of the twelfth century would have understood the image as a symbol of redemption and renewal. As such, the apse mosaic also depicts the cross as the Vine of Christ that abundantly provides the wine of the Eucharist and represents Christ’s sacrificial blood.3 The ornament and furnishings of San Clemente emphasize this central tree and vine motif. For example, San Clemente’s iconographic 1 All translations are the authors’ own. For more on the semiotics of the Tree of Life and the Tree of Knowledge, see Gerhart Ladner’s influential article “Medieval and Modern Understanding of Symbolism: A Comparison.” Speculum 54/ 2 (1979), 223-256. -
St. Peter's Basilica
UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St.