1,354,269 research outputs found
Nuovi e antichi presbiteri a Roma. I prototipi di Paolo Emilio Sfondrati attraverso le Instructiones borromaiche
No full textLo studio, anche dal punto di vista liturgico e funzionale, dell’intervento di rinnovamento della basilica di Santa Cecilia in Trastevere, voluto e guidato dal cardinale milanese Paolo Emilio Sfondrati a partire dal 1599, permette di identificare alcune linee guida che hanno informato i numerosi interventi nelle aree presbiteriali delle chiese romane nel corso del Seicento. Il principio di ideale separazione dello spazio dell’azione liturgica da quello devozionale del fedele, codificato nella chiesa trasteverina, viene declinato in Sant’Agnese fuori le Mura, a cui Sfondrati lavora dal 1605, secondo un modello architettonico differente, che prevede la sistemazione del santuario martiriale come monumento isolato e autonomo nello spazio della basilica altomedievale. Un’eco di tale prototipo si può scorgere nella fabbrica di San Carlo al Corso, chiesa dei Lombardi a Roma, promossa dal cardinale, dal 1612 al 1618, nel previsto ciborio esagono per l’altare maggiore, noto attraverso l’incisione del 1632 con il progetto di Onorio e Martino Longhi. Pur essendo un grande promotore del culto di Carlo Borromeo, Sfondrati testimonia, a livello architettonico, i limiti della ricezione delle Instructiones nell’ambiente romano. Il completamento dell’arredo liturgico della chiesa, avvenuto solo sul finire del secolo per volere del milanese Luigi Alessandro Omodei, prevede un altare parietale dotato di pala ed una differente sistemazione della reliquia del cuore di San Carlo, destinata all’altare, nella cappella del deambulatorio.This study recalls the Lombardian cardinal Paolo Emilio Sfondrati’s renovation of two martyrial sanctuaries in Rome, Santa Cecilia in Trastevere and Sant’Agnese fuori le mura, from the liturgical and functional perspective. After the famous event of the “inventio” (rediscovery) of the relics of St Cecilia in 1599, the presbytery of the basilica was renewed through the conservation of some medieval elements, like the Arnolfo’s altar canopy, but with a completely new layout: the stairs leading to the clergy space were moved from the nave to the aisles; and the space below the altar was transformed into the martyr sanctuary, displaying the sculpture to the faithful’s worship instead of the relics.
The separation of spaces for liturgical action, that of the clerics from that of the faithful, leads to an original architectural model used by Sfondrati in Sant’Agnese fuori le mura. Continuing Alessandro Dei Medici’s renovation of the early medieval building in 1605, Sfondrati built the new square sanctuary as a monument to the martyr, where the altar and the marble canopy are focused on the St Agnes statue more than on the liturgical celebration. In both churches the layout proposed in Borromeo’s Instructiones, corresponding to the model of the presbytery of the old St Peter and followed by Cesare Baronio in his church renovation works, is replaced by a different scheme due to devotional and liturgical needs.
While the structure of St Cecilia’s sanctuary was often repeated during the XVII century (e.g. Bernini’s confessio of St Francesca Romana in Santa Maria Nova), it is possible to see the main concept of the St Agnes basilica in the unexecuted project for the Lombards’ church in Rome, San Carlo al Corso, promoted by Sfondrati. The hexagonal cyborium, shown in the 1632 plan by Onorio and Martino Longhi, was set at the centre of the presbytery as a “panoptic temple” to show the relic of St Carlo Borromeo’s heart.
The analysis of Sfondrati’s work allows the identification of certain guidelines, followed in the restoration of many Roman churches during the XVII century. Despite being a great promoter of St Carlo Borromeo’s worship, Sfondrati testifies, on an architectural level, the limits of the influence of the Instructiones in Rome, where liturgical arrangements derived mainly from specific worship and devotional issues
La nuova fabbrica seicentesca. Il corpo e la facciata
No full textIl contributo approfondisce la costruzione seicentesca della chiesa romana dei Santi Vincenzo e Anastasio a Trevi nelle sue due fasi: quella attribuita a Gaspare De Vecchi, per la nave, il presbiterio e le cappelle, e quella di Martino Longhi il Giovane, per la facciata
Progetti di moli, attrezzature tecniche, bacini di carenaggio e opere di difesa idraulica tra Sette e Ottocento
No full textIl testo affronta l'evoluzione delle opere architettoniche e infrastrutture portuali nei principali centri del medio Adriatico nel periodo a cavallo tra Settecento e Ottocento
Ricondurre all'ordine un'antica fabbrica. L'opera del cardinale Alessandro dei Medici in Sant'Agnese fuori le mura
No full textL’articolo ripercorre le vicende della basilica di S. Agnese fuori le mura e gli importanti lavori voluti dal cardinale Alessandro dei Medici nel 1600-1605. Attraverso lo studio di una pianta cinquecentesca della chiesa, disegnata da Alberto Alberti, è possibile ricostruire lo stato dell’edificio prima degli interventi seicenteschi. L’analisi dell’opera di sterro dell’antica basilica e dei singoli interventi di rinnovamento promossi dal cardinale fiorentino, che coinvolgono tutti gli edifici del complesso, suggerisce l’esistenza di un piano coerente ed unitario di revisione degli accessi e dei percorsi interni ed esterni agli edifici. Il consolidamento delle strutture, la nuova decorazione e la “normalizzazione” del complesso semi-ipogeo, ricondotto a forme di utilizzo più ordinarie, si inserisce nel quadro dei rinnovamenti delle chiese romane promossi durante il pontificato di Clemente VIII. Le istanze baroniane di conservazione delle antichità cristiane vengono qui declinate nell’ottica di un recupero della funzionalità, anche liturgica, anziché di una pura conservazione del dato materiale.This article examines the events of the Basilica of St. Agnes outside the Walls and the important works commissioned by Cardinal Alessandro dei Medici between 1600 and 1605. By examining a sixteenth-century plan of the church, designed by Alberto Alberti, it is possible to reconstruct the state of the building before the seventeenth-century interventions. The analysis of the excavation work of the ancient basilica and the individual renovations involving the entire complex promoted by the Florentine cardinal, suggests the existence of a coherent and unitary plan for the revision of the accesses and the internal and external paths of the buildings. The consolidation of the structures, the new decoration, and the “normalization” of the semi-underground complex brought back to more ordinary forms of use, are part of the renewal program of the Roman churches promoted during the pontificate of Clement VIII. Rather than an operation of mere conservation, the requests for the protection of Christian antiquities are here combined with a will to recover the functions, including the liturgical ones
Oenological practices to improve flavour quality of monovarietal wines: a five years study on wines from Italian autochthonous grapes
No full textFierz–Pauli theory reloaded: from a theory of a symmetric tensor field to linearized massive gravity
No full textModifying gravity at large distances by means of a massive graviton may explain the observed acceleration of the Universe without Dark Energy. The standard paradigm for Massive Gravity is the Fierz–Pauli theory, which, nonetheless, displays well known flaws in its massless limit. The most serious one is represented by the vDVZ discontinuity, which consists in a disagreement between the massless limit of the Fierz–Pauli theory and General Relativity. Our approach is based on a field-theoretical treatment of Massive Gravity: General Relativity, in the weak field approximation, is treated as a gauge theory of a symmetric rank-2 tensor field. This leads us to propose an alternative theory of linearized Massive Gravity, describing five degrees of freedom of the graviton, with a good massless limit, without vDVZ discontinuity, and depending on one mass parameter only, in agreement with the Fierz–Pauli theory
A note on harmonic gauge(s) in massive gravity
No full textWe consider the harmonic gauge condition in linearized gravity, seen as a gauge theory for a symmetric tensor field. Once the harmonic gauge condition is implemented, as customary, according to the Faddeev-Popov procedure, the gauge fixed action still depends on one gauge parameter. Consequently, the harmonic gauge appears to be a class of conditions, rather than a particular one. This allows to give a physical motivation for the covariant harmonic gauge(s), which emerges when the gravitational perturbation is given a mass term. In fact, for a particular choice of harmonic gauge, we find a theory of linearized massive gravity displaying five degrees of freedom, as it should, and which is not affected by the vDVZ discontinuity, differently from what happens in the standard Fierz-Pauli theory
L'«Armonia di Cinquanta Altari di Giuseppe Boschi Architetto Faentino»
No full textL'articolo analizza il trattato manoscritto dell'architetto Giuseppe Boschi (1732-1802) dedicato agli altari. Attraverso un sistema proporzionale basto su rapporti armonici desunti dalla trattatistica di argomento musicale (Eulero in particolare), Boschi delinea una serie di composizioni, suscettibili di infinite variazioni con l'aggiunta, la sottrazione o la modifica di una singola componente. L'architetto riconduce la buona riuscita della progettazione e il valore estetico degli altari delineati interamente ai rapporti numerici tra le parti, riducendo il linguaggio architettonico e la decorazione, ispirata ai grandi modelli dell'architettura barocca e tardobarocca romana e bolognese ma sostanzialmente intercambiabile, ad un ruolo secondario e non sostanziale, aprendo, a livello teorico ma non ancora applicativo, ad un rigore e ad una semplificazione che preludono agli esiti artistici del primo XIX secolo
Porticus Ecclesiae Sanctae Agnetis. Lo scalone di accesso alla basilica onoriana
No full textThe great staircase between the upper courtyards and the lower level of the church of S. Agnese Fuori le Mura in Rome is the
result of transformations, occurred through centuries, of the ramp used to descend from the ancient basilica to a little chapel
with martyr’s remains, during the Constantinian era. The different alignment of the two parts of the staircase is connected with the
views towards the two buildings. A first staircase, built in VII century, was the only entrance to the church’s ground floor, and
it was restored in XIII and XV century, when cardinal Giuliano Della Rovere built the vault. The “cosmatesque” floor decoration
and the name of “porticus” used in medieval documents to refer to the staircase suggest that this site was also a liturgical
and processional route for celebrations. After the restoration of 1600-1605, by cardinal Alessandro de’Medici, and the opening
of three new entrances on church’s facade, the staircase lost its liturgical functions and became a monumental entrance hall
Commercial mannoproteins improve the mouthfeel and colour of wines obtained by excessive tannin extraction
No full textIn the production of red wines, the pressing of marcs and extended maceration techniques can increase the extraction of phenolic compounds, often imparting high bitterness and astringency to finished wines. Among various oenological products, mannoproteins have been shown to improve the mouthfeel of red wines. In this work, extendedmaceration (E), marc-pressed (P), and free-run (F) Sangiovese wines were aged for six months in contact with three different commercial mannoprotein-rich yeast extracts (MP, MS, and MF) at a concentration of 20 g/hL. Phenolic compounds were measured in treated and control wines, and sensory characteristics related to the astringency, aroma, and colour of the wines were studied. A multivariate analysis revealed that mannoproteins had a different effect depending on the anthocyanin/tannin (A/T) ratio of the wine. When tannins are strongly present (extended maceration wines with A/T = 0.2), the MP conferred mouthcoating and soft and velvety sensations, as well as colour stability to the wine. At A/T = 0.3, as in marc-pressed wines, both MF and MP improved the mouthfeel and colour of Sangiovese. However, in free-run wine, where the A/T ratio is 0.5, the formation of polymeric pigments was allowed by all treatments and correlated with silk, velvet, and mouthcoat subqualities. A decrease in bitterness was also obtained. Commercial mannoproteins may represent a way to improve the mouthfeel and colour of very tannic wines
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