The Clarissan Convents of Salamanca and Toro, founded in the 13th century, have preserved the Medieval wall paintings that once decorated their choirs. This contribution discusses these ensembles in the context of other European painted... more
The Clarissan Convents of Salamanca and Toro, founded in the 13th century, have preserved the Medieval wall paintings that once decorated their choirs. This contribution discusses these ensembles in the context of other European painted monastic choirs and female enclosures.
This paper offers a close look at the contours and consequences of enclosure among the first Franciscan sisters at San Damiano. A community that was nominally governed by the Benedictine Rule and a series of papal addenda, San Damiano... more
This paper offers a close look at the contours and consequences of enclosure among the first Franciscan sisters at San Damiano. A community that was nominally governed by the Benedictine Rule and a series of papal addenda, San Damiano evidently hosted an evolving set of attitudes towards enclosure - which may help to explain the broad applicability and influence of Damianite policy in the thirteenth century.
The convent of Santa Clara of Toro (Zamora), founded in the mid-13 century and restored in the early 14 century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in... more
The convent of Santa Clara of Toro (Zamora), founded in the mid-13 century and restored in the early 14 century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in Spain. However, these wall paintings were detached in 1962 and, after different disgusting circumstances, are now exhibited in another building of the very same city of Toro. The aim of this contribution is demonstrating how virtual rendering techniques can restore the wall paintings to its original location providing a vivid impression of its appearance by the time they were created. Essential for this is not only an accurate art historical analysis of both the building and the wall paintings, but also the use of photogrammetry to generate reliable 3D models.
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in... more
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in Spain. However, these wall paintings were detached in 1962 and, after different disgusting circumstances, are now exhibited in another building of the very same city of Toro. The aim of this contribution is demonstrating how virtual rendering techniques can restore the wall paintings to its original location providing a vivid impression of its appearance by the time they were created. Essential for this is not only an accurate art historical analysis of both the building and the wall paintings, but also the use of photogrammetry to generate reliable 3D models. This text was published in the proceedings of ARQUEOLÓGICA 2.0: 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation, held in Valencia in 2016. A more complete versión of this text is expected to appear in the next issue of VAR (Virtual Arcaheology Review)
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in... more
The convent of Santa Clara of Toro (Zamora), founded in the mid-13th century and restored in the early 14th century, housed in its choir one of the richest ensembles of Medieval wall paintings ever recorded in Castile and León or even in Spain. However, these wall paintings were detached in 1962 and, after different disgusting circumstances, are now exhibited in another building of the very same city of Toro. The aim of this contribution is demonstrating how virtual rendering techniques can restore the wall paintings to its original location providing a vivid impression of its appearance by the time they were created. Essential for this is not only an accurate art historical analysis of both the building and the wall paintings, but also the use of photogrammetry to generate reliable 3D models. This text was published in the proceedings of ARQUEOLÓGICA 2.0: 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation, held in Valencia in 2016. A more...
The location and character of the choir screen of Santa Chiara in Naples has long been an unknown component in studies of the church. A recent effort to identify its location with ground-penetrating radar (conducted by Leopoldo Repola),... more
The location and character of the choir screen of Santa Chiara in Naples has long been an unknown component in studies of the church. A recent effort to identify its location with ground-penetrating radar (conducted by Leopoldo Repola), inserted into a corrected plan and longitudinal section (created through the laser scan of Emanuela De Feo), enabled a research group to identify the location and propose a hypothetical reconstruction in a 3D model. The hypothetical model enables new inquiry into structural, visual, liturgical and social aspects of this monument.
