The Plan of S. Maria Assunta in Torcello Designed by N. Brjullov at the Service of the Virtual 4D Reconstruction of the Cathedral Towards May 1855
DOI:
https://doi.org/10.55630/dipp.2021.11.17Keywords:
Nikolaj Brjullov, Basilica of Torcello, Interactive Digital Storytelling, Virtual Documentation of Cultural Heritage, 4D ReconstructionAbstract
The plan of S. Maria Assunta in Torcello designed by the Russian architect and painter N. Brjullov in 1855 is analyzed in the context of less or more known written historic documents, of architectural and archaeological evidence, in order to virtually reconstruct by faithful images and interactive narratives the cathedral as it was immediately before the restorations 1854-58.References
Pokrovskij, N.V. (1887). The last Jugement in Byzanine and Russian art. 6th Archaeological Congres 1884 , (p. 301–304). Odessa.
Andreescu I., T. B. (1984). Modifiche alla Cattedrale di Torcello nel restauro del 1854- 1858. Bollettino d'Arte , 25 , 89-122.
Andreescu Treadgold, I. (2001). A Ninth-Century Chapel in the Basilica's Crypt at Torcello. In Per l'arte da Venezia all'Europa. Studi in onore di Giuseppe Maria Pilo (p. 55-66).
Andreescu, I. (1981). Les mosaïques de la lagune vénitienne aux environs de 1100. Actes du XVe congrès international d'études Byzantines (p. 15-30). Athènes 1976: Association Internationale des Etudes Byzantines.
Andreescu, I. (1999). Salviati’ a San Marco e altri suoi restauri. In E. Vio, & A. Lepschy (A cura di), Scienza e tecnica del restauro della basilica di San Marco, Venezia , , p. 467-513.
Andreescu, I. (2013). The Mosaics of Venice and the Venetian Lagoon:Thirty-five Years of Research at Torcello. Arte medievale , 193-206.
Andreescu, I. (1976). Torcello III. La chronologie relative des mosaiques parietales. Dumbarton Oaks Papers , V. 30 , p. 247-341.
Andreescu, I. (1972). Torcello. I. Le Christ inconnu. II. Anastasis et Jugement Dernier: Têtes vraies, têtes fausses. Dumbarton Oaks Papers , V. 26. , p. 185-223.
Andreescu, I., Henderson, J., & Roe, M. (2006). Glass from the Mosaics on the West Wall of Torcello’s Basilica. Arte medievale NS , 5 (2), 87-140.
Andreescu-Treadgold, I., & Henderson, J. (2009). How does the glass of the wall mosaic at Torcello contribute to the study of trade in the 11th century? In M. M. (ed) (A cura di), Byzantine trade, 4th-I2th centuries (p. 393-417). Oxford: Ashgate Publishing.
Belezkaja, L. I. (2000, 03 22). http://isaak.spb.ru/saviour/ubranstvo/mosaic. Tratto il giorno 2014 da Isaakievskij sobor.
Bentschev, I. (1992). Bibliographie der Gottesmutterikonen. Bonn: Verlag ICB.
Brockhaus, F., & Efron, I. (1890—1907). Brjullov, Nikolaj Fedorovic (Vol. 82). Sankt Peterburg.
Cogo, E., Prazina, I., Hodzic, K., Haselijc, H., & Rizvic, S. (2019). Survey of integrability of procedural modeling.
Comunicati stampa. (2020, luglio 24). http://www.patriarcatovenezia.it/site/prima-deimosaici-dai-restauri-nella-basilica-di-torcello-emergono-frammenti-di-affreschidel-ix-secolo-i-piu-antichi-in-area-veneziana/. Tratto da Patriarcato di Venezia.
Delehaye, o. e. (A cura di). (1902). Synaxarium ecclesiae Constantinopolitanae : Codice Sirmondiano nunc Berolinensi; adiectis synaxariis selectis. opera et studio Hyppolyti Delehaye: Apud Socios Bollandianos.
Dmitrieva, N. (1990). Mihail Alexandrovic Brubel'. Moscow: Hudozhnik.
Chang, M. H. (A cura di). (2011). Edutainment Technologies, Educational Games and Virtual Reality/Augmented Reality Applications. 6th International Conference on E-learning and Games. Taipei, Taiwan: Springer Verlag.
Empler, T. Traditional Museums, virtual Museums. Dissemination role of ICTs. DISEGNARECON , 11 (21).
Glassner, A. (2004). Interactive Storytelling. A. K. Peters.
https://it.wikipedia.org/wiki/Sacra_Cintola. (s.d.). Tratto il giorno 4 18, 2021
Huskivadse, L. (1984). Medieval cloisonné enamels at Georgian State Museum of Fine Arts. Belgrad.
Kondakov, N. (1915). Ikonograffiya Bogomateri. Sankt Peterburg.
Kondakov, N. (1887). Vizantijskie zerkvi Konstantinopolya. Trudy VI Archeologicheskovo s'esda (Proceedings of the 6th Archaeological Congress) , III , p. 1-229. Odessa.
Krylova, M. (2012). Nikolaj Bryllov - novye grani tvorcheskoj biografii. Tretyakovskie chtenija 2010-2011 , 88-99.
Lazarev, V. (1971). Gli affreschi di Castelserpio. In Byzantine painting (in Russian) (p. 67-88). Moscow.
Meersseman, G. (1958). Der "Hymnos akathistos" im Abendland. Freiburg: Universitätsverlag.
Miller, C. (2008). Digital Storytelling . Elsevier.
Niero, A. La basilica di Torcello e Santa Fosca. Kina.
Patrologiae Cursus Completus. Series graeca (Vol. 117). Migne, J.P.
Rizvic, S. e. “4D Virtual Reconstruction of White Bastion Fortress,”. C. E. Catalano and L. D. Luca.
Rizvic, S. (2014). Story Guided Virtual Cultural Heritage Applications. Journal of Interactive Humanities: , 2 (1).
Rizvić, S., Boskovic, D., Okanovic, V., & Zukić, M. (2019). Interactive digital storytelling: bringing cultural heritage in a classroom. Journal of Computers in Education , 6 (2).
Stoyanova, M. (2015). Il mosaico con il volto della Vergine nel Museo Civico medievale di Bologna: originale, copia, replica o falso? In G. T. Giampiero Bellingeri (A cura di), Ca' Foscari, Venezia e i Balcani. , p. 117-140. Venezia: Edizioni Ca' Foscari.
Stoyanova, M. (2016). Riflessi dei rapporti italo-russi sul patrimonio iconografico dei Balcani. (M. G. Mondini, A cura di) , p. 369-353.
Stoyanova, M., & Pavlova, L. (2019). Edge Detection Algorithms in Mapping the Condition and Historic Phases of the Last Judgment Mosaics in Torcello/Venice. Digital Presentation and Preservation of Cultural and Scientific Heritage , 163-176.
Svitin, A., Efimov, V., Lapteva, A., & Rumyantsev, M. (2012). New Approaches to the Problem of Actualization of the Historical and Cultural Heritage. Journal of Siberian Federal University. Humanities & Social Sciences , 9 (5), 1368-1373.
Vecchi, M. (1982). Torcello. Nuove ricerche. Roma: "L'Erma" di Bretschneider.
Vecchi, M. (1979). Torcello. Ricerche e contributi (Vol. 25). Roma: "L'Erma" di Bretschneider.
