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Santa Croce, Florence
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"Basilica of Santa Croce" redirects here. For the basilica in Lecce, see Basilica of Santa Croce, Lecce.
Basilica di Santa Croce
Basilica of the Holy Cross
Basilica di Santa Croce in Florence
Basilica di Santa Croce
Location in Florence
43°46′6.3″N 11°15′45.8″E / 43.768417°N 11.262722°E / 43.768417; 11.262722Coordinates: 43°46′6.3″N 11°15′45.8″E / 43.768417°N 11.262722°E / 43.768417; 11.262722
Location
Florence, Tuscany
Country
Italy
Denomination
Roman Catholic
History
Consecrated
1443
Architecture
Status
Minor basilica
Architectural type
Church
Style
Gothic, Renaissance, Gothic Revival
Groundbreaking
1294-1295
Completed
1385
Administration
Archdiocese
Archdiocese of Florence
The Basilica di Santa Croce (Basilica of the Holy Cross) is the principal Franciscan church in Florence, Italy, and a minor basilica of the Roman Catholic Church. It is situated on the Piazza di Santa Croce, about 800 meters south-east of the Duomo. The site, when first chosen, was in marshland outside the city walls. It is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, the poet Foscolo, the philosopher Gentile and the composer Rossini, thus it is known also as the Temple of the Italian Glories (Tempio dell'Itale Glorie).
Contents
[hide]
1 Building
2 Art
3 Funerary monuments
4 In literature
5 References
6 External links
Building[edit]
Franciscan symbol on the facade of the temple
The Basilica is the largest Franciscan church in the world. Its most notable features are its sixteen chapels, many of them decorated with frescoes by Giotto and his pupils, and its tombs and cenotaphs. Legend says that Santa Croce was founded by St Francis himself. The construction of the current church, to replace an older building, was begun on 12 May 1294,[1] possibly by Arnolfo di Cambio, and paid for by some of the city's wealthiest families. It was consecrated in 1442 by Pope Eugene IV. The building's design reflects the austere approach of the Franciscans. The floorplan is an Egyptian or Tau cross (a symbol of St Francis), 115 metres in length with a nave and two aisles separated by lines of octagonal columns. To the south of the church was a convent, some of whose buildings remain.
The Primo Chiostro, the main cloister, houses the Cappella dei Pazzi, built as the chapter house, completed in the 1470s. Filippo Brunelleschi (who had designed and executed the dome of the Duomo) was involved in its design which has remained rigorously simple and unadorned.
In 1560, the choir screen was removed as part of changes arising from the Counter-Reformation and the interior rebuilt by Giorgio Vasari. As a result, there was damage to the church's decoration and most of the altars previously located on the screen were lost.
The bell tower was built in 1842, replacing an earlier one damaged by lightning. The neo-Gothic marble façade dates from 1857-1863. The Jewish architect Niccolo Matas from Ancona, designed the church's façade, working a prominent Star of David into the composition. Matas had wanted to be buried with his peers but because he was Jewish, he was buried under the threshold and honored with an inscription.
In 1866, the complex became public property, as a part of government suppression of most religious houses, following the wars that gained Italian independence and unity.[2][3]
The Museo dell'Opera di Santa Croce is housed mainly in the refectory, also off the cloister. A monument to Florence Nightingale stands in the cloister, in the city in which she was born and after which she was named. Brunelleschi also built the inner cloister, completed in 1453.
In 1966, the Arno River flooded much of Florence, including Santa Croce. The water entered the church bringing mud, pollution and heating oil. The damage to buildings and art treasures was severe, taking several decades to repair.
Today the former dormitory of the Franciscan friars houses the Scuola del Cuoio (Leather School).[4] Visitors can watch as artisans craft purses, wallets, and other leather goods which are sold in the adjacent shop.
Art[edit]
The altar and crucifix
A gate in the gardens with the letters "OPA" for ora pro animis ("pray for souls")
Artists whose work is present in the church include:
Benedetto da Maiano (pulpit; doors to Cappella dei Pazzi, with his brother Giuliano)
Antonio Canova (Alfieri's monument)
Cimabue (Crucifixion, badly damaged by the 1966 flood and now in the refectory)
Andrea della Robbia (altarpiece in Cappella Medici)
Luca della Robbia (decoration of Cappella dei Pazzi)
Desiderio da Settignano (Marsuppini's tomb; frieze in Cappella dei Pazzi)
Donatello (relief of the Annunciation on the south wall; crucifix in the lefthand Cappella Bardi; St Louis of Toulouse in the refectory, originally made for the Orsanmichele)
Agnolo Gaddi (frescoes in Castellani Chapel and chancel; stained glass in chancel)
Taddeo Gaddi (frescoes in the Baroncelli Chapel; Crucifixion in the sacristy; Last Supper in the refectory, considered his best work)
Giotto (frescoes in Cappella Peruzzi and righthand Cappella Bardi; possibly Coronation of the Virgin, altarpiece in the Baroncelli Chapel, also attributed to Taddeo Gaddi)
Giovanni da Milano (frescoes in Cappella Rinuccini) with Scenes of the Life of the Virgin and the Magdalen
Maso di Banco (frescoes in Cappella Bardi di Vernio) depicting Scenes from the life of St.Sylvester (1335–1338).
Henry Moore (statue of a warrior in the Primo Chiostro)
Andrea Orcagna (frescoes largely disappeared during Vasari's remodelling, but some fragments remain in the refectory)
Antonio Rossellino (relief of the Madonna del Latte (1478) in the south aisle)
Bernardo Rossellino (Bruni's tomb)
Santi di Tito (Supper at Emmaus and Resurrection, altarpieces in the north aisle)
Giorgio Vasari (Michelangelo's tomb) with sculpture by Valerio Cioli, Iovanni Bandini, and Battista Lorenzi. Way to Calvary painted by Vasari.[5]
Domenico Veneziano (SS John and Francis in the refectory)
Once present in the church's Medici Chapel, but now split between the Florentine Galleries and the Bagatti Valsecchi Museum in Milan, is a polyptych by Lorenzo di Niccolò.
Funerary monuments[edit]
Michelangelo's tomb
Galileo's tomb
The Basilica became popular with Florentines as a place of worship and patronage and it became customary for greatly honoured Florentines to be buried or commemorated there. Some were in chapels "owned" by wealthy families such as the Bardi and Peruzzi. As time progressed, space was also granted to notable Italians from elsewhere. For 500 years monuments were erected in the church including those to:
Leon Battista Alberti (15th-century architect and artistic theorist)
Vittorio Alfieri (18th-century poet and dramatist)
Eugenio Barsanti (co-inventor of the internal combustion engine)
Lorenzo Bartolini (19th-century sculptor)
Julie Clary, wife of Joseph Bonaparte, and their daughter Charlotte Napoléone Bonaparte
Leonardo Da Vinci (commemorative plaque, buried in Château d'Amboise in France)
Leonardo Bruni (15th-century chancellor of the Republic, scholar and historian)
Dante (buried in Ravenna)
Ugo Foscolo (19th-century poet)
Galileo Galilei
Giovanni Gentile (20th-century philosopher)
Lorenzo Ghiberti (artist and bronze-smith)
Niccolò Machiavelli by Innocenzo Spinazzi
Carlo Marsuppini (15th-century chancellor of the Republic of Florence)
Michelangelo Buonarroti
Raffaello Morghen (19th-century engraver)
Gioachino Rossini by Giuseppe Cassioli
Louise of Stolberg-Gedern (wife of Charles Edward Stuart, 'Bonnie Prince Charlie')
Guglielmo Marconi (buried in his birthplace at Sasso Marconi, near Bologna)
Enrico Fermi (nuclear physicist, buried in Chicago, Illinois)
In literature[edit]
A Room with a View (1908), E.M. Forster, chapter 2
Romola (1863), George Eliot
References[edit]
Jump up ^ Chiarini, Gloria (2007). "Basilica of Santa Croce". Florence Art Guide. Archived from the original on 29 July 2007. Retrieved 2007-07-30.
Jump up ^ Besse, J M (1911). "Suppression of Monasteries in Continental Europe: C. Italy". Catholic Encyclopedia. New Advent. Archived from the original on 5 September 2007. Retrieved 2007-07-30.
Jump up ^ "Santa Croce: Overview". Opera of Santa Croce. Archived from the original on 28 August 2007. Retrieved 2007-07-30.
Jump up ^ http://www.leatherschool.com
Jump up ^ Borsook, Eve (1991). Vincent Cronin, ed. The Companion Guide to Florence, 5th Edition. HarperCollins; New York. pp. 100–104.
External links[edit]
Works related to Catholic Encyclopedia (1913)/Suppression of Monasteries in Continental Europe at Wikisource
Wikimedia Commons has media related to Santa Croce (Florence).
Official website (in Italian)
Museums of Florence | Church and Museum of Santa Croce
BBC video about Giotto frescoes in the Basilica of Santa Croce, Florence

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Jesus healing the bleeding woman
From Wikipedia, the free encyclopedia
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Christ Healing a bleeding woman, as depicted in the Catacombs of Marcellinus and Peter.
Jesus healing the bleeding woman (or "woman with an issue of blood" and other variants) is one of the miracles of Jesus in the Gospels (Matthew 9:20–22, Mark 5:25–34, Luke 8:43–48).[1] [2][3][4]
In the Gospel accounts, this miracle immediately follows the exorcism at Gerasa and is combined with the miracle of the Daughter of Jairus. The incident occurred while Jesus was traveling to Jairus' house, amid a large crowd:
And a woman was there who had been subject to bleeding for twelve years. She had suffered a great deal under the care of many doctors and had spent all she had, yet instead of getting better she grew worse. When she heard about Jesus, she came up behind him in the crowd and touched his cloak, because she thought, “If I just touch his clothes, I will be healed.” Immediately her bleeding stopped and she felt in her body that she was freed from her suffering.
At once Jesus realized that power had gone out from him. He turned around in the crowd and asked, “Who touched my clothes?” “You see the people crowding against you,” his disciples answered, “and yet you can ask, ‘Who touched me?’ ” But Jesus kept looking around to see who had done it.Then the woman, knowing what had happened to her, came and fell at his feet and, trembling with fear, told him the whole truth. He said to her, “Daughter, your faith has healed you. Go in peace and be freed from your suffering.”
The woman's condition, which is not clear in terms of a modern medical diagnosis, is translated as an "issue of blood" in the King James Version and a "flux of blood" in the Wycliffe Bible and some other versions. In scholarly language she is often referred to by the original New Testament Greek term as the haemorrhoissa (ἡ αἱμοῤῥοοῦσα, "bleeding woman"). The text describes her as γυνὴ αἱμορροοῦσα δώδεκα ἔτη (gynē haimorroousa dōdeka etē), with haimorroousa being a verb in the active voice present participle ("having had a flow [rhēon], of blood [haima]"). Some scholars view it as menorrhagia; others as haemorrhoids.[5]
Because of the continual bleeding, the woman would have been continually regarded in Jewish law as a niddah or menstruating woman, and so ceremonially unclean. In order to be regarded as clean, the flow of blood would need to stop for at least 7 days. Because of the constant bleeding, this woman lived in a continual state of uncleanness which would have brought upon her social and religious isolation.[6]
Contents
1 Gospels of Matthew and Luke
2 In art and later traditions
3 See also
4 References
Gospels of Matthew and Luke[edit]
Matthew's and Luke's accounts specify the "fringe" of his cloak, using a Greek word which also appears in Mark 6.[7] According to the Catholic Encyclopedia article on fringes in scripture, the Pharisees (one of the sects of Second Temple Judaism) who were the progenitors of modern Rabbinic Judaism, were in the habit of wearing extra-long fringes or tassels (Matthew 23:5), a reference to the formative çîçîth (tzitzit). Because of the Pharisees' authority, people regarded the fringe with a mystical quality.[8]
In art and later traditions[edit]
Coin of Hadrian; he accepts the homage of a figure representing Achaea in this example
Eusebius, writing in the reign of Constantine I says he himself saw a pair of statues in bronze in Panease or Caesarea Philippi (on the Golan Heights in modern terms) of Jesus and the haemorrhoissa, sculpture being at this time an unusual form for the depiction of Jesus. By his description they resembled a sculptural version of the couple as they were shown in a number of paintings in the Catacombs of Rome (see illustration at top). He sees this in terms of ancient traditions of commemorating local notables rather than newer ones of Early Christian art. The statues were placed outside the house of the woman, who came from the city, and was called Veronica (meaning "true image"), according to the apocrypha Acts of Pilate and later tradition, which gave other details of her life.[9]
When Julian the Apostate became emperor in 361 he instigated a programme to restore Hellenic paganism as the state religion.[10] In Panease this resulted in the replacement of the statue of Christ, with results described by Sozomen, writing in the 440s:
”Having heard that at Caesarea Philippi, otherwise called Panease Paneades, a city of Phoenicia, there was a celebrated statue of Christ, which had been erected by a woman whom the Lord had cured of a flow of blood. Julian commanded it to be taken down, and a statue of himself erected in its place; but a violent fire from the heaven fell upon it, and broke off the parts contiguous to the breast; the head and neck were thrown prostrate, and it was transfixed to the ground with the face downwards at the point where the fracture of the bust was; and it has stood in that fashion from that day until now, full of the rust of the lightning.”[11]
However, it has been pointed out since the 19th century that the statues were probably a misunderstanding or distortion of a sculptural group in fact originally representing the submission of Judea to the Emperor Hadrian. Images of this particular coupling, typical of Roman Imperial adventus imagery, appear on a number of Hadrian's coins, after the suppression of the Bar Kokhba revolt of 132–136. The statues seem to have been buried in a landslide and some time later rediscovered and interpreted as Christian. Since Caesarea Philippi had been celebrated for its temple of the god Pan, a Christian tourist attraction was no doubt welcome news for the city's economy.[12]
Representations of the episode which seem clearly to draw on the lost statue, and so resemble surviving coins of the imperial image, appear rather frequently in Early Christian art, with several in the Catacombs of Rome, as illustrated above, on the Brescia Casket and Early Christian sarcophagi, and in mosaic cycles of the Life of Christ such as San Apollinare Nuovo in Ravenna. It continued to be depicted sometimes until the Gothic period, and then after the Renaissance.[13]
The story was later elaborated in the 11th century in the West by adding that Christ gave her a portrait of himself on a cloth, with which she later cured Tiberius. This Western rival to the Image of Edessa or Mandylion eventually turned into the major Western icon of the Veil of Veronica, now with a different story for "Veronica". The linking of this image with the bearing of the cross in the Passion, and the miraculous appearance of the image was made by Roger d'Argenteuil's Bible in French in the 13th century,[14] and gained further popularity following the internationally popular work, Meditations on the Life of Christ of about 1300 by a Pseudo-Bonaventuran author. It is also at this point that other depictions of the image change to include a crown of thorns, blood, and the expression of a man in pain,[14] and the image became very common throughout Catholic Europe, forming part of the Arma Christi, and with the meeting of Jesus and Veronica becoming one of the Stations of the Cross.
See also[edit]
Daughter of Jairus
Tzitzit
Related Bible parts: Matthew 9, Mark 5, Luke 8
References[edit]
Jump up ^ John R. Donahue, Daniel J. Harrington 2005 The Gospel of Mark ISBN 0-8146-5965-9 page 182
Jump up ^ "Biblegateway Mark 5:25–34". Biblegateway.com. Retrieved 2018-04-18.
Jump up ^ "Biblegateway Matthew 9:20–22". Biblegateway.com. Retrieved 2018-04-18.
Jump up ^ "Biblegateway Luke 8:43–48". Biblegateway.com. Retrieved 2018-04-18.
Jump up ^ "Matthew 9:20 Commentaries: And a woman who had been suffering from a hemorrhage for twelve years, came up behind Him and touched the fringe of His cloak". Biblehub.com. Retrieved 2018-04-18.
Jump up ^ McArthur, Dr. John (1987). Matthew 8–15 MacArthur New Testament Commentary. The Moody Bible Institute of Chicago. pp. 79–80. ISBN 0-8024-0763-3.
Jump up ^ κράσπεδον/kraspedon, see Strong's G2899
Jump up ^ Knight, Kevin (2009), "Fringes (in Scripture)", The Catholic Encyclopedia, retrieved 30 December 2011
Jump up ^ Wace, Henry, "Veronica" in the Dictionary of Christian Biography and Literature to the End of the Sixth Century A.D., with an Account of the Principal Sects and Heresies, online; Schiller, I, 78–79
Jump up ^ Brown, Peter, The World of Late Antiquity, W. W. Norton, New York, 1971, ISBN 0-393-95803-5 p. 93.
Jump up ^ Wilson, John Francis. (2004) ibid p 99
Jump up ^ Wace, op. cit., note 2296; for other possibilities, and possible visual depictions of the statue, see Caesarea Philippi: Banias, The Lost City of Pan, pp. 90–97, John Wilson, 2004, IB Taurus, ISBN 1-85043-440-9, ISBN 978-1-85043-440-5
Jump up ^ Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 (English trans from German), Lund Humphries, London, ISBN 0-85331-270-2, pp. 178–179
^ Jump up to: a b G Schiller, Iconography of Christian Art, Vol. II, 1972 (English trans from German), Lund Humphries, London, pp. 78–9, ISBN 0-85331-324-5
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