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47-530: Santa Cruz Church or Church of Santa Cruz may refer to: Church of Santa Cruz (Lagoa) , a municipality of Lagoa, the Azores Church of Santa Cruz (Santa Cruz, Chile) , a church in Santa Cruz, Chile Santa Cruz Church (Laguna) or Immaculate Conception Parish Church, a Catholic church in Santa Cruz, Laguna, Philippines Santa Cruz Church (Manila) ,

94-646: A Catholic church in Santa Cruz, Manila, Philippines Monastery of Santa Cruz (Coimbra) , a monastery church in Coimbra, Portugal Santa Cruz Church (Bangkok) , a Catholic church in Bangkok, Thailand Church of Santa Cruz de Cangas de Onís , a church in northern Spain Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Santa Cruz Church . If an internal link led you here, you may wish to change

141-520: A book would often borrow stylistic elements from architecture such as drawings of columns and architectural ornaments . Following this development, authors began using the frontispieces of books, usually one of the only illustrations in the books during that period, to imply and communicate their perspectives and intentions as it was seen as the reader’s first gateway and glimpse into the book — namely to put their literary stamp in their book as artists did with their works of art during that period. During

188-560: A new organ, executed in Ponta Delgada by Manuel de Sousa in 1894, under the direction of Father Serrão (for 850$ 000). The constant improvements over the years resulted in the 27 November 1895, elevation of the church to the status of Royal Chapel, even as no monarchs or high nobility buried within its walls. But, still, sometime during the 19th century, the altar of Nossa Senhora da Conceição was substituted for that of Nossa Senhora de Lurdes, donated by Father João José Tavares. Before

235-408: A similar payment of 1785 for 42$ 000 reis, worth of improvements. Bishop D. Frei Valério do Sacramento referred to the interior chapel of Bom Jesus as the chapel of Santo Cristo , and ordered that it be redressed and decorated. Yet, on a visit by licentiate Pedro Ferreira de Medeiros, on 15 December 1746, he found a churchyard that was badly in need of repair, full of rubble, and that hindered access to

282-623: A triangle framed by a cornice or ledge, with the apex at the top, two symmetrical straight lines sloping to the ends of the horizontal cornice. Segmental pediments , also called round or curved pediments have a rounded cornice replacing two sides of the traditional triangular pediment. Open pediments can be distinguished by the absent or nearly absent strong horizontal line (cornice) of the pediment. Broken pediments , made prominent in Baroque Architecture , can be identified by their non-continuous triangular outline, usually open at

329-476: A whole, the word took on the meaning: ‘a view of the forehead, judgement of character through facial features’. Incorporated into the architectural sphere, it signifies the physical characteristics of the exterior of a building, especially pertaining to the architectural ornaments surrounding the entrance. Traditionally according to The Complete Dictionary of Arts and Sciences , frontispieces should be used in reference to ornaments and structures specifically on

376-700: Is often characterised by the rejection of ornament and the ‘emphasis on rational use and function’ and popularised in the late 1980s in London and New York with buildings combining clean lines and architectural profiles usually tied to iconic geometry . These moves towards minimalism can be seen in the proliferation of the Wabi-sabi aesthetics, popularised in Japan which translates roughly to ‘the elegant beauty of humble simplicity’, encapsulating Taoist and Buddhist ideologies of accepting nature and ‘favouring

423-543: Is slightly raised from the rest of the building’ using engaged columns with lighter ornamentation. Frontispieces during the neoclassical era commonly consisted of simple geometric shapes with a large emphasis on the use of columns, especially Doric columns . In the 20th century post-modernism era , buildings such as the Marco Polo House designed by Ian Pollard and the 550 Madison Avenue building designed by Philip Johnson feature large scale broken pediments at

470-532: The Bishop of Tangier , D. João Lobo arrived in the Azores by order of D. Diogo Pinheiro (vicar of Tomar), in order to provide religious orders and ordinate several clergy. The first parish priest, Father João de Évora arrived in 1555. During the first years of the 16th century, the church was patronized and under the special protection of Álvaro Lopes do Vulcão and his wife D. Mecia Afonso (who were later buried near

517-462: The classical era between the 8th century BC and 6th century AD, frontispieces often consisted of a triangular gable, more specifically called the pediment of the building, which sat atop columns. Elaborate frontispieces were often only present on the façades of sacred buildings such as temples and tombs. Especially seen in ancient Greece and Rome, frontispieces were often used to depict mythological gods or even important figures in society depending on

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564-498: The principal face of the building , usually referring to a combination of elements that frame and decorate the main or front entrance of a building. The earliest and most notable variation of frontispieces can be seen in Ancient Greek Architecture which features a large triangular gable , known as a pediment , usually supported by a collection of columns . However, some architectural authors have often used

611-524: The 15th century, Rodrigo Afonso, who arrived in São Miguel at the beginning of the colonization, accompanying Gonçalo Vaz, instituted the a factory connected to 6.25 acres of land in Pico da Pedra, today known as the lands of Santa Cruz. Gaspar Frutuoso , who served as interim parish priest, between 1558 and 1560, noted that the faith community had started in this territory around 1450. On 25 August 1507,

658-539: The Brotherhood of the Fiéis de Deus, the Brotherhood of Santa Maria do Rosário, the Brotherhood of Nossa Senhora da Conceição and Brotherhood of São Sebastião, each with their own initiatives (by the 19th century only two brotherhoods existed, Nossa Senhora do Rosário and Fiéis de Deus). Yet, it was the nearby hermitage of Nossa Senhora do Rosário that functioned as the parochial church of Lagoa, suggesting that Santa Cruz

705-592: The Old Somerset House comprised a gateway in the form of a triumphal arch with superimposed orders and columns flanking windows the structure of which can be traced back to the arch in Castel Nuovo , Naples, borrowing the triumphal arch motif from Roman antiquity . In contrast to the predominantly decorative functions of frontispieces in the Classical Era, the sixteenth century also brought

752-470: The altar of São Pedro). From these references and his testament, there were just five curia in 1543. After Mecia Afonso's death (22 October 1523) her 1518 will order the creation of a silver chalice for Our Lady of the Rosary . Frutuoso went on to mention that the church was expanded between 1583 and 1586; at about mid-century it was supported by five brotherhoods at the church: the Brotherhood of Santa Cruz,

799-522: The architectural system of using different styles of columns for each storey of a building, was introduced and often used for decorative functions in classical architecture. One of the most popular examples of superimposed orders was on the classical façade of the Colosseum . Built in 70AD, the Colosseum featured an arrangement of orders on a classical frontispiece of several storeys , set one above

846-467: The baptistery. Construction and remodelling of the frontispiece and tower was undertaken in 1844, while the altar of Bom Jesus was redone, and substituted by that of São José. A decade later, the wife of majorat Ildefonso Clímaco Raposo Bicudo Correia donated 200$ 000 to construct a stand for Senhor dos Passos, but a majority was actually deposited in the coffers of the Junta de Paróquia (20 August 1854), and

893-400: The building. Some architectural authors have also interchangeably used "frontispiece" with the word "pediment" in recent years given the similar nature of the ornaments involved. From the 17th century, the word "frontispiece" became synonymous to the small illustrations facing the title page of a book or the ornaments on the title page itself. Illustrations creating the frontispiece of

940-421: The chapel. The treasury delayed investment until 1758 (42$ 000). On 29 October 1764, Bispo D. Frei Lourenço de Castro visited the church, and created a polemic when he indicated the administrators of the chapel of Bom Jesus did not respect their functions. He ordered the creation of a brotherhood and through donations he had the chapel repaired and redecorated. A pulpit from the conventual church of São Francisco

987-401: The entrance of buildings, is often used as one of the distinguishing features between frontispieces of different architectural periods. Another distinguishing feature of frontispieces is the style of pediments used which can range from triangular pediments, segmental pediments, open pediments to broken pediments. Triangular pediments , often the most commonly used style of pediment features

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1034-498: The entrances to some important houses and some collegiate buildings. In the late 1520s to early 1530s, there was a revival of the heavy use of dense classical ornaments on the frontispieces which can be seen on the facade of Hengrave Hall , Suffolk, England built in 1538, as well as the addition of elements distinctive of the Italian Renaissance such as the use of terracotta moulded decorative elements featured on

1081-541: The façade of the hall entrance to Richard Weston ’s Sutton Place, Surrey , built in 1533. In the mid-16th century, the building of Old Somerset House was considered one of "the first deliberate attempts to build, in England , a front composed altogether in the classical taste" and was "unquestionably one of the most influential buildings of the English Renaissance ." Although there was nothing new about

1128-415: The first Portuguese Republic, the church lost the title Royal Chapel. Former emigres to America offered a red tunic in valuer in 1917 for the image of Senhor dos Passos. In 2007, the church commemorated 500 years of Christianism in Santa Cruz, which was marked by Portuguese pavement on the churchyard landing. Frontispiece (architecture) In architecture , the term frontispiece is used to describe

1175-509: The image), which was made in Porto. Religious services at Santa Cruz became the prerogative of the vicar as of 17 May 1832, and on 21 December 1836, there was a decree to transfer the possessions of the Church to the Junta de Paróquia (ecclesiastical parish authority). A year later (on 18 September) the Junta gave the municipal administration the bill for repairs to the church and construction of

1222-464: The immense political power and social prestige, and by academics who wished to give permanent expression to the distinction of their college and university'. Frontispieces of this nature were purely for applied and decorative functions, even the 'fullest extent of the role of the columns in their load-bearing capacity was to hold up each other and not the building'. In baroque architecture , frontispieces also took on semi-oval structures which decorated

1269-514: The installation of the Republic, in 1901, the Junta de Paróquia continued to purchase and adorn the interior, buying a silver processional cross, owing to the theft of the original, and a silver kettle that cost 230$ 440. Finally, on 24 October 1909, a clock arrived for the tower, made in France (at a cost of 487$ 180), thus fulfilling one of the longstanding requests. In 1910, with the establishment of

1316-601: The introduction of the first classical portico to England at St Paul's Cathedral , which was design by Inigo Jones . The portico served the more practical and structural purpose of providing a covered walkway at the entrance of the building. It was noted by Richard John Riddell, who analysed entrance - porticos in English Renaissance architecture, that the most impressive and architecturally sophisticated frontispieces were often set against houses 'by men who enjoyed or aspired to preferment and high office, with

1363-399: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Santa_Cruz_Church&oldid=1109435788 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Church of Santa Cruz (Lagoa) Sometime in

1410-628: The moneys were only dispensed on 17 June 1855. In 1873, an image of image of Nossa Senhora do Rosário (worth 280$ 478) arrived from Paris: António Jacinto Botelho Âmbar offered a red tunic for the image on 12 March 1876. In 1885 the Irmandade do Sagrado Coração de Jesus ( Brotherhood of the Sacred Heart of Jesus ) was established. This eventually resulted in the procurement of an image of the Sacred Heart of Jesus, by sculptor Celestino José de Queirós, which arrive in 1892. The church also acquired

1457-466: The ornamentation of the columns corresponding to a particular architectural era . The word frontispiece describes the "decorated entrance of a building" and is historically derived from the Medieval Latin word frontispicium meaning the façade or exterior of the building. The word frontispicium stems from the latin frons meaning ‘forehead or front’ and specere meaning ‘to look at'. As

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1504-586: The other with each storey corresponding to a particular architectural order . The move from the typical triangular pediments to segmental, curved pediments is seen in the carvings on the imperial sarcophagi in Rome which depicts the architecture of the era. Romanesque architecture also popularised the use of smaller, ornamental frontispieces surrounding windows. Many well-preserved examples of Roman influenced frontispieces can be found in Provence , France due to

1551-450: The principle face of the building and were predominantly used above large columns in the entrance, making up a large part of the façade of the building. In Greek architecture , frontispieces can refer to both large ornamentation on the triangular tops of buildings as well as smaller frontispieces. Larger frontispieces found on the front façades of sacred buildings often depicted mythological gods or important figures in history depending on

1598-402: The principle face of the building, while pediments should be used to describe smaller ornamentation above gates, windows, doors, etc. especially ones with 'a triangular space that forms the gable of a low-pitched roof and that is usually filled with relief sculpture in classical architecture '. In modern day architecture, the frontispiece of a building is often referred to as the "façade" of

1645-454: The principle features of the façade, the stylistic attempts at consistency and symmetry in the structure of the frontispiece showed the growing awareness, during the late renaissance era in England, for 'regularity in planning and greater visual unity and symmetry' and a 'consistent use of the classical orders '. The three-storey frontispiece prominently placed at the centre of the façade of

1692-440: The proliferation of minimalistic ideas in 21st century architecture, a large emphasis is placed on simplicity and practicality when designing the façades of buildings. Traditional decorative frontispieces are rarely used in the designing of post-modern buildings. Frontispieces from different eras can be distinguished by the different variations of pediments used (triangular, segmented, open or broken pediments), as well as

1739-423: The purpose and patrons of the building. In the 21st century, frontispieces were more commonly used in reference to small frontispieces above windows and doors serving the pure purpose of ornamentation. The smaller frontispieces of this period often feature engaged columns , which are partly embedded in the wall of the façade. The style of the columns, often known as the architectural orders , found bracketing

1786-680: The purpose, and patronage , of the building. The Parthenon , built in Ancient Athens , is one of the most recognisable examples of a classically designed frontispiece. Built in 447BC, the ionic pediments of the Parthenon primarily featured Greek mythology and lore surrounding the Greek goddess, Athena , who was the patron of the Ancient city of Athens and the Parthenon. Classical elements such as superimposed orders , which refers to

1833-441: The term "frontispiece" and "pediment" interchangeably in reference to both large frontispieces decorating the main entrances, as well as smaller frontispieces framing windows which is traditionally known as a pediment. Frontispieces in pre-20th century architecture were considered decorative and ornamental structures used predominantly to dignify the façades of the building rather than for any structural or practical purpose. With

1880-475: The top apex. One of the prominent variations of a broken pediment is a swan-necked or ram's head pediment which has a highly ornamented S-shape. In its classical form, the frontispiece of a building is commonly used to describe the ‘gable surmounting the façade of an ancient temple in classical architecture’ which is now often known as a pediment and used as ornaments to the entrance of a building. During this era, frontispieces were used to describe ornaments on

1927-510: The top of their buildings providing a post-modern take on broken pediments often found in baroque architecture . Though some architects have designed buildings modernising on architectural styles and structures of the past, architecture of the 21st century seems to be moving in the direction of minimalism , contrary to grandiose nature of frontispieces seen from the Classical Era to the Neoclassical Era . Minimalism in architecture

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1974-461: The tops of the entrances with added embellishments synonymous to the household or building. Frontispieces during this period featured more opulent and theatric style in ornamentation and grandeur as was common during the era. During this period, the use of broken frontispieces and heavy ornaments was featured in many of the buildings. This is seen in Palácio do Freixo designed by Nicolò Nasoni , who

2021-414: The use of smaller, decorative frontispieces with curved pediments. Renaissance Architecture , which ushered a revival of ancient Greek and Roman classical architectural forms, saw the introduction and proliferation of classical elements, which included the frequent usage of large columns and pediments. Classical elements, such as superimposed orders , were reintroduced in the sixteenth century to dignify

2068-498: The use of ‘fine quality building stone’ while others constructed with a decorative veneer were quickly lost. Romanesque influences in frontispieces can also be seen in the aerarium , treasury of ancient Rome, which features classical Roman architecture with both traditional triangular pediments as well as elaborate broken pediments. The Tombs of Lorenzo and Giulano de’Medici sculpted by Michelangelo also features etchings of frontispiece styles popular during this era which include

2115-520: Was heavily influenced by the baroque architecture . Another known example of this is seen in Andrea Palladio ’s Church of San Giorgio Maggiore , in Venice which features an unusual broken pediment as it is the result of superimposing two temple fronts. In the late 18th century to the 19th century, neoclassical frontispieces were often described as ‘a portion of the façade of a building, that

2162-509: Was transferred to Santa Cruz on 9 October 1782, but by 1794 it was already replaced by a black cedar pulpit, painted and gilded. At the end of the 17th century, the altar of the archangel Michael was crafted, which was followed in 1812 by the purchase of the image of Santo António, with splendour, crown and baby Jesus for 132$ 270. In 1829, captain José Afonso de Medeiros donated the image of Senhor dos Passos in 1829 (from an inscription on

2209-405: Was under construction or remodelling. On 3 January 1692, vicar Salvador de Sousa suggested constructing a clock for the church, and during the 1844 remodelling, the frontispiece and tower were extended to make way for such a project. The Fazenda Real (Royal Treasury) paid 112$ 000 in 1731 for paintings and gilding of interior woodwork. This saw the beginning of expenses on the church, and included

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