Zeitschriftenartikel zum Thema „Cathedrals – Europe“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Cathedrals – Europe.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Cathedrals – Europe" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Ozola, Silvija. „The Evolution of Cathedral Planning on the Baltic Sea Southern Cast during the 13th – 14th Centuries in Context of European Building Traditions“. Landscape architecture and art 14 (16.07.2019): 45–58. http://dx.doi.org/10.22616/j.landarchart.2019.14.04.
Der volle Inhalt der QuelleAnnotation:
In Rome, Emperor Constantin I started to build the most ancient cathedral – the five-nave Archbasilica of St. John in Lateran, but the Lateran Palace was given as a present to Bishop of Rome for his residence. Perimeter building blocks set up the building complex. In Europe, during the 6th–9th centuries numerous rulers proclaimed Christianity as the only religion in the country. The Church strengthened its impact on the society and governmental administration. In Rome, like in Jerusalem, a religious centre was created, but in the middle of the 8th century, a city-state Vatican was founded, and on one of hills, the Pope’s residence was placed. Christians organized structures governed by Bishops and founded Catholic church-states – bishoprics. In the late 12th century, subjugation of the lands populated by the Balts and the Finno-Ugric tribes began. Bishoprics and cult centres were founded, and residences for Bishops and Canonical Chapters were envisaged. The bishopric main building was the cathedral. In Europe during lots of centuries evolution of the cathedral building-type happened. In the Balts and Finno-Ugric lands cathedrals were affected by local building traditions. The origins of the Riga Cathedral (Latvian: Rīgas Doms) can be found in 1201–1202, when the bishopric centre from Üxküll was moved to the newly-founded Riga, where the Bishop’s residence was built on a geopolitically and strategically convenient place. The most important centres to look for inspirations were Braunschweig, Westfalen, Köln, Lübeck, Ratzeburg, Bremen, Hamburg. Research problem: interpretations of sacral building typology and terminology application cause difficulties in the research of historical building plans. Research topicality: evolution of the cathedral building-type and impact of cathedral building complexes on formation and planning of medieval urban structures during the 13th and 14th century. Goal of the research: analyse planning of historical structure in urban centres of bishoprics to determine significance of cathedrals as architectural dominances in spatial composition of towns. Research novelty: this research is based on Latvian historians and archaeologists’ former studies. Nevertheless, opportunities provided by the analysis of urban planning and cartographic materials have been used, and created building due to local construction traditions has been assessed in the European context. Results: study of architecture, layout formation and structure of cathedrals on the southern Baltic Seacoast lands during the 13th and 14th centuries. Main methods applied: this study is based on research and analysis of archive documents, projects and cartographic materials of urban planning, as well as study of published literature and inspection of buildings in nature.
2
Даудова, Ф. Х. „SECRETS OF MEDIEVAL CATHEDRALS“. Вестник ГГНТУ. Технические науки, Nr. 2(20) (29.06.2020): 53–60. http://dx.doi.org/10.34708/gstou.2020.60.51.004.
Der volle Inhalt der QuelleAnnotation:
Готические соборы Европы - творения средневековых зодчих, которые хранят давние тайны. Как с помощью примитивных инструментов их построили такими высокими? Какими принципами руководствовались их строители? Могут ли современные технологии раскрыть все то, благодаря чему эти колоссы до сих пор не обрушились? The Gothic cathedrals of Europe are the creations of medieval architects who keep ancient secrets. How did they build them so high with primitive tools? What principles guided their builders? Can modern technology reveal all the things that have kept these colossi from collapsing?
3
Ozola, Silvija. „The Development of the Catholic Cathedral Building-type at Bishoprics’ Towns on the Baltic Sea Southern Coast during the 13th – 14th Centuries“. Landscape architecture and art 14 (16.07.2019): 24–44. http://dx.doi.org/10.22616/j.landarchart.2019.14.03.
Der volle Inhalt der QuelleAnnotation:
The oldest Catholic cathedral is the five-nave Archbasilica of St. John in Lateran erected in Rome, but the Lateran Palace (Latin: Palatium Apostolicum Lateranense) was given as a present to Bishop (Latin: episcopus) of Rome for his residence (from 4th until 14th cent.). The perimeter building set up the structural complex of L-shaped layout where the Lateran Castle and the Archbasilica were included. In Western Europe largest cities were also archbishoprics’ centres, in which neighbourhood Catholic church-states, or bishoprics were founded. Local conditions and relationships between the ruler and inhabitants determined the development of Christianity centres. Its main structural objects included in the fortified building complex were the Catholic cathedral which altarpiece (Latin: presbyterium) by the main altar was turned toward the east facing the rising sun, headquarters of the Canonical Chapter (German: Domkapitel) and Bishop's strong fortified residence resembled a lower tower, or a palace separated from the town, or built outside the town. In the late 12th century, bishoprics began to establish on the Baltic Sea southern coast at subjugated lands of the Balts and the Baltic Finns. At bishoprics’ centres Bishops’ fortified yards (German: der Bischofshof) were formed. A housing combined with a sacral structure was included in the perimeter building around the spacious court and integrated into the unified defensive system of the structural complex. In Riga, the Germans established centres of secular and spiritual power, as well as the main military economic base for the Baltics’ expansion. The political and economic dualism was created. The representation of civil authority became the third alternative force. Each of centres characterized by its own structural elements. The main cult building for city inhabitants was the church of citizen’s parish. Research problem: the development of the Catholic cathedral building-type in bishoprics’ towns on the southern bank of the Baltic Sea during the 13th – 14th centuries has been studied insufficiently. Research topicality: the impact of cathedral building complexes on formation of medieval urban structures on the Baltic Sea south coastal lands during the 13th – 14th centuries. Research goal: analysis of the structure and layout of Catholic cathedrals in Livonia and the Prussians’ lands to determine common and diverse features. Research novelty: evolution of the layout and structure of Catholic cathedrals on lands inhabited by the Baltic ethnic groups have been analysed in regional and European context. Results: study formation of the Catholic cathedrals’ layout and structure on the Baltic Sea south coastal lands during the 13th – 14th centuries. Main methods: inspection of cathedrals in nature, analysis of archive documents, projects, cartographic materials.
4
Reilly, Lisa. „Cathedrals of Europe. Anne Prache , Ian West , Alayne Pullen“. Speculum 77, Nr. 2 (April 2002): 627–28. http://dx.doi.org/10.2307/3301419.
Der volle Inhalt der Quelle
5
Nickson, Tom. „The Alfonso X’s patronage of Gothic architecture“. Revista de Poética Medieval 35 (30.11.2021): 197–224. http://dx.doi.org/10.37536/rpm.2021.35.35.88793.
Der volle Inhalt der QuelleAnnotation:
This article examines the architectural patronage of King Alfonso X and the notion of a ‘Court Style’ in thirteenth-century Gothic architecture. Following brief consideration of problems of evidence, I briefly sketch common characteristics of the architectural patronage of Alfonso’s royal rivals and allies across Europe and the Iberian Peninsula. This prompts reassessment of the king’s relationships with mendicant and Cistercian orders, and then detailed consideration of his financial contributions to the cathedrals of Toledo, Burgos and León. Although royal heraldry and imagery is prominent in all three cathedrals, I argue that Alfonso probably did not play a significant role in promoting rayonnant architecture in his kingdom. The most distinctive feature of his patronage lies in his support for work on the converted mosque-cathedrals of Seville and especially Córdoba. Finally, I consider a number of projects associated with Alfonso in Seville, notably the Gothic palace in the Alcázar.
6
Muendel, John. „Technology and Resource Use in Medieval Europe: Cathedrals, Mills, and Mines“. Technology and Culture 40, Nr. 3 (1999): 659–60. http://dx.doi.org/10.1353/tech.1999.0138.
Der volle Inhalt der Quelle
7
Skinner, Robin. „Drawing from an Indigenous Tradition? George Gilbert Scott’s First Design for Christchurch Cathedral, 1861-62“. Architectural History 53 (2010): 245–70. http://dx.doi.org/10.1017/s0066622x00003932.
Der volle Inhalt der QuelleAnnotation:
In 1861 Scott designed an innovative hybrid for Christchurch Cathedral, New Zealand, combining a stone exterior with an independent wooden interior, at once expression of the primitive ruggedness of what he imagined to be the Maori wood tradition and an experimental response for this earthquake-prone colony.Commissioning George Gilbert Scott (1811-78) to design a cathedral for the relatively new settlement at Christchurch, in the province of Canterbury, New Zealand, was an ambitious undertaking by a predominantly Anglican community that had been established only eleven years earlier. The cathedral, which was constructed between late 1864 and 1904, was a conventional stone building, designed by Scott and executed locally by B. W. Mountfort. However, in an unusually experimental move, Scott had earlier proposed a structure that incorporated a stone exterior with an interior frame made of a series of high piers of New Zealand native timber, each almost 50 feet tall. The dramatic interior of this proposal referenced a wide variety of timber- and church-building traditions; had it been constructed, its tall wooden structure would have been ‘unique amongst colonial cathedrals’. After examining previously discussed sources for his design, this paper speculates upon further influences, testing — in particular — Barry Bergdoll’s assertion that the design was an expression of the ‘primitive ruggedness’ that Scott imagined derived from Maori work in wood, examples of which had been known in Europe since the 1770s.
8
Esser, Raingard, und Andrea Strübind. „Between the Altar and the Pulpit: The (New?) Materiality of the Spiritual“. Entangled Religions 7 (27.07.2018): 0–136. http://dx.doi.org/10.46586/er.v7.2018.0-136.
Der volle Inhalt der QuelleAnnotation:
This special issue is based on papers presented at the international conference “Zwischen Kanzel und Altar. Die (neue) Materialität des Spirituellen” held at the Johannes a Lasco Bibliothek, Emden in April 2016. Continuity and change in church interiors were key concepts addressed at the conference. The studies presented here analyse the impact of confessional change on church interiors and intentionally move away from the cathedrals and parish churches in the political and religious centres of early modern Europe.
9
Esser, Raingard, und Andrea Strübind. „Between the Altar and the Pulpit: The (New?) Materiality of the Spiritual“. Entangled Religions 7 (27.07.2018): 2–13. http://dx.doi.org/10.46586/er.v7.2018.2-13.
Der volle Inhalt der QuelleAnnotation:
The special issue is based on papers presented at the international conference “Zwischen Kanzel und Altar. Die (neue) Materialität des Spirituellen” held at the Johannes a Lasco Bibliothek, Emden in April 2016. Continuity and change in church interiors were key concepts addressed at the conference. The studies presented here analyse the impact of confessional change on church interiors and intentionally move away from the cathedrals and parish churches in the political and religious centres of early modern Europe.
10
Colleoni, Paola. „A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97“. Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.
Der volle Inhalt der QuelleAnnotation:
ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.
11
Coleman, Simon, und Marion Bowman. „Religion in cathedrals: pilgrimage, heritage, adjacency, and the politics of replication in Northern Europe“. Religion 49, Nr. 1 (16.11.2018): 1–23. http://dx.doi.org/10.1080/0048721x.2018.1515341.
Der volle Inhalt der Quelle
12
Prak, Maarten. „Mega-structures of the Middle Ages: the construction of religious buildings in Europe and Asia,c.1000–1500“. Journal of Global History 6, Nr. 3 (17.10.2011): 381–406. http://dx.doi.org/10.1017/s1740022811000386.
Der volle Inhalt der QuelleAnnotation:
AbstractHow did medieval builders manage to construct some of the tallest structures in the world without access to modern engineering theories? Construction drawings were limited to details and, with only a handful exceptions, manuals for builders only appeared in the late fifteenth century. By implication, the relevant knowledge had to be transferred on a personal basis. Its underlying principles must therefore have been reasonably simple. This article shows how a modular design, combined with on-site experimentation, guided much of the construction work on large projects such as European cathedrals, Middle Eastern mosques, Indian temples, and Chinese pagoda towers.
13
Fobe, Bart O., Greta J. Vleugels, Eddy J. Roekens, Rene E. Van Grieken, Bernardo Hermosin, Jose Julio Ortega-Calvo, Angel Sanchez del Junco und Cesareo Saiz-Jimenez. „Organic and Inorganic Compounds in Limestone Weathering Crusts from Cathedrals in Southern and Western Europe“. Environmental Science & Technology 29, Nr. 6 (Juni 1995): 1691–701. http://dx.doi.org/10.1021/es00006a038.
Der volle Inhalt der Quelle
14
Barrow, Julia. „Vicars Choral and Chaplains in Northern European Cathedrals 1100–1250“. Studies in Church History 26 (1989): 87–97. http://dx.doi.org/10.1017/s0424208400010883.
Der volle Inhalt der QuelleAnnotation:
The purpose of this paper is to take a preliminary look at a phenomenon which began to occur over much of northern Europe in the twelfth and early thirteenth centuries: the emergence of vicars choral and chaplains in cathedrals and collegiate churches. Studying the two groups together makes sense since they both acted as replacements for the senior clerics, that is the canons, in the churches where they served. In theory, the vicars chiefly served in choir and the chaplains at altars which had often hitherto been served (we may presume) by canons. In fact it is very difficult to separate vicars from chaplains since the terms were often used interchangeably at the time, and, furthermore, charters establishing these positions often specify that vicars choral would additionally serve altars and that chaplains would also attend the hours. For example, when Bishop Hugh of Wells of Lincoln ordained a chantry at the altar of St Hugh to be served by a priest chaplain and a deacon and subdeacon he laid down that the deacon and subdeacon should be chosen from among the vicars of the choir and subsequent arrangements for this chantry show that the deacons and subdeacons in the choir served for a week at a time. The emergence of vicars choral and chaplains is not of major significance in itself, since these men very rarely rose to positions of any importance, but an explanation of why they were felt ro be necessary is essential to a study of clerical ministry in the middle ages.
15
Heyman, Jacques. „Technology and Resource Use in Medieval Europe: Cathedrals, Mills, and Mines. Elizabeth Bradford Smith , Michael Wolfe“. Isis 90, Nr. 2 (Juni 1999): 359–60. http://dx.doi.org/10.1086/384351.
Der volle Inhalt der Quelle
16
Yarotskiy, Petro. „Church and world after the Second Vatican Council“. Ukrainian Religious Studies, Nr. 66 (26.02.2013): 28–42. http://dx.doi.org/10.32420/2013.66.247.
Der volle Inhalt der QuelleAnnotation:
Cathedrals of the Catholic Church, as a rule, are gathering at the turning points of the development of the world and the life of the Church. II Vatican Council took place after the curves of the second drama of humanity in the Second World War, in the conditions of the post-war split of the world, first of all in Europe, in two opposing camps and the establishment of totalitarian regimes in the countries of Eastern and Central Europe, the collapse of the colonial system and the appearance on the political map of the world (first of all in Africa and Asia) of young independent countries. At the same time, the world was once again faced with the threat of a new, already thermonuclear war, which, like the Damocles sword, hangs over humanity. The problems of the post-war world development in the conditions of the growing scientific and technological revolution, the launch of the space era, as well as the uneven economic and social development of the world in the coordinates of the North-South, arose.
17
Zheng, Lijun. „A Two-Way Choice: The Medieval Pipe Organ and the Development of Medieval Church Music“. Communications in Humanities Research 33, Nr. 1 (24.05.2024): 94–99. http://dx.doi.org/10.54254/2753-7064/33/20240058.
Der volle Inhalt der QuelleAnnotation:
The pipe organ during the medieval period played a significant role in religious ceremonies and worship. During this time, the pipe organ was the primary instrument used in churches and cathedrals across Europe. Organ music of the medieval period was characterized by its solemnity, grandeur, and religious significance. This paper explores the intricate relationship between the medieval pipe organ and the development of church music during the medieval period. It examines the historical background, construction, religious significance, and evolution of the pipe organ alongside medieval church music and music education. This paper discusses the symbiotic connection between the advancement of the pipe organ and the education in medieval church music, highlighting the role of cultural, historical, and socio-political factors in shaping this relationship. Additionally, it explores the significance of the "Codex Faenza," a renowned collection of medieval instrumental works, in understanding the interplay between the pipe organ and medieval religion. Overall, the abstract underscores how the pipe organ served as more than a musical instrument; it acted as a cultural symbol, facilitating identity expression, cultural exploration, religious dissemination, and the display of power in medieval Europe.
18
Grubbs, Anthony J. „THEATRICAL REPRESENTATIONS OF ST. CHRISTOPHER THROUGHOUT THE CROWN OF ARAGON DURING THE MIDDLE AGES“. Catalan Review 20, Nr. 1 (01.01.2006): 273–89. http://dx.doi.org/10.3828/catr.20.15.
Der volle Inhalt der QuelleAnnotation:
As the patron of travelers, Sr. Christopher inspired one of the most popular cults to spread throughout medieval Europe. The Iberian Peninsula was no exception: his gigantic following spanned the region and his image adorned the walls of most churches and cathedrals. Manifestations were not limited to the plastic arts, however, and paratheatrical representations of St. Christopher were fairly common in processions celebrating Corpus Christi and other religious holidays, especially in Valencia, where the saint enjoyed even greater esteem. Furthermore, the mystery of his conversi on and martyrdom was also staged during religious festivals during the fifteenth cenrury. This essay traces the evolution of the hugely popular cult of St. Christopher in medieval Iberia by looking at various artistic (re)presentations of the converted Canaanite, paying special attention to the Valencian processions and two extant autos sacramentales—one written in Valencian and the other in Castilian.
19
Gama, Maria. „The Ideology of Consumption in Fashion: a Diachronic Per“. Comunicação e Sociedade 24 (30.12.2013): 221–31. http://dx.doi.org/10.17231/comsoc.24(2013).1785.
Der volle Inhalt der QuelleAnnotation:
This article aims to explore the ideology of consumption (in particular, the fashion consumption) diachronically.It begins by reflecting on the genesis and development of a new consumption paradigm in its interdependence with the urban infrastructure, addressing one of its key milestones: the architectural changes operated in Paris in the nineteenth century, at the hands of Haussmann, and the emergence of the department stores.This reflection then focuses on another key aspect: the emergence of shopping malls in Europe, which are considered imaginary universes in this article. It also discusses the ideology of consumption, driven by shopping malls, in the light of the changes caused by the acceleration of consumption and the fast-fashion phenomenon. It highlights, in addition, the new order of incorporation of fashion brands in multinational corporations, which changed the market rules on a global scale. Finally, it focuses on the new consumption cathedrals.
20
Veber, Dmitrii. „The Dedication of Churches in the Medieval Towns of Prussia“. ISTORIYA 12, Nr. 9 (107) (2021): 0. http://dx.doi.org/10.18254/s207987840017121-2.
Der volle Inhalt der QuelleAnnotation:
This article discusses the practice of dedicating churches to saints in cities on the territory of the state of the Teutonic Order in Prussia. Special attention is paid to three church groups — parish churches, churches owned by monastic orders — Dominicans, Franciscans, Cistercians and Augustinians — Heremites, as well as cathedrals in the capitals of the bishoprics of Kulm, Pomesan, Warmia and Sambia. Among the most popular patron saints was the Virgin Mary, which was due to her patronage of the Teutonic Order as well as the cultural influence of the Hanseatic cities, and her veneration in certain mendicant orders such as the Cistercians. Other popular saints included St Peter and St Paul, and St Nicholas, who also acted as the patron saint of merchants. St Adalbert was also worshipped locally, due to his missionary work in Prussia. Patrons of the churches were also venerated in medieval Europe and were introduced to the region during the process of Christianization.
21
Chiotti, Roberto. „The Architecture of Eco-Theology: Towards a New Typology for Christian Sacred Space“. Religions 13, Nr. 1 (29.12.2021): 29. http://dx.doi.org/10.3390/rel13010029.
Der volle Inhalt der QuelleAnnotation:
This paper will begin by exploring the underlying scriptural and theological foundations for a Christian response to the ecological crisis with particular focus on the writings of cultural historian, Father Thomas Berry, CP. It will then describe the first worship space in Canada that attempts to embody the emergent “Eco-theology” to invoke both the transcendental and imminent presence of the divine by reconsidering every design decision from first principles. As articulated in its architecture, the traditional elements of Roman Catholic sacred space have been re-imagined and given unique expression to emphasize that when we gather for Christian worship, we do so within the greater context of creation. St. Gabriel’s Passionist Parish church therefore represents a distinctly new typology for Christian Worship that contributes towards an understanding of early scriptural teachings which emphasized the sacredness of all creation and not just the sacredness of humankind. The new building as sacred space presents a “Gestalt whole”, and like the medieval cathedrals of Europe, becomes itself a form of Catechetical pedagogy, engaging the senses, demanding reflection, and inviting transformation.
22
Steber, Martina. „"A Very English Superstar": John Rutter, Popular Classical Music, and Transnational Conservatism since the 1970s“. German Yearbook of Contemporary History 7, Nr. 1 (2023): 75–107. http://dx.doi.org/10.1353/gych.2023.a907660.
Der volle Inhalt der QuelleAnnotation:
Abstract: Since the 1980s it has largely gone unnoticed how the British composer, conductor, and music entrepreneur John Rutter has become a leading figure in popular music—successful on the global music market, popular in the English-speaking world, and regularly at the top of the classical music charts with his Christmas song compositions. Rutter embodies precisely the opposite of commercial pop culture: he is the antitype of a pop star, he succeeds with sacred music, he addresses the middle class and the bourgeoisie, and he personifies family values, community spirit, and the preservation of tradition. Using the example of Rutter, the author demonstrates the importance of conservative pop cultures for the emergence and development of a transnational conservatism in Europe and North America since the 1970s. The article reveals the interplay between nationalization and transnationalization in conservatism, and points out the variety of forms and contexts in which conservative dispositions can appear in popular musical cultures. They offer opportunities for politicization, but can also remain effective purely in the cultural sphere. Rutter's sound worlds clearly transcend English cathedrals and college chapels.
23
McDonald, Andrew. „Scoto-Norse Kings and the Reformed Religious Orders: Patterns of Monastic Patronage in Twelfth-Century Galloway and Argyll“. Albion 27, Nr. 2 (1995): 187–219. http://dx.doi.org/10.2307/4051525.
Der volle Inhalt der QuelleAnnotation:
Raoul Glaber, the Burgundian monk and chronicler, noted in a famous passage in his Historiarum Libri Quinque how, about the year 1000, throughout the whole world, but most especially in Italy and Gaul, men began to reconstruct churches….It was as if the whole world were shaking itself free, shrugging off the burden of the past, and cladding itself everywhere in a white mantle of churches.Although Glaber was writing primarily of the Continent, the tide of religious revival that followed the coming of the millennium eventually lapped upon the shores of the most distant corners of Europe. In Scotland, the great age of church-building came a century later, and it was the twelfth century, rather than the eleventh, which was notable for the foundation of churches and monasteries on a large scale. Nevertheless, by 1200 Scotland, too, had been cloaked in a white mantle of new churches, made up of cathedrals, parish churches, and monasteries. It is the latter with which this essay will be principally concerned.The works of Professor Barrow are of the first importance for understanding the patterns of monastic patronage that brought the Benedictines, Cistercians, Augustinians, Premonstratensians, and other religious orders to Scottish soil, and for the contribution these orders made to the medieval kingdom of Scotland.
24
MacCulloch, Diarmaid. „The Birth of Anglicanism“. Ecclesiastical Law Journal 7, Nr. 35 (Juli 2004): 418–28. http://dx.doi.org/10.1017/s0956618x00005603.
Der volle Inhalt der QuelleAnnotation:
The paper surveys the English Reformation in the wider European context to demonstrate that the concept of ‘Anglicanism’ is hardly appropriate for the post-Reformation English Church in the sixteenth century: it was emphatically Protestant, linked to Reformed rather than Lutheran Protestantism. Henry VIII created a hybrid of a Church after breaking with Rome, but that was not unique in northern Europe. There were widespread attempts to find a ‘middle way’, the model being Cologne under Archbishop Hermann von Wied. Wied's efforts failed, but left admirers like Albert Hardenberg and Jan Laski, and their Reformations gradually moved towards those of central Europe—the first Reformed theologians. Edward VTs Reformation aligned itself with this new grouping, and produced prototypes of liturgy and theological formulary which endure to the present day—with the exception of a proposed reform of canon law, with its provisions for divorce. Elizabeth Ts 1559 religious settlement fossilised Edward's Church from autumn 1552. It made no concessions to Catholics, despite later A nglo- Catholic myth-making: minor adjustments were probably aimed at Lutherans. There is nevertheless a ‘Nicodemite’ association among the leading figures who steered the Settlement through its opening years. Important and unlikely survivals were cathedrals, uniquely preserved in a Protestant context and a source of future ideological Catholic ‘subversion’. Nevertheless the theological tone of the Elizabethan Church was a broadly-based Reformed Protestantism, aligned to Zürich rather than to Geneva. Early seventeenth-century Arminianism or Laudianism represented a new direction, and the Puritanism of New England may better represent the English Reformation than the ‘Anglican’ synthesis which came to fruition in the English Church after Charles II's restoration in 1660. In any case, Anglicanism continues to represent in uneasy but useful tension the two poles of theology contending for mastery in the century after Elizabeth Is coming to power.
25
Güngör, Mahmut, Mehmet F. Özdemir, Nalan Gürşahbaz und Åžükran Akpınar. „The architectural pattern of St. Petersburg and jewellery: Innovative designs via 3-d modelling“. New Trends and Issues Proceedings on Humanities and Social Sciences 2, Nr. 1 (19.02.2016): 427–36. http://dx.doi.org/10.18844/prosoc.v2i1.327.
Der volle Inhalt der QuelleAnnotation:
Having served as the capital of Tsarist Russia for two hundred years until the Bolshevik Revolution in 1917, the second biggest city of Russia and her gate to Europe, St Petersburg is the city full of historical buildings of fantastic architecture with its historical texture. Because of its historical and cultural significance, St. Petersburg is in UNESCO’s List of World Heritage Sites.On one side, there we have St. Petersburg, a fascinating city, the subject of Dostoyevsky’s novels, with cathedrals, churches, palaces, bridges, statues, and museums, housing rich cultural and historical heritage; on the other side, there we see jewels, reflecting the soul of women and embellishing their bodies.With this study, inspired by the authenticity and the city’s architectural pattern, innovative designs have been created via advanced 3D modeling technology. Thus, it was aimed that the beauty of the grandeur of history could be utilized as accessories, gaining a new functionality and transferring the cultural heritage values from local to universal level.Practical Research Methods have been adopted as a research methodology. The sampling of the study has been limited to the embellishments reflecting the architectural texture of St. Petersburg, as an inspirational resource for jewelry modelling. In planning the study, the stages of analysis, synthesis, selection and modelling of jewelry designs have been taken into account.
Keywords: St. Petersburg, Architectural Pattern, Jewelry, Jewelry Design, 3D Digital Modelling, Innovation.
26
Josephson, Tristan, Marcin B. Stanek, Tallie Ben Daniel, Jeremy Ash, Liz Millward, Caroline Luce, Regine Buschauer, Amanda K. Phillips und Javier Caletrío. „Book Reviews“. Transfers 8, Nr. 2 (01.06.2018): 133–52. http://dx.doi.org/10.3167/trans.2018.080210.
Der volle Inhalt der QuelleAnnotation:
Tracking the Mobility of Carceral LogicsJennifer Turner and Kimberley Peters, eds., Carceral Mobilities: Interrogating Movement in Incarceration (New York: Routledge, 2017), 256 pp., 9 illustrations, $49.95 (paperback)An Exciting Invitation to Rethink Knowledge MobilitiesLudovic Tournès and Giles Scott-Smith, eds., Global Exchanges: Scholarships and Transnational Circulations in the Modern World (New York: Berghahn Books, 2018), 356 pp., 9 illustrations, $130 (hardback)Theorizing Mobilities between Disability Studies and PalestineJasbir Puar, Th e Right to Maim: Debility, Capacity, Disability (Durham, NC: Duke University Press, 2017), 296 pp., $26.95 (paperback)Beyond Borders: Mobility in Australia’s Northern Maritime NetworkJulia Martínez and Adrian Vickers, Th e Pearl Frontier: Indonesian Labor and Indigenous Encounters in Australia’s Northern Trading Network (Honolulu: University of Hawai’i Press, 2015), 227 pp., $28 (paperback)Backpacking toward European IntegrationRichard Ivan Jobs, Backpack Ambassadors: How Youth Travel Integrated Europe (Chicago: University of Chicago Press, 2017), 352 pp., 32 illustrations, $35 (paperback)Recovering Mobility in American Jewish HistoryShari Rabin, Jews on the Frontier: Religion and Mobility in Nineteenth-Century America (New York: New York University Press, 2017), 208 pp., $40 (hardback)Which Mobilities? Critical Perspectives on Mobility, Norms, and KnowledgeMarcel Endres, Katharina Manderscheid, and Christophe Mincke, eds., Th e Mobilities Paradigm: Discourses and Ideologies (London: Routledge, 2016), 235 pp., £36.99 (paperback)What Makes a Trail?Robert Moor, On Trails: An Exploration (New York: Simon & Schuster, 2016), 340 pp., $16 (paperback)Airports: Cathedrals of Unsustainable Dreams?Alain de Botton, A Week at the Airport: A Heathrow Diary (London: Profi le Books, 2009), 112 pp., £8.99 (paperback)
27
Álvarez-Morales, Lidia, Mariana Lopez und Ángel Álvarez-Corbacho. „The Acoustic Environment of York Minster’s Chapter House“. Acoustics 2, Nr. 1 (30.01.2020): 13–36. http://dx.doi.org/10.3390/acoustics2010003.
Der volle Inhalt der QuelleAnnotation:
York Minster is the largest medieval Gothic cathedral in Northern Europe, renowned for its magnificent architecture and its stained glass windows. Both acoustic measurements and simulation techniques have been used to analyse the acoustic environment of its Chapter House, which dates from the 13th-century and features an octagonal geometry with Gothic Decorated stone walls replete of geometric patterns and enormous stained glass windows, covered by a decorated wooden vault. Measured and simulated room impulse responses served to better understand how their architectural features work together to create its highly reverberant acoustic field. The authors start by analysing its acoustic characteristics in relation to its original purpose as a meeting place of the cathedral’s Chapter, and end by reflecting on its modern use for a variety of cultural events, such as concerts and exhibitions. This work is part of the “Cathedral Acoustics” project, funded by the EC through the Marie-Sklodowska-Curie scheme.
28
Brown, Jerry B., und Julie M. Brown. „Entheogens in Christian art: Wasson, Allegro, and the Psychedelic Gospels“. Journal of Psychedelic Studies 3, Nr. 2 (Juni 2019): 142–63. http://dx.doi.org/10.1556/2054.2019.019.
Der volle Inhalt der QuelleAnnotation:
In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity.
29
Bowers, Roger. „Aristocratic and Popular Piety in the Patronage of Music in the Fifteenth-century Netherlands“. Studies in Church History 28 (1992): 195–224. http://dx.doi.org/10.1017/s0424208400012456.
Der volle Inhalt der QuelleAnnotation:
It has always been recognized that during the fifteenth century the vigorous and affluent commercial towns of the Low Countries served as centres of artistic excellence, especially in respect of painting and of manuscript production and illumination. That the region was no less fertile a generator of practitioners and composers of music—especially of music for the Church—has also long been appreciated. If for present purposes the Low Countries be defined—rather generously, perhaps—as the region coterminous with the compact area covered by the six dioceses of Thérouanne, Arras, Cambrai, Tournai, Liège, and Utrecht (see map), then it was an area if not packed with great cathedrals, yet certainly thickly populated with great collegiate churches, which sustained skilled choirs and offered a good living and high esteem to musicians who composed; the area also sustained a catholic and generous patron and consumer of artistic enterprise of all sorts, sacred and secular music included, namely, the House of the Valois Dukes of Burgundy and its Habsburg successors. From the end of the fourteenth century to the first half of the sixteenth, the region produced church musicians in such numbers that it became the principal area of recruitment for those princes of the south of Europe who were seeking the ablest men available to staff their household chapels. The Avignon popes of the 1380s and 1390s, the dukes of Rimini and Savoy, and the Roman popes of the mid-fifteenth century, and from the 1470s onwards the fiercely competitive dukes of Milan and Ferrara, the popes, cardinals, and bishops of the Curia, the king of Naples, the prominent families and churches of Florence and Venice, all alike recruited from the North; and though many of the ablest, like Ciconia, Dufay, Josquin, Isaac, and Tinctoris, were lured south to spend their lives in the sunshine, many more remained at home to maintain the Low Countries tradition.
30
Vilkul, Tatyana Leonidovna. „1044 annual entry in textual studies of the witnesses of the «Primary Chronicle»“. Studia Slavica et Balcanica Petropolitana, Nr. 2 (30) (2021): 133–44. http://dx.doi.org/10.21638/spbu19.2021.209.
Der volle Inhalt der QuelleAnnotation:
One piece of the 1044 annual entry of the Primary Chronicle contains account about a unique event in the history of Old Rus, which historians and philologists have interpreted time and again. During the reign of Yaroslav the Wise the remains («bones») of his uncles Yaropolk and Oleg the sons of Svyatoslav were dug up and baptized, and former pagan Kievan princes were honorably reburied in the Church of the Mother of God of Tithes. Though that unusual practice contradicted church canons, the prince Yaroslav’s contemporaries were most likely not fully aware of it, as not all church rules shortly after the baptism of Rus were strictly adhered to. Scholars have found Scandinavian and Icelandic parallels to that story, which allow its interpretation in the context of a dynastic cult, various manifestations of which can be observed on the barbaric periphery of Europe. Comparison of the main manuscripts of the Primary Chronicle of the Laurentian and Hypatian branches, the seniour First Novgorod Chronicle and Novgorod-Sophian group shows that the impressive 1044 year’s entry attracted the attention of medieval editors and copyists, that caused discrepancies in all versions. The article analyzes the nature of those discrepancies in the field of textual criticism. The main witnesses have their own features, while the Novgorod-Sophian group combines heterogeneous variant readings. The noteworthy addition «in Volodymer» after the name of the church in the Hypatian and Novgorod-Sophian branches «moves» events from Kiev to Vladimir-on-Klyazma or Vladimir-Volhynsky and was an obviously anachronism, for the cathedrals in both cities were built in the second half of the 12th century. It rather inserted by a post-Mongol scribe, unfamiliar with Kievan realities. The afftinity of the Hypatian and Novgorod-Sophian group in that variant reading prompts a close examination other shared similarities. Several spot-check readings founded in some entries may indicate the impact of the South Rus version on the common protograph of the Novgorod-Sophian chronicles. All the same, a number of clear borrowings from the Hypatian branch are observed only in somewhat later stratum of the compilations.
31
Knysh, Ivan, und Nadiya Kremin. „Zastinoche and budaniv sandstone deposits as potential geotourism objects of the Ternopil region“. Visnyk of the Lviv University. Geology Series 35, Nr. 35 (2021): 111–26. http://dx.doi.org/10.30970/vgl.35.09.
Der volle Inhalt der QuelleAnnotation:
The article provides information on existing quarries for sandstone mining as promising geotourism locations within the Ternopil region (Western Ukraine). The study area is famous for its ancient mining of natural stone from Terebovlya sandstones. The object of research is located within the Eastern European platform on the territory of Zastinoche and Budanіv deposits. Since princely times, stone has been mined here for the construction of fortresses and defensive structures. Sediments of the Neogene and Devonian ages take part in the geological structure of the Zastinoche deposit. The mineral is represented by Devonian sandstone with an average thickness of 12 m, broken by horizontal and vertical cracks into boulders. Macroscopically, sandstone is represented by red-brown, brownish-red, greyish-red, reddish-grey, brownish-grey, pink-grey, greenish-grey and light grey variations. The Budaniv deposit is composed of Quaternary, Neogene, Cretaceous and Devonian rocks. The minerals here are the sandstones of the Ivanovo formation (Devonian), the sandstone stratum consists of two horizons. The average thickness of sandstones of the first horizon (red, thick-tiled) is 14.4 m, in the thickness of sandstones there are layers of argillites and siltstones. Sandstones of the second horizon are more thinly tiled, characterized by a thickness of 2.6 to 4.3 m. With depth, sandstones have a pink and pink-red colour. Both gray and pink variations of sandstones are fine-grained, quartz, feldspar-quartz, mica.. Cement is iron-clay; the clay part of it is sericite-silicon. Mining of sandstones at both deposits is carried out manually with the help of crowbars and wedges to the full depth. All processes for the extraction and manufacture of side and rubble stone are performed manually. Terebovlya sandstone is environmentally friendly, so it is used for the construction of facades as a natural heat insulator. Sandstone is frost-resistant and acid-resistant. It is widely used in modern architectural design and restoration of historical monuments in Europe; it is made of almost everything for facades. Among the architectural structures built of Terebovlya sandstone – a nine-arch railway bridge-viaduct near the village. Plebanivka, Terebovlya and Budaniv castles, Pidhoryany monastery of St. Basil the Great, a large number of churches and cathedrals. Geological and geotourism survey of Zastinoche and Budanіv sandstone quarries in the Ternopil region gives grounds to consider these locations as potential geotouristic objects.
32
Carrero Santamaría, Eduardo. „ORDEN TOPOGRÁFICO Y CONTEXTO LITÚRGICO PARA LA CÁMARA SANTA, TESORO DE SAN SALVADOR DE OVIEDO. Topographic order and liturgical context for the “Cámara Santa”, Treasury of San Salvador de Oviedo“. Territorio, Sociedad y Poder 12, Nr. 12 (17.05.2018): 5. http://dx.doi.org/10.17811/tsp.12.2017.5-35.
Der volle Inhalt der QuelleAnnotation:
La catedral de San Salvador de Oviedo posee uno de los edificios relicario más complejos de la historia medieval de Europa, la Cámara Santa. Entendido como tesoro de la catedral, el espectacular desarrollo del culto alrededor de su colección de reliquias entre los siglos XI y XII lo convirtió en el eje vertebrador de todo el conjunto catedralicio, prácticamente hasta nuestros días. En este artículo se trata la especificidad arquitectónica de la Cámara Santa, planteada como un unicum en la arquitectura de su contexto inmediato. En este sentido, se analiza el desarrollo del culto a las reliquias en San Salvador y su relación con la liturgia de la catedral. A comienzos del siglo XV, la bula papal sobre el jubileo de las reliquias de la catedral ayudó a promocionar el culto, a la par que condicionó la construcción de la catedral gótica, cuyo transepto se convirtió en un eje litúrgico básico para entender el desarrollo funcional de la catedral hasta el siglo XIX.The Cathedral of San Salvador de Oviedo has one of the most complex reliquary buildings in the medieval history of Europe, the so called “Cámara Santa”. Understood as the treasury of the cathedral, the spectacular development of the cult around its collection of relics between the eleventh and twelfth centuries made it the backbone of the entire cathedral complex, practically to the present day. This article deals with the architectural specificity of the “Cámara Santa”, raised as a unicum in the architecture of its immediate architectural context. In this sense, I analyze the development of the cult of relics in San Salvador and its relationship with the liturgy of the cathedral. At the beginning of the fifteenth century, the papal bull on the jubilee of the relics of the cathedral helped to promote the cult, and conditioned the construction of the Gothic cathedral, whose transept became a basic liturgical axis to understand the functional development of San Salvador until the 19th century.
33
Oles, Kamila. „Transept zachodni w romańskiej katedrze św. św. Wita, Wacława i Wojciecha na Praskim Grodzie“. PRAEHISTORICA 35, Nr. 1 (07.09.2021): 39–58. http://dx.doi.org/10.14712/25707213.2021.2.
Der volle Inhalt der QuelleAnnotation:
The Romanesque Cathedral of Saints Vitus, Wenceslaus and Adalbert in Prague was erected as a double-chancel basilica with western transept. Occidental transverse nave and two choirs is intrinsic and distinctive feature of this basilica that indicates architectural ideas from which the Cathedral had originated. Alas, the basilica has, hitherto, been rather interpreted in isolation and without considering the broader European architecture context and by detaching the western transept from its topographic context. This has discouraged scholars from rigorous analysis of the origins of the form, which resulted in the creation of arbitrary and stereotypical narrative instead. This paper presents new interpretation of the Cathedral which tracks the links between the basilica and double-choir churches with western transept in Central Europe. In addition, this research builds on spatial analysis which identifies the relationships between the Cathedral and the landform of Prague Castle.
34
Campbell, Ian. „Planning for pilgrims: St Andrews as the second Rome“. Innes Review 64, Nr. 1 (Mai 2013): 1–22. http://dx.doi.org/10.3366/inr.2013.0045.
Der volle Inhalt der QuelleAnnotation:
The planning of the burgh of St Andrews, founded in the twelfth century, with two major streets converging on the cathedral, resembles that of the Vatican Borgo, created in the ninth century. It is proposed that St Andrews was consciously modelled on the Borgo, and that the major dimensions of the cathedral are taken from Old St Peter's and St John Lateran, as part of an unsuccessful campaign to have St Andrews recognised as an apostolic see like its rival Compostela, the only other shrine in western Europe beyond Italy to claim the relics of an apostle.
35
Heavers, Nathan. „Marking Sacred Ground through Imported Trees and Medieval European Sculpture at the Washington National Cathedral“. Acta Horticulturae et Regiotecturae 22, Nr. 1 (01.05.2019): 19–22. http://dx.doi.org/10.2478/ahr-2019-0004.
Der volle Inhalt der QuelleAnnotation:
Abstract The landscape of the Washington National Cathedral contains a variety of sacred objects imported from Europe and Asia. They include stone sculptures and living flora. Many of the stone objects came from the collection of George Grey Barnard, an American sculptor, trained in Paris, who travelled Europe in the early 20th century purchasing medieval antiquities (Weinberger, 1941). How do we understand these displaced pieces incorporated into this new context? On the one hand, their use in the landscape brings it significance, a physical and tangible connection to the roots of Christianity. On the other hand, they remind us of the relative youth of this sacred landscape and the question of what makes places sacred. Is a place sacred because of something inherent to it or do we mark ordinary ground with significant objects to sanctify it? Largely, the Washington National Cathedral landscape seems to demonstrate the latter approach. Imported objects mark and validate the sacredness of the site from medieval stone archways to significant pairs of trees.
36
Barashkov, Viktor V. „THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY“. Study of Religion, Nr. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.
Der volle Inhalt der QuelleAnnotation:
The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives a new interpretation of traditional Christian images of martyrs and Holy Virgin. The technique of video-art makes images dynamic, so spectator can “live” in that space. Stefan Knor aims by the means of contemporary art to actualize the fundamental theological ideas, for example, the idea of stairway to heaven. For the best acceptance of his works he collaborates with church members. The author claims that these artists become the religious owing to such characteristics as depth and sincerity in the interpretation of fundamental anthropological problems and the absence of irony (which is frequent for contemporary art). The article’s author shows that the interiors of the churches can harmoniously accept the works of contemporary artists, provided that the artists have to respect the religious traditions and sacred space of these churches.
37
Hoffmann, Stanley, und George Weigel. „The Cube and the Cathedral: Europe, America, and Politics without God“. Foreign Affairs 84, Nr. 5 (2005): 177. http://dx.doi.org/10.2307/20031738.
Der volle Inhalt der Quelle
38
Kanarfogel, Ephraim. „Ashkenazic Talmudic Interpretation and The Jewish–Christian Encounter“. Medieval Encounters 22, Nr. 1-3 (23.05.2016): 72–94. http://dx.doi.org/10.1163/15700674-12342216.
Der volle Inhalt der QuelleAnnotation:
This study looks anew at the interactions and possible influences between the monastic and cathedral school masters in Europe during the twelfth and thirteenth centuries, and the leading contemporary scholars of the Talmud in northern France and Germany known as the Tosafists. By focusing on significant commonalities in interpretational methods and institutional structures, as well as on the formulations of various critics, the contours of these interactions can be more precisely charted and assessed.
39
Gromko, Bartosz. „Don Francesco Ricci. Duszpasterz obu Europ (1930–1991)“. Wolność i Solidarność 15 (2024): 128–39. http://dx.doi.org/10.4467/25434942ws.23.009.19660.
Der volle Inhalt der QuelleAnnotation:
Francesco Ricci (1930–1991) was an Italian priest, canon of the cathedral of Forli, ecclesiastical assistant of the Communion and Liberation, and rector of the church of San Filippo Neri in Forli. He travelled to many countries to promote Communion and Liberation: Yugoslavia, Peru, Poland, Hungary, Japan and Korea, Uganda, Paraguay, Czechoslovakia, and Brazil. Due to his interest in Eastern Europe, which was then under communist rule, he founded the Center for the Study of Eastern Europe (CSEO) in Forlì, which was dedicated to deepening and spreading knowledge about the countries of this area in Italy. The Center published, among others: translations of works by Václav Havel, Józef Tischner, and other authors.
40
Tallon, Andrew. „Acoustics at the Intersection of Architecture and Music“. Journal of the Society of Architectural Historians 75, Nr. 3 (01.09.2016): 263–80. http://dx.doi.org/10.1525/jsah.2016.75.3.263.
Der volle Inhalt der QuelleAnnotation:
The Cathedral of Noyon houses the most unusual—and largely unknown—installation of acoustic vases in Western Europe, the caveau phonocamptique, a chamber installed beneath the pavement of the crossing. Acoustic vases are simple earthenware pots placed in the walls and vaults of postclassical churches, their installation inspired by Marcus Vitruvius Pollio's De architectura libri decem. In Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral, Andrew Tallon investigates the intended operation of the caveau as a monumental amplifier. According to the principle of conservation of energy, the effect of an acoustic vase can only be one of absorption, but when sung directly into, a vase appears to “sing back.” Tallon asserts that this effect, along with the importance of Vitruvius as the foremost authority on ancient architecture known to European builders and patrons, must ultimately account for this unique array at Noyon.
41
Samuel, Flora. „Le Corbusier and the Art of Architecture“. Architectural Research Quarterly 13, Nr. 1 (März 2009): 16–19. http://dx.doi.org/10.1017/s1359135509990066.
Der volle Inhalt der QuelleAnnotation:
Le Corbusier – The Art of Architecture is the vague and loaded title given to a marvellous but somewhat random collection of Le Corbusier material that has been touring Europe, until recently housed in Lutyens' crypt in Liverpool Cathedral before landing in London this spring at the Barbican, where it feels at home in Brutalist surroundings. The exhibition has provided the inspiration for a festival of Le Corbusier events and talks, competitions and workshops across the country. The question, however, is why?
42
Mitterauer, Michael. „Shroud and Portrait of a Medieval Ruler“. Balkanistic Forum 29, Nr. 3 (01.11.2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.
Der volle Inhalt der QuelleAnnotation:
The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.
43
Gillespie, G. „The spaces of truth and cathedral window light“. Literator 17, Nr. 3 (02.05.1996): 93–118. http://dx.doi.org/10.4102/lit.v17i3.624.
Der volle Inhalt der QuelleAnnotation:
Major writers and painters of the Romantic period interpreted the church or cathedral in its organic and spiritual dimensions as a complex expression of a matured Christian civilization. Artists of the mid-nineteenth century continued to produce both secular and religious variations upon this established referentiality. Although divergent uses reciprocally reinforced the fascination for the central imagery of the church and its multiple contexts, they also came to suggest a deeper tension in Western development between what the church had meant in an earlier Europe and what it might mean for late modernity. The threat of a permanent loss of cultural values was an issue haunting Realist approaches. A crucial revision occurred when key Symbolist poets openly revived the first Romantic themes but treated them as contents available to a decidedly post-Romantic historical consciousness. There was an analogous revival of interest in the church as a culturally charged symbol in painting around the turn of the century. Although they might apply this poetic and pictorial heritage in strikingly different ways, writers of high Modernism such as Rilke, Proust, and Kafka understood its richness and importance.
44
Stuard, Susan Mosher, und C. Stephen Jaeger. „The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200.“ American Historical Review 101, Nr. 2 (April 1996): 463. http://dx.doi.org/10.2307/2170419.
Der volle Inhalt der Quelle
45
Travaline, John M. „The Cube and the Cathedral: Europe, America, and Politics Without God, by George Weigel“. National Catholic Bioethics Quarterly 8, Nr. 1 (2008): 202–4. http://dx.doi.org/10.5840/ncbq200881100.
Der volle Inhalt der Quelle
46
Radding, Charles M., und C. Stephen Jaeger. „The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200“. History of Education Quarterly 36, Nr. 3 (1996): 317. http://dx.doi.org/10.2307/369396.
Der volle Inhalt der Quelle
47
Díez Yáñez, Maria. „La Ética Aristotélica en Castilla: las bibliotecas universitarias medievales y prerrenacentistas = The Aristotelian Ethics in Castile: The Medieval and Pre-Renaissance University Libraries“. Espacio Tiempo y Forma. Serie III, Historia Medieval, Nr. 31 (11.05.2018): 221. http://dx.doi.org/10.5944/etfiii.31.2018.20767.
Der volle Inhalt der QuelleAnnotation:
Todavía en demasiadas ocasiones se ha dejado de lado el panorama hispánico en el contexto europeo. Por eso presento aquí un estudio de los ejemplares aristotélicos conservados en las bibliotecas catedralicias y universitarias del reino de Castilla. La revisión de los inventarios y catálogos de manuscritos e incunables proporciona un análisis cuantitativo y cualitativo del fondo aristotélico. El objetivo es proporcionar un corpus de los antecedentes necesarios para una mejor comprensión y estudio de la recepción de la moral aristotélica en la Castilla tardomedieval y renacentista.La cultura cortesana se sirve de la moral de Aristóteles para construir y difundir un discurso a favor de la monarquía. Una de las vías de acceso más importantes al texto aristotélico es la universitaria. A partir de ahí, resultarán especialmente interesantes las adaptaciones y transmisiones de la Ética en los contextos aristocráticos.La transmisión del texto de la Ética aristotélica en Castilla responde a factores europeos y a características propias del contexto hispánico. De esta manera, se podrán perfilar las peculiaridades del aristotelismo en la península ibérica, a la vez que completar el recorrido del aristotelismo en Europa. All too often, the Hispanic case in history has been neglected in European-wide studies. For this reason, we will study the works of Aristotle held in cathedral and university libraries in the kingdom of Castile. A quantitative and qualitative analysis of the manuscripts and incunabula of Aristotelian writings by way of the inventories of Castilian universities will be undertaken in order to create a corpus of existing works and determine the reception of Aristotelian moral philosophy in late-medieval and Renaissance Castile.Courtly culture adopted Aristotelian moral theory to construct and transmit a discourse in favour of monarchy. The university is one of the most important centres where one could get access to Aristotelian texts. From this basis, we will study the adaptation and transmission of Aristotle’s Ethics in an aristocratic context.The transmission of the text of Aristotle’s Ethics in Castile responds to European factors as well as to characteristics derived from the particular Hispanic context. This study enhances our understanding of the characteristics of Aristotelianism in the Iberian Peninsula, and allows us to complete the wider picture in Europe.
48
Nothaft, C. Philipp E. „An Overlooked Construction Manual for the Quadrans Vetustissimus“. Nuncius 34, Nr. 3 (10.12.2019): 517–34. http://dx.doi.org/10.1163/18253911-03403002.
Der volle Inhalt der QuelleAnnotation:
Abstract This article presents an edition and brief analysis of the previously overlooked text De compositione quadrae, which is transmitted as part of a scientific miscellany assembled at Worcester Cathedral Priory no later than 1140. De compositione quadrae offers hitherto unavailable information on the construction of the so-called quadrans vetustissimus, a version of the universal horary quadrant circulating in Latin Europe during the eleventh and twelfth centuries. It is particularly noteworthy for its description of a graphical method of inscribing the months of the Julian calendar on the quadrant’s cursor, which successfully approximates the sine function that determines the change of solar declination in the course of a year.
49
Mérai, Dóra. „“This Single Slab of Marble Does Not Show you One Single Face”. •“. Acta Historiae Artium 61, Nr. 1 (18.12.2020): 81–148. http://dx.doi.org/10.1556/170.2020.00005.
Der volle Inhalt der QuelleAnnotation:
AbstractThe paper presents stone funerary monuments known from the Saint Michael Cathedral in Alba Iulia (in Hungarian, Gyulafehérvár, in German Karlsburg or Weissenburg, today in Romania) from the second half of the sixteenth and the seventeenth centuries, the period of the Transylvanian Principality. These memorials represented a broad variety in terms of their quality and complexity, including simple heraldic ledgers produced locally as well as large wall monuments made of colorful marbles imported from the most fashionable Dutch and Italian workshops in the Polish-Lithuanian Commonwealth to commemorate the princes of Transylvania and their family members. All stone funerary monuments, regardless their size and form, are linked by their function: they were created to preserve and evoke the memory of the dead among the present and future generations of the living by communicating specific messages about them. The forms, materials, images, and texts, as well as the location of the memorial in the space of the medieval cathedral and in the context of the other funerary monuments there were all carefully chosen to serve this purpose of communication. The paper analyzes all principality-period funerary monuments from the Saint Michael Cathedral in Alba Iulia as media of memory, including both the simple and the more complex ones ordered from abroad to commemorate the Transylvanian rulers. I will examine the monuments in the context of their production and reception, within the scene of sculpture in Central and Eastern Europe, in order to understand what kind of memory they were intended to preserve and how they were designed to retain and shape the memory of the deceased.
50
Stanfield-Mazzi, Maya. „Cult, Countenance, and Community: Donor Portraits from the Colonial Andes“. Religion and the Arts 15, Nr. 4 (2011): 429–59. http://dx.doi.org/10.1163/156852911x580784.
Der volle Inhalt der QuelleAnnotation:
AbstractThe article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes (El Señor de los Temblores). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they express both similarity and difference. On one hand, the works served to unite the donors as pious Christians within the wider devotional community of Cusco; on the other hand, the works’ details served to distinguish and differentiate the donors based on their particular social and ethnic identities.