Journal articles on the topic 'Church of St. Mary the Virgin (Cottingham)'
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1
Tadic, Milutin, and Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac." Glasnik Srpskog geografskog drustva 91, no. 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.
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The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Guzewicz, Wojciech. "Kościoły i parafie diecezji ełckiej (cz. 15)." Civitas et Lex 41, no. 1 (April 2, 2024): 7–20. http://dx.doi.org/10.31648/cetl.9393.
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The article presents the church centers in Monkinie (Our Lady of the Angels), Nowa Wieś Ełcka (St. Joseph the Craftsman), Okartowo (Immaculate Heart of the Blessed Virgin Mary) and two in Olecko (Blessed Virgin Mary Queen of Poland and Exaltation of the Holy Cross).
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Guzewicz, Wojciech. "Kościoły i parafie diecezji ełckiej (cz. 9)." Civitas et Lex 39, no. 3 (August 22, 2023): 7–19. http://dx.doi.org/10.31648/cetl.8902.
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GRANSDEN, ANTONIA. "The Cult of St Mary at Beodericisworth and then in Bury St Edmunds Abbey to c. 1150." Journal of Ecclesiastical History 55, no. 4 (October 2004): 627–53. http://dx.doi.org/10.1017/s0022046904001472.
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This paper argues that the earliest church at Beodericisworth, the later Bury St Edmunds, was dedicated to the Virgin Mary. Probably in the reign of Athelstan, the (supposed) body of St Edmund, king and martyr, was translated into this church. The cult of St Edmund burgeoned and before the end of the eleventh century St Edmund's shrine had become one of England's foremost pilgrim centres and attracted the wealth which helped pay for the great Romanesque church built to house it. Nevertheless, a wide variety of sources, both written and visual, demonstrate that the cult of St Mary retained much vitality, becoming the pre-eminent secondary cult in Bury St Edmunds, one especially fostered by Abbot Anselm (1121–48). Finally, similar examples are cited of other churches where dedications to saints like St Mary, who enjoyed widespread veneration, were replaced by those of saints of more local fame but whose (supposed) bodies those churches possessed.
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Horáková, Tereza. "Krev, slzy a bolest – Imaginace a emocionalita na příkladu polychromovaných barokních plastik ze svatých schodů." AUC PHILOSOPHICA ET HISTORICA 2021, no. 1 (June 23, 2023): 261–75. http://dx.doi.org/10.14712/24647055.2023.14.
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What is the difference between the pain of Christ and the Virgin Mary? How is pain reflected in sculptures of the Baroque period in Bohemia and Moravia? And how did contemporary pious spectators react to these impulses? Baroque spirituality of the 18th century, particularly the theme of pain, will be demonstrated on the phenomenon of sculpture of the Holy Stairs. These chapels can be found in churches or cloisters, and they are subject to specific liturgy and space arrangements where we can find a particular representation of Christ, as well as the Virgin Mary and St. John the Baptist. Different types of pain and their representation in the sculpture of that time are illustrated on several examples of Holy Stairs, including the stairs at the Church of the Assumption of the Virgin Mary and St. Charles the Great in Prague.
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Markovic, Miodrag. "Neglected data about the year of construction of the church of the virgin in Studenica." Zograf, no. 46 (2022): 33–56. http://dx.doi.org/10.2298/zog2246033m.
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The text deals with two mutually close, late sources that have not been used so far in considering the chronology of the construction of the katholikon of the Studenica monastery: the inscriptions on two copper engravings depicting the main church of the ?Great Lavra of St. Simeon? made in Moscow in 1758. Those inscriptions state, among other things, that Stefan Nemanja built the Church of the Assumption of the Virgin Mary in 1194/1195.
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Śliwiński, Daniel. "Niepokalana Wszechpośredniczka Łask jako tytuł Bazyliki Mniejszej w Niepokalanowie." Łódzkie Studia Teologiczne 32, no. 4 (January 19, 2024): 53–68. http://dx.doi.org/10.52097/lst.2023.4.53-68.
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The idea of Virgin Mary as Mediatrix of All Graces has been present in the Church for centuries. This title was understood in different ways and many efforts were made to defend this Virgin Mary’s privilege. At the turn of the 19th and 20th centuries the title appeared in the teaching of popes. It is not surprising that Saint Maximilian, the great worshiper of Our Lady the Immaculate also called Her Mediatrix of All Graces. Initially teaching the traditional science relating to that title and then creating a new way of proving that privilege.Beginning the construction of the church, mentions St. Maximilian, that it is in honor of Mary Immaculate. Even after his death and after returning to the work on the basilica, interrupted by the Second World War, there was no mention of the title of Mediatrix of All Graces. On the basis of the archives, it can be concluded that only a few months before the consecration, probably thanks to the efforts of monastic father Vitalis Jaskiewicz, it was decided that the church would be called the Mediatrix of All Graces. In recent years the Apostolic See confirmed the rank of the ceremony in Niepokalanów on the 7 th of May and indicated that on that day the form of the Blessed Virgin Mary Mother and Mediatrix of all Graces should be used.
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Тимофеева, Т. П. "REFECTORY CHURCH OF THE MONASTERY OF THE VIRGIN MARY IN VLADIMIR." Archaeology of Vladimir-Suzdal land, no. 12 (December 25, 2022): 140–54. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-387-9.140-154.
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В древнем Рождественском монастыре г. Владимира, где покоились мощи св. князя Александра Невского, существовала шатровая трапезная церковь – большое двухэтажное каменное здание, перестроенное в середине XIX в. Датировать трапезную церковь до сих пор не удавалось. Во Вкладной книге монастыря указано, что трапезная церковь построена «по иноке Алексие» (в его память). Считается, что князь Александр Невский был пострижен в монахи под именем Алексия. Автор предположил, что во Вкладной книге так могли назвать Александра Невского. Это подтверждается рядом грамот XVI в. Во Вкладной книге есть запись о вкладе царем Иваном IV очень крупной суммы денег «по опальным людям», причем вместо 1582 г. ошибочно указан 1552 г. Автор предпринял попытку доказать, что шатровая церковь с трапезным комплексом могла быть построена в память св. Александра Невского на вклад Ивана IV в 1580-е гг., при архимандрите Ионе (Думине). In the old Monastery of the Nativity of the Virgin Mary in Vladimir, where the relics of St Alexander Nevsky, Prince of Vladimir, rested, there was a tent-shaped refectory – a large twostory stone church, rebuilt in the middle of the 19th century. It has not yet been possible to date the refectory church. It was indicated in the Contribution Book of the monastery that the refectory church was built «for the monk Alexius» (in his memory). It is believed that Prince Alexander Nevsky was tonsured a monk under the name Alexius. The author suggested that Alexander Nevsky could be called so in the Contribution Book. This supposition was confirmed by a number of charters dating back to the 16th century. There was an entry in the Contribution Book about the donation of a very large amount of money «for disgraced people» by Tsar Ivan IV, and instead of 1582 it was erroneously indicated 1552. The author attempted to prove that the tent-shaped church with a refectory complex could be built in memory of St Alexander Nevsky, on the contribution of Ivan IV, in the 1580s, under Archimandrite Jonah (Dumin).
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Chojnacki, Stanislaw. "Notes on a Lesser-known Marian Iconography in 13th and 14th century Ethiopian Painting." Aethiopica 5 (May 8, 2013): 42–66. http://dx.doi.org/10.15460/aethiopica.5.1.445.
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In this article the early evolution of iconic iconography of the Virgin Mary in Ethiopia is discussed. One particular image is postulated to exist on a painted manbar at Lālibalā. The figure of the Child Mary depicted together with her mother, St. Anne, in the wall painting at the Gannata Māryām Church can also be considered iconic. In the late 14th century and the first decades of the 15th century, three specific groupings of depictions of the Virgin Mary, all clearly having iconic characteristics, have come to light: the Orant Virgin, the seated Hodegetria and the enthroned Virgin holding the Child in her lap. These three forms are characterised by the inclusion of the Archangels Michael and Gabriel, who are shown sheltering her with their outstretched wings. They are depicted holding crosses, while in a particular group of miniatures they extend their hands towards Mary in a gesture of supplication. This Orant form appears to be exceptional, and exists only in 14th century. The Hodegetria type evolved into numerous variants depending on the position of the Child, on Mary's left or right arm. The form of the Enthroned Virgin holding the Child in her lap, faded away in the early 15th century.
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Płotkowiak, Maciej. "Concept And Its Implementation During The Reconstruction Of The Church Of Blessed Virgin Mary In Chojna." Civil And Environmental Engineering Reports 19, no. 4 (December 1, 2015): 87–98. http://dx.doi.org/10.1515/ceer-2015-0055.
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Abstract St. Mary's parish church in Chojna was erected at the turn of XIV and XVc. in a shape of three aisles, hall church without transept, completed from the west with a single tower and from the east with polygonal presbytery with an ambulatory attached. The convergence of characteristic structural and decorative features with employed ones in medieval churches being attributed to Hinrich Brunsberg's fabric resulted in such a way, that also authorship of St. Mary in Chojna was assigned to this legendary architect and master builder of late Middle Ages period. The church was destroyed by fire during WWII in February 1945 and since then had remained as an open ruin. In 1997 reconstruction procedure of the church was begun under the leadership of the author and it still continues. This text consists of the sum of experiences connected with confronting design ideas and solutions with their executions on the site during construction works.
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Vymazalová, Marie. "Less Known Iconography of the Immaculate Conception of the Virgin Mary in the Prague Loreto in Connection with the Teaching of St Lawrence of Brindisi." AUC THEOLOGICA 12, no. 2 (March 6, 2023): 59–77. http://dx.doi.org/10.14712/23363398.2023.5.
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The text describes and contextualises collections of sermons by Lawrence of Brindisi about the Virgin Mary called Mariale, mainly the sermons about the teachings of the Immaculate Conception of the Virgin Mary. Lawrence of Brindisi, a capuchin monk and a European diplomat, was an important person in European church history of the 16th and the 17th centuries, but his texts are not yet fully appreciated. The text compares the theological question with the works of art from Prague Loreta. The comparison of the layout of this Marian pilgrimage place and thoughts of Franciscan spirituality contained in Lawrence’s sermons demonstrates the mutual interconnection between the specific period of theological thinking and a particular example of artistic expression.
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OP, Gabriel Torretta. "Our Lady reconsidered: John Knox and the Virgin Mary." Scottish Journal of Theology 67, no. 2 (April 3, 2014): 165–77. http://dx.doi.org/10.1017/s0036930614000040.
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AbstractThe cult of the Virgin Mary had a complicated history in Scotland during the sixteenth century, with historical, devotional and literary evidence indicating both widespread acceptance of the church's traditional practices and growing dissatisfaction with them, particularly in elite culture. Anti-Marian polemics entered Scottish Christianity through various sources, including the Lollards around Kyle, the prominent witness of Patrick Hamilton, the preaching of Thomas Guillaume and George Wishart, the theological climate at St Leonard's college in St Andrews, as well as a number of popular works.John Knox (1514–72) incorporated many of his contemporaries’ concerns in his own treatment of the question, being trained at St Andrews University and heavily influenced by Guillaume and Wishart. Knox considered the cult of Mary using the same tool that he used to analyse the cult of the saints in general, the mass, and liturgical ritual, contending that they could not be reconciled with his stringent doctrine of sola scriptura, in particular as read through the lens of Deuteronomy 12:32.Yet for all that Mary and her place in Christian life and devotion formed a major aspect of sixteenth-century Scottish religious praxis, Knox gave little attention to her, preferring to indicate her proper place in Christian theology by presenting a vision of Christianity which omitted her almost entirely. Knox does indirectly indicate what he considers to be the proper Christian attitude towards the Virgin, however, through his explication of sola scriptura and its implications for genuine religious practice as opposed to idolatry, and his understanding of 1 Timothy 2:5 and the unique mediation of Christ. Where Knox does directly address the Marian question, he expresses his rejection of her cult in far more restrained terms than readers of his polemics against the mass may expect; while he is firm and unequivocal in denying Mary's intercessory role and in uprooting Marian devotional practice, his rhetorical restraint points to the irreducible dignity of Mary in the scriptural texts.This article analyses the theology of Mary which Knox reveals in occasional comments scattered through his writings and attempts to place his ideas in their historical and theological context. By explicating the precise nature of Knox's objection to the cult of Mary, the article attempts to open the door for future Reformed–Catholic dialogue on the person of Mary and her place in the church of Christ.
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Zaher, Raed, Samah Mahmoud, and Shaban Abdel Razik. "The Church of the Holy Virgin Mary and St. George in El-Ghanayme, Assiut." Minia Journal of Tourism and Hospitality Research MJTHR 14, no. 3 (December 1, 2022): 61–83. http://dx.doi.org/10.21608/mjthr.2022.170661.1072.
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Kabatha, Zachary Ndegwa. "The Blessed Virgin Mary As Our Mother. The Lucan Marian Perspective." Studia Theologica Varsaviensia 57, no. 1 (November 1, 2019): 73–89. http://dx.doi.org/10.21697/stv.2019.57.1.04.
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The person of the Blessed Virgin Mary among Christians has been throughout Christian tradition a source of inspiration as far as the Christian faith is concerned. Many papal Encyclicals, Apostolic exhortations, conciliar and post conciliar documents have all made reference to our blessed mother due to her close proximity to her son our Lord Jesus Christ. She is thus not a foreigner to the people of faith. The modern man today looks forward for a person who is both faithful and trustworthy to accompany him or her in the earthly life and offer an assurance of everlasting joy. Examining the role of Mary in the writings of St Luke in the New Testament we see Mary as the one who fits in this desire of the modern man. Her role as a mother in the Luke’s view is very central in understanding the notion of companionship. However many people today do not understand Mary to be a faithful companion, perhaps this is due to the misunderstanding of Mary’s position in the Salvation History. Moreover the Sacred Scriptures from the infancy narratives to the neophyte church in Acts of the Apostles Mary makes a journey of faith with Jesus and his disciples. Thus in this article we examine briefly the companionship of the blessed Mary to the Word of God as we invoke her companionship to our Christians today on their pilgrimage to the Promised Land.
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Sygulska, Anna. "CONTEMPORARY TWO-STOREY CHURCHES – ACOUSTIC INVESTIGATIONS." Journal of Architecture and Urbanism 39, no. 2 (June 30, 2015): 140–48. http://dx.doi.org/10.3846/20297955.2015.1056444.
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The paper discusses the idea of two-storey churches, with insight into socio-political conditions which influenced their construction. The analysis of the issue was carried out on the basis of investigations in five two-storey churches in Poznań. The churches under investigation were: Visitation of Blessed Virgin Mary Church, Christ the King Church, Our Lady of Częstochowa Church, St. Lawrence Church, and Christ the Redeemer Church. In total, ten interiors were examined. The churches were erected in the late 70s and early 80s of the 20th century. The acoustic conditions were analyzed in terms of cubature, the shape of the interior and finishes. The upper and lower churches were compared within one building; the investigation also involved comparing the churches against each other. Moreover, functionality of the buildings was analyzed, which included aspects of acoustic as well as architectural functionality.
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Jurković, Ivan, and Ivana Prijatelj Pavičić. "Nova interpretacija sadržaja slike Lazzara Bastianija u samostanu sv. Frane u Zadru." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 52, no. 3 (December 14, 2020): 225–85. http://dx.doi.org/10.17234/radovizhp.52.25.
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The sacristy of the monastic Church of St. Francis (Sveti Frane) in Zadar, held by the Franciscan Province of Saint Jerome, holds a painting by Lazzaro Bastiani, a Venetian painter of the early Renaissance. The painting is venerated as a depiction of the Virgin of Mercy (Ara Coeli). The upper section of the painting features the Blessed Virgin Mary and the infant Jesus. The Virgin is shown sitting in a mandorla made of angels with a crescent beneath her feet. God the Father is placing a crown on her head. Two angels are holding the ends of her outspread cloak, in front of which are saints: the men on the right and the women on the left. A church is depicted against the backdrop of a hilly landscape. It is positioned on a mound, with a railing ending in a staircase leading to it. The lower section of the painting features three groups, all genuflecting: men to the left, children in the middle, and women to the right. The group of men is dominated by the figure of Pope Sixtus IV (1471‒1484). Even after 175 years of research, the following questions remain contested: • the dating of the painting and the date of its arrival in Zadar • the identification of the patrons and the interpretation of the painting’s symbolism • the identification of the shrines depicted in the painting, and, finally • the identification of the historical figures featured. The aim of the authors is to try to elucidate, at least in part, the theological and historical context of the painting’s production, and to identify the historical figures and the shrine of the Blessed Virgin Mary depicted therein.
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Markauskaitė, Neringa. "Akmenynės bažnyčia: šaltinių ir ikonografijos tyrimai." LMA Vrublevskių bibliotekos darbai 11 (2022): 76–87. http://dx.doi.org/10.54506/lmavb.2022.11.8.
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Akmenynė, now a village in the Šalčininkai district, was known at first just as a privately-owned land, and later as an estate called Kamionka, a Polish name deriving from the name of the river Kamena. Based on iconographic materials and other relevant documents kept in the Wroblewski Library of the Lithuanian Academy of Sciences, the present article aims to discuss the architecture of the wooden church built in 1928–1929 and its interior equipment, as well as a wooden manor that had existed in the 17th century – the early 19th century and a wooden church that had stood on its estate. In the mid-17th century, the Akmenynė estate consisted of a wooden house and farm buildings. In the 18th century, the walls of the main room of the representational house were upholstered with fabric and paper and decorated with paintings. In the second half of the 17th century, there had already been built the wooden church equipped with liturgical vessels and other attributes. It had two paintings depicting the Holy Virgin Mary and St. Bishop Stanislaus, with three more pictures, those of the Virgin Mary, Our Lord Jesus, and St. Antony of Padua. One of the authors (or the only author) of the Project of the present Church of St. Terese of the Holy Infant Jesus could have been the manager and work supervisor of the construction on this church, Anton Filipowicz-Dubowik. Most of its equipment and inventory was made and acquired in the end of the third decade and in the fourth decade of the 20th century. The painting of St. Terese of the Holy Infant Jesus is different in composition from other pictures, which were painted based on the first portrait images of the saint. Such items as the holy water font created by the stonecutter J. Szemetowicz based on a drawing by an unknown artist and the sacristy cabinet acquired by the efforts of the painter Piotr Żyngiel testify to the collaboration between the parish priest of the Akmenynė church and painters who studied at the Faculty of Art of the Vilnius Stephen Batory University. Most of the liturgical vessels were produced by Michael Newiadomski’s Vilnius workshop of liturgical supplies, and one of the reliquaries, by the Charewicz factory of liturgical vessels. It may be assumed that an unknown author who created the linocut The Stations of the Cross, as well as craftsmen of a few Vilnius workshops who produced liturgical vessels and other supplies could have used projects and drawings of Gracian Achrem-Achremowicz. Keywords: Akmenynė church on the manor estate in the 17th – early 19th century; Church of St. Terese of the Holy Infant Jesus in the early 20th century; architecture; inventory; creators.
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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.
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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
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Andrejic, Zivojin. "Interpretation of the icon of Three-handed Virgin Mary of the St. Trinity church in Karan." Zbornik radova Filozofskog fakulteta u Pristini, no. 46-4 (2016): 477–502. http://dx.doi.org/10.5937/zrffp46-6285.
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Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia." Journal of the Society of Architectural Historians 70, no. 4 (December 1, 2011): 466–91. http://dx.doi.org/10.1525/jsah.2011.70.4.466.
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Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Roof Tiles and National Style in Nineteenth-century Croatia, this architecture is placed in the context of the Gothic Revival in the Austro-Hungarian monarchy and the collecting and analysis of traditional textiles by the amateur ethnographer Felix (Srećko) Lay.
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Veber, Dmitrii. "The Dedication of Churches in the Medieval Towns of Prussia." ISTORIYA 12, no. 9 (107) (2021): 0. http://dx.doi.org/10.18254/s207987840017121-2.
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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.
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Salvador González, José María. "Iconography of The Birth of the Virgin Mary on the Basis of a Homily of St. John Damascene." Eikon / Imago 5, no. 2 (December 9, 2016): 39–68. http://dx.doi.org/10.5209/eiko.73494.
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As a consequence of the fact that the New Testament mentions few episodes and very few details of the real life of the Virgin Mary, among the Eastern Christian communities several apocryphal legends, that tried to supply this hermetic silence around the birth, infancy, youth, adulthood and death of the Mother of Jesus, arose during the first centuries of Christianity. These apocryphal accounts were then taken up and interpreted catechetically as a useful devotional matter by many Church Fathers, theologians and ecclesiastical writers. The reflections of these prestigious thinkers formed a solid corpus of doctrine, from which very important Marian devotions and liturgical feasts would soon follow. A primordial milestone in this “imaginary” life of Mary is her supernatural birth, after her miraculous conception in the bosom of her old and sterile mother Anne. As a natural fruit of these heterogenous literary and theological sources, from the tenth-eleventh centuries the medieval Byzantine and European artists approached with remarkable enthusiasm the iconographic theme of the Birth of the Virgin Mary as a significant episode of her life. On this basis, in this article we propose a triple complementary objective. First of all, after outlining the essential content of the apocryphal sources, we will broadly analyze the various theological theses that we believe are deductible from the emotional reflections that St. John Damascene expresses in a homily on the subject. Secondly, we will analyze some Byzantine and European paintings on the Birth of Mary, in order to determine to what extent the apocryphal accounts and the doctrinal statements of the Damascene are reflected in the characters, situations, attitudes, accessories and scenographic elements represented in these depictions. Finally, we will state some conclusions that we believe to be plausible in relating the Damascenian texts and the pictorial works of reference.
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Jelínková, Martina. "Restorations in post-war period." Architecture Papers of the Faculty of Architecture and Design STU 26, no. 4 (December 1, 2021): 36–45. http://dx.doi.org/10.2478/alfa-2021-0023.
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Abstract The choice of the monument care methodology depends not only on the preference of the author of the restoration or the opinion of a professional monument commission, but also on the state in which the historic building is and historical stages it developed through. After the Second World War, much of the architectural historical heritage in the territory of the former Czechoslovakia was devastated, and the then professional society faced challenges of how to restore and preserve these destroyed buildings. The following article explains the starting points and selected methods of post-war monument care on the example of three churches in the former Czechoslovakia. Buildings selected for comparison originated in approximately the same epoch, underwent a rather complex building developments, and the extent of their damage was also similar. Specifically, we focus on the Church of St. Catherine of Alexandria in Handlová, the Church of the Assumption of the Virgin Mary in Bíňa and the Church of the Virgin Mary and the Holy Slavic Patrons in Prague. Although the three compared cases show similarities, different restoration methodologies were used. The majority opinion of the then professional public tended towards reconstructing historic buildings to the state before their destruction, as is also evident in the cases being compared. Nevertheless, each of the churches is restored with some deviations from the original condition. In the case of the church in Bíňa, we follow traces of a purist reconstruction, in Prague we witness a restoration by indicative reconstruction, also applied in Handlová, where, moreover, the methodology of reconstruction to the state before destruction was completely abandoned. Our ambition is to point out the diversity of opinion in the care of monuments, which at that time saw a change in paradigm and began to accept authors’ new inputs while preserving the historical essence of the building.
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Mikicević, Jelena. "Crkva Bogorodice Odigitrije u selu Mušutište kod Prizrena." Šumadijski anali 19, no. 13 (2023): 12–55. http://dx.doi.org/10.46793/sanali19.13.012m.
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The history of Serbian secular art begins in the 16th century during the reign of King Milutin. In a strengthened state, Serbian nobility gained a new position in society. The new role of the nobility, as well as their newly acquired rights and responsibilities, became most evident through the construction of their own endowments.Taking inspiration from their ruler and his significant philanthropic activities, the most powerful among them followed his example. We don't have much information about the early noble endowments. The oldest known such endowment, which has been preserved to this day, is the Church of Virgin Mary Odigitri in the village of Musutistu near Prizren. Based on the donor's inscription that was located above the lintel of the western portal, we know that the church was built in the year 1315 by the great treasurer Jovan Dragoslav.Jovan Dragoslav, a high-ranking state official with executive authority, was the guardian of the royal treasury and had access to the material resources that the king allocated for the construction of a large number of endowments. The Church of Virgin Mary Odigitri in Musutistu was built following the model of a royal endowment, the Church of St. Nikita in Skopska Crna Gora. The builder replicated the architectural design that had been realized in this royal church a decade earlier. The architectural concept of both churches had its origins in the main Byzantine centers. This could also suggest the origin of the builders, who likely came to Serbia from Thessaloniki.The frescoes of the church have suffered significantly over the centuries. Only about ten figures of saints were preserved in the sanctuary and the northwest part of the cella. The rest of the surfaces had been painted over. Based on the preserved figures, it was clear that talented craftsmen had worked here. This was evidenced by the preserved figures of archbishops, holy women, holy warriors, and one figure of a holy physician.Byzantine artists brought the spirit of Palaeologan art to Serbia. Among the best of them were Mihajlo Astrapa and Evtihij, who served the king and came from Thessaloniki. We do not have information about the origins of the artists who painted the Church of Virgin Mary Odigitri in Musutistu. The preserved inscriptions on the frescoes were written in both Serbian and Greek, which was common in churches of that time. The great treasurer Jovan Dragoslav, who was respected court nobility, could undoubtedly have easily accessed skilled and talented artists. They can be counted among the finest artists of their era.Changes in the Serbian state during the reign of King Milutin led to material and spiritual progress for the people. This is best observed through the noble endowments, which were in their infancy at the time and marked a new chapter in the history of Serbian art, beginning in the early 16th century.
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Dzik, Janina. "The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 7–32. http://dx.doi.org/10.18290/rh.2019.68.4-1en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015).
The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763).
The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa.
The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
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Kirkus, M. Geoffrey. "‘Yes, My Lord’: Some Eighteenth and Nineteenth Century Bishops and the Institute of the Blessed Virgin Mary." Recusant History 24, no. 2 (October 1998): 171–92. http://dx.doi.org/10.1017/s0034193200002466.
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That we may freely and consistently persevere in our intention … we will that … all and each of ours shall make a vow never to seek directly or indirectly nor to allow others to seek … that except the Chief Pontiff to whom alone we humbly beg to be subject, any religious order whatsoever or any person whomsoever or any bishop or any one else appointed by the Pope to visit us, should have us so committed to his charge as to exercise over us authority, power, or jurisdiction.(Memorial of Mary Ward, translated from the Latin original, Archivum Romanum Societatis Jesu, Anglia 31, 11, pp. 675-685).The above are strong words, even from a forthright Yorkshirewoman, and they are almost startling when one considers how submissive, personally, was their author to all authority in the Church. But, in this Memorial, Mary Ward describes the constitution she envisages for her Institute. The firm lines she draws are even more accentuated in her Third Plan of 1622: ‘We most humbly beg that the entire hierarchical structure of this work should depend entirely on the Holy See and not on any other authority’. Another document headed Reasons why we may not alter makes it clear that the proposals admit of no compromise. The genesis of this attitude is not far to seek. Mary Ward considered she had received divine intimation that she was to undertake some new work to the greater glory of God and for this she was to follow St. Ignatius’ Society of Jesus with its direct responsibility to the Holy See. Sr. Immolata Wetter points out that Mary Ward’s ideas were further sharpened by the contemporary situation of the Catholic Church in England: ‘adherence to the primacy of the Pope distinguished the English martyrs and confessors of the faith. For their loyalty to the Vicar of Christ these brave men and women suffered restrictions both in public and private life.
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Kireev, Felix S. "On the Issue of Organizing the Second Ossetian Orthodox Parish in Vladikavkaz." Vestnik of North Ossetian State University, no. 4 (December 25, 2022): 63–68. http://dx.doi.org/10.29025/1994-7720-2022-4-63-68.
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In the historiography of Vladikavkaz, there are many works devoted to the Ossetian settlement of the city, the Church of the Nativity of the Blessed Virgin Mary (Ossetian church) in Vladikavkaz, but almost no mention is made of the second Ossetian settlement and the construction of a church on its territory. Meanwhile, the history of the Ossetian population of the Vladimir (Novo-Ossetian) settlement is also worthy of attention. The article reveals the reasons for the creation of the second Ossetian Orthodox parish in Vladikavkaz, the issues of building a church in the name of the Holy Great Martyr George the Victorious. It is noteworthy that not only local Ossetians, but also Russian residents of the settlement actively participated in the organization of the Ossetian parish and the construction of the temple. The construction of the temple was also facilitated by retired and current officers. Assistance was provided by the city authorities and the Vladikavkaz and Mozdok diocese. Funds were allocated for the construction and improvement of the temple from the budget of the Holy Governing Synod. As in the Church of the Nativity of the Blessed Virgin of the city, only the Ossetian clergy served in the St. George’s Church in Vladikavkaz. At the same time, the temple provided nourishment to the entire Orthodox population of Vladimirskaya Slobidka, regardless of nationality. Despite the short history, the second Ossetian parish of Vladikavkaz played its missionary role in strengthening Orthodoxy among the Ossetian population of the city, in educating local residents. For writing this work, newspaper publications of that time and materials of the Central State Archive of the Republic of North Ossetia-Alania (TsGA RSO-A) were used.
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Westbrook, Donald A. "Our Lady of Zeitoun (1968–1971)." Nova Religio 21, no. 2 (November 1, 2017): 85–99. http://dx.doi.org/10.1525/nr.2017.21.2.85.
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This article situates the mass mariophanies reported at Zeitoun (Cairo), Egypt, from 1968 to 1971 in their historical, political, interfaith, and ecumenical contexts. The series of luminous apparitions above St. Mary’s Coptic Orthodox Church were first observed by nearby Muslim public transit workers. Soon after, the site attracted tens of thousands of Christian and Muslim pilgrims, many of whom observed bright light in the form of the Virgin Mary in addition to other manifestations, such as dove-shaped lights hovering above or near the church. Miraculous healings were also reported. The Zeitoun apparitions serve as a unique instance within the broader study of Marian apparitions by providing a non-Catholic example that took place within a Muslim-majority nation over a span of nearly three years. Moreover, full contextualization of the events in Zeitoun requires interdisciplinary attention spanning Middle Eastern, Islamic, and ecumenical studies; as such, the apparitions invite further and fuller examination in the secondary literature.
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Kopiczko, Andrzej. "Catholic churches and ministry in Malbork in the years 1525–1772." Masuro-Warmian Bulletin 287, no. 1 (April 15, 2015): 35–59. http://dx.doi.org/10.51974/kmw-142669.
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The article presents the history of the Catholic churches, operating in Malbork in the early modern period. Most attention was paid to the parish St. John the Evangelist, which – with short breaks in the second half of the sixteenth century and during the First Swedish-Polish War – remained in the hands of Catholics. With post-visit protocols learn about repairs carried out, the order of worship and involvement of the clergy. On the basis of the preserved since 1700 year vital records we can conclude that each year about 200 children was baptized and was contained from 50 to 150 weddings. Since the second half of the eighteenth century there are also records of marriages concluded by Lutherans in the Catholic Church, even when both spouses were not Catholics.Apart from the parish of St. John the Evangelist churches still functioning: the castle of the Blessed Virgin Mary, St. Lawrence and the hospital of the Holy Spirit and Chapels.A major role in the pastoral care in the modern era played the Jesuits, who have taken the ministry in 1618.
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Banić, Silvija. "Zadarski gotički vezeni antependij u Budimpešti." Ars Adriatica, no. 4 (January 1, 2014): 75. http://dx.doi.org/10.15291/ars.490.
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The Museum of Applied Arts (Iparművészeti Múzeum) at Budapest houses an embroidered Gothic antependium which belonged to the church of St Chrysogonus, which was the seat of the Benedictine Abbey at Zadar. At an unspecified time, the antependium became part of the collection of Zsigmund Bubics, an art historian, collector and the bishop of Košice in present-day Slovakia from 1887 to 1906, and was donated to the Museum of Applied Arts in 1909. It measures 94 by 190 cm. The majority of the antependium’s surface is filled with the figures of saints set beneath three pointed, Gothic arches. The central field is occupied by the enthroned Virgin with the Christ Child, in the left field is St Chrysogonus and in the right St Benedict. In the upper section of the antependium one can see the busts of two saints who might be identified as St Gregory the Pope and St Donatus. Along the lateral edges of this triptych-like antependium are vertical borders, at the centres of which are niches with two small standing female saints who wear crowns (St Scholastica and St Anastasia). To the left of the Virgin’s throne is the figure of a donor depicted kneeling with his hands clasped in prayer, which has unfortunately not been provided with an inscription. It is clear, however, that he is wearing the Benedictine habit with a somewhat over-emphasized hood falling down his back. The Benedictine donor might be identified as one of the abbots of the monastery of St Chrysogonus. It is suggested in the article that this may have been John de Ontiaco (Joannes de Onciache) from the bishopric of Lyon, who was the abbot of the monastery of St Chrysogonus from 1345 to 1377. The author argues that the antependium was produced in a weaving workshop in Venice during the late 1360s or early 1370s, on the basis of comparisons with similar contemporary painted and embroidered artworks. Based on the iconographic programme which was depicted on the antependium, but also on the information found in archival records, the author proposes that the antependium was made for the altar of St Chrysogonus which stood in the north apse of the abbey church. Although it has not been established when the antependium left Zadar, based on the similarities between the crimson satin fabric, which replaced the original surface on which the embroidery was applied, on the antependium from the Church of St Mary at Zadar, and the antependium from the Church of St Chrysogonus, it is stated that both interventions were made in the Benedictine Convent of St Mary at Zadar during a short period of time in the last quarter of the eighteenth century. This is also understood as evidence that at that time the antependium from the Church of St Chrysogonus was still being carefully kept at Zadar.
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Zinko, Yuriy, Marta Malska, and Taras Hrynchyshyn. "Religious-pilgrim tourism in the west of Ukraine: main centres and shrines." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 144–66. http://dx.doi.org/10.30970/vgg.2019.53.10671.
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This study analyzes the formation factors and major centres and shrines of pilgrimage and religious tourism in the Western region of Ukraine. The article presents structure of the religious space of 8 regions of Western Ukraine in the context of major Christian denominations. According to the latest statistics in the West of Ukraine, among the Christian denominations we can see dominance of believers and communities of the Ukrainian Greek-Catholic Church, the Orthodox Church of Ukraine, the Ukrainian Orthodox Church of the Moscow Patriarchate and the Roman Catholic Church. The main pilgrimage centres that represent the Christian denominations of the region are characterized by attracting their faithful and at the same time serving as religious tourism centres for a wider range of people. These include, among others: Univ Lavra, Krekhiv and Hoshiv Monasteries, the Marian Spiritual Centre in Zarvanytsia (Greek-Catholic Church); Maniava Skete, St. George Monastery on the Cossack Graves (Orthodox Church of Ukraine); Pochayiv Lavra, Zymne and Mezhyrich Monasteries, Monasteries in Bukovyna and Transcarpathia (Orthodox Church of the Moscow Patriarchate). At the same time, the Roman Catholic Church is represented by sanctuaries: Basilica of the Assumption of the Blessed Virgin Mary in Lviv, churches in Stryi, Bilshivtsi, Chortkiv, Letychiv and other settlements. The annual number of visitors to these major centres is between 30 and 100 thousand people a year. Regarding non-Christian religions, there are important shrines in the region for Hasidic pilgrims in Belz, Medzhybizh and other towns. At the same time, a number of regional centres are important destinations. There are many temples in Lviv, Ivano-Frankivsk, Lutsk, Ternopil, which, given the presence of objects of religious worship and significant architectural appeal, perform both a pilgrimage and a religious-tourist function. Religious shrines, which are primarily of natural origin, are often an important component of the pilgrimage-tourist movement in the West of Ukraine. These include the appearance of the Virgin Mary, including individual hills or springs, as well as ancient cave monasteries. Numerous pilgrimage and travel agencies actively promote visits of believers and tourists to them. Development of religious and pilgrimage centres is related to the development of service infrastructure, service complexes and a network of different types of accommodation. It may be recommended to organize more educational and scholarly events of ecumenical nature and meetings of faithful of different denominations in the well-known religious centres of the region. Key words: pilgrimage, religious tourism, denominations, temple, shrine, pilgrimage centre, infrastructure.
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Wiraszka, Marta. "ANTONI MESSING, WSPÓŁTWÓRCA POMNIKA NAJŚWIĘTSZEJ MARYI PANNY PRZED KOŚCIOŁEM REFORMATÓW I SERII WZOROWANYCH NA NIM NAGROBKÓW WZNIESIONYCH NA CMENTARZACH WARSZAWY." Saeculum Christianum 23 (September 22, 2017): 208–22. http://dx.doi.org/10.21697/sc.2016.23.16.
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Antoni Messing (ca. 1821-1867) the owner of the stone workshop located in Warsaw on 6 Powązkowska Street (mtge. 27C) is currently most famous for one monument- the Statue of the Virgin Mary of Immaculate Conception which was placed in front of the Church of St Antony of Padua on Senatorska Street (1851). What made this monument different from other independently standing monuments was the use of lanterns which at evening time illuminated the statue of the Virgin (1853). The innovative idea spread not only around Warsaw, but also outside the city boundaries. References to the monument elevated by Messing were not limited to the way and form of illuminating the statue. The inventory research conducted on Warsaw cemeteries enable the extraction of a group of tombstones imitating the shape and the decor of the plinth of the statue of the Virgin. The number of examples of this collection of tombstones numbers 19. Their execution dates back to the period 1853-1874 - with one exception only, all of them were elevated during the period of Antoni Messing’s ownership of the stone workshop. All of them represent the same commemoration in the form of a crucifix located on a plinth. Examples can be separated into two groups. One, comprising 8 tombstones, the closest to the original, the other, comprising 11 examples preserves the architectural structure without the sculptural decor. The origin of the formal concept is to be traced in the project of Henryk Marconi’s garden vase designed for Wilanowski Park (ca. 1845-1851) as well as the finishing elements of the Stanisław and Antoni Potocki’s tombstones. Consequently, the contribution of Messing consists in the creation of the series of tombstones modeled on the statue of the Virgin Mary rather than the originality of the project.
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Tulić, Damir, and Mario Pintarić. "Altar furnishings and sculptures in the parish Church of St. Peter in Ilirska Bistrica." Kronika 71, no. 3 (November 24, 2023): 519–34. http://dx.doi.org/10.56420/kronika.71.3.04.
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The paper analyses four altars made of stone and marble in the parish Church of St. Peter in Ilirska Bistrica. Stylistically and chronologically, their construction went through three phases during the eighteenth century. The oldest ones stand under the triumphal arch and may be dated to the first quarter of the eighteenth century. The altar on the left was originally dedicated to St. Nicholas, whose figure is carved on the altar frontal. It was the work of an unknown workshop influenced by the Pacassi family of altar builders from Gorizia. The sculptures were produced by an unknown local master who was familiar with the opus of Angelo De Putti, the travelling sculptor from Padua. On the right side of the triumphal arch, the Altar of the Blessed Sacrament was accomplished by an unknown master who drew inspiration from the works of the sculptor and altar builder Paolo Zuliani from Gradisca d’Isonzo. The most important of all, the marble altar was commissioned about 1741 from the Rijeka sculptor Antonio Michelazzi for the Chapel of the Blessed Virgin Mary of the Rosary, constructed shortly before that. Finally, a monumental new main altar was built about 1780 by the sculptors Sebastiano Petruzzi and Giovanni Battista Zipperla.
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Frances, Ann. "William John Butler and the revival of the Ascetic Tradition." Studies in Church History 22 (1985): 365–76. http://dx.doi.org/10.1017/s042420840000807x.
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William John Butler, sometime vicar of Wantage in Berkshire and founder of the Community of St Mary the Virgin, gave a concrete and contemporary expression to an aspect of the ascetic idea current among followers of the Oxford Movement, which was revealed in their desire to restore monastic life in the Church in England. The Community founded by Butler was one of the earliest of the indigenous Anglican communities for women. In no way could the desert ideal or the later pre-Reformation models of religious life be reconstructed, nor would they have been appropriate in the climate of the time. However Butler believed, as had Newman, Pusey and others, that the basic principles of monastic life remained valid and they could and should find their place in the contemporary Church of England. It was believed that the Church had the grace and the resources of devotion within itself to give birth to the religious life anew, to continue its nurture and promote its development. Certainly the enhanced spirituality resulting from the example of deep devotion of the Tractarians themselves and that of their followers engendered a religious atmosphere in which new spiritual adventures were made possible.
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Lux-Sterritt, Laurence. "Mary Ward's English Institute: The Apostolate As Self-Affirmation?" Recusant History 28, no. 2 (October 2006): 192–208. http://dx.doi.org/10.1017/s0034193200011249.
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Mary Ward (1585–1645) is known as the foundress of the Institute of the Blessed Virgin Mary, an Order of women which continues to educate thousands of girls around the world. During the first decades of the seventeenth century, her foundation was a religious venture which aimed to transform the Catholic mission of recovery into one that catered for women as well as men. It maintained clandestine satellites on English soil and opened colleges on the Continent, in towns such as St Omer (1611), Liège (1616), Cologne and Trier (1620–1), Rome (1622), Naples and Perugia (1623), Munich and Vienna (1627) and Pressburg and Prague (1628). There, it trained its own members and undertook the education of externs and boarders. The Institute's vocation was not only to maintain the faith where it was already present but also to propagate it; as such, it went far beyond the accepted sphere of the feminine apostolate and its members were often labelled as rebels who strove to shake off the shackles of post-Tridentine religious life. To some modern historians, Mary Ward was an ‘unattached, roving, adventurous feminist’; to others, she was a foundress whose initiative deliberately set out to lay tradition to rest and begin a new era for the women in the Church.
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Martorana, Raffaele, and Patrizia Capizzi. "Joint Investigation with Ground Penetrating Radar and Infrared Thermography as a Diagnostic Support for the Restoration of Two Wall Mosaics in the Church of St. Mary of the Admiral in Palermo, Italy." Heritage 5, no. 3 (August 23, 2022): 2298–314. http://dx.doi.org/10.3390/heritage5030120.
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The church of S. Mary of the Admiral in Palermo, known as “La Martorana” and very famous for its Byzantine mosaics, has been a World Heritage site since 2015. The mosaic system of the church includes several groups of figures and scenes from the life of the Virgin Mary. From the western part of the ancient church only two mosaics survive, detached from their original position, and are now located in two internal chapels. On the occasion of several restoration works, these two mosaic panels were investigated with non-invasive techniques, in order to provide diagnostic support to the restoration and consolidation interventions. The investigations were aimed at detecting any air pockets that could cause the detachment of the tesserae or of possible differences between cement mortars under the tesserae. For this purpose, the integrated use of two non-invasive techniques namely infrared thermography (IRT) and ground penetrating radar (GPR) was considered. The joint analysis of IRT and GPR data allowed the interpretative uncertainties inherent in each technique to be reduced. Furthermore, for both techniques differentiated analyses were performed for layers at different depths under the mosaic surface. The results of these analyses were found to be more reliable regarding GPR data, compared to infrared thermography, the latter being more influenced by the reflectivity of the tesserae. However, the results partially confirmed the restorers’ diagnosis, also allowing the identification of further critical areas that could be affected by deterioration or compositional differences in the layers supporting the mosaics
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Yassa, Katei, and Gehan Nagy. "Sustainable Guidelines for Enhancing Indoor Thermal Comfort in Coptic Churches in Egypt Using Passive Design Strategies; Case Study St. Barbarah and Virgin Mary Churches." WSEAS TRANSACTIONS ON ENVIRONMENT AND DEVELOPMENT 17 (April 1, 2021): 211–21. http://dx.doi.org/10.37394/232015.2021.17.21.
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Since the 20th century, the temperature has risen, worldwide, due to climate change causing global warming. Such phenomena have resulted in thermal dissatisfaction within various buildings indoor spaces including Egyptian Coptic Orthodox churches. Heritage churches designs have always implemented passive strategies to provide indoor thermal comfort. However, modern churches design tend to use active strategies to provide indoor thermal satisfaction instead of referring to the use of passive designs. Accordingly, the main purpose of this research is to identify a set of guidelines to enhance indoor thermal comfort in modern Coptic Orthodox churches using passive design strategies. The research has adapted a mixed method approach where an in-depth literature review resulting a qualitative summary of passive techniques used in heritage Coptic churches, then followed by a comparative analysis between two Egyptian case studies; the first is a heritage church (St. Barbarah church) and the other is modern which is (Virgin Mary church) based on the deducted passive strategies from the literature. Moreover, an applicable simulation for varying the methodology, using Design Builder, where the modern church will be simulated and tested for thermal comfort before and after modifying it using the passive strategies deducted from the literature. The research’s main findings were the list of passive techniques that could be used to enhance the indoor thermal comfort, while the simulation experimental results where related to a typical summer week, showing that for the average air temperature and the average solar gains, the triple glazing was the most effective in causing indoor thermal comfort. But, for the average relative humidity and average of total fresh air, insulation has shown to be most effective in providing enhanced indoor thermal comfort. To conclude, a set of guidelines has been deduced from the methods adapted in the research showing the most suitable and applicable passive design strategies that could be used inside Coptic Orthodox churches to enhance indoor thermal comfort.
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Dulibić, Ljerka, and Iva Pasini Tržec. "Austrijski slikar Leopold Kupelwieser i biskup Josip Juraj Strossmayer." Ars Adriatica, no. 6 (January 1, 2016): 209. http://dx.doi.org/10.15291/ars.186.
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All 20th-century chronologies of the collector’s activity of Bishop Josip Juraj Strossmayer (1815-1905) and overviews of the evolution of today’s Strossmayer’s Gallery of Old Masters at the Croatian Academy of Sciences and Arts mention the bishop’s cooperation with the Austrian Nazarene painter Leopold Kupelwieser (1796-1862), father of Paul Kupelwieser, the former owner of the Brijuni islands. This episode from the “prehistory” of Strossmayer’s Gallery has hitherto been known only as a brief notice repeated in almost identical formulations: “In 1857, the bishop sent the first larger group of paintings to Vienna in order to be restored under the supervision of painter Leopold Kupelwieser.” Research of archival documents mentioning the cooperation between Bishop Strossmayer and painter Kupelwieser has now been complemented with an overview of Kupelwieser’s activity in Croatia, with an aim of promoting the preservation and evaluation of this segment of his painting oeuvre. Besides paintings ordered by Strossmayer (presently at the Diocesan Museum of Zagreb), Kupelwieser produced two paintings for Croatian churches independently of his cooperation with the bishop (for the church of St Stephen of Hungary, today’s church of the Immaculate Conception of the Blessed Virgin Mary in Nova Gradiška, and for the chapel of St Peter and Paul in Dvor na Uni). Two more paintings are preserved on the Brijuni islands that do not directly belong to Kupelwieser’s oeuvre yet are closely linked to him.
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Sneberger, Jiri, Michal Tejček, and Veronika Lungová. "The Positive Identification of Skeletal Remains from the Church of the Assumption of the Virgin Mary in Přeštice: a Case Study." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XV, no. 1 (February 28, 2024): 41–49. http://dx.doi.org/10.24916/iansa.2024.1.3.
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The reconstruction and subsequent rescue archaeological excavation in the baroque chapel of St Barbara in the Church of the Assumption of the Virgin Mary in Přeštice has resulted in the discovery of one atypical burial in a small bricked vault. The vault contained skeletal remains in a very poor state of preservation. The discovery of the skeletal remains in the chapel was unexpected given the absence of any signs of a grave being present. In this article we describe the attempt to identify the person to whom the skeletal remains belong. Based on anthropological analysis, these remains were interpreted as probably female over 50 years of age. By combining archaeological context, anthropological analysis and historical sources, the skeleton was interpreted as the remains of Marie Anna Lindauer, a resident of Pilsen and the mother of Josef Ondřej Lindauer, the dean in Přeštice and the bishop in Budweis.
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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, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.
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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.
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Bravermanová, Milena, and Helena Březinová. "The Fate of the Remains and Funerary Equipment of Czech Rulers and Their Family Members." Acta Universitatis Lodziensis. Folia Archaeologica, no. 35 (December 30, 2020): 107–21. http://dx.doi.org/10.18778/0208-6034.35.07.
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Prague Castle was the most important burial site of the Czech rulers and their relatives. The graves are located in the Church of the Virgin Mary, in St. George Church and Convent, and, in the greatest numbers in the St. Vitus Cathedral.
Reliquary tombs of the most important Czech patron saints are also located at Prague Castle – in St. George Basilica, in St. Vitus Cathedral and in All Saints Church. We also know the graves of 12 Prague bishops that are located in the St. Vitus Cathedral.
The majority of the aforementioned graves have been opened several times in the past for a variety of reasons, that caused various problems, the most serious of which involved the confusion of relics.
The first systematic anthropological investigations were conducted at the beginning of the 20th century. The remains of nearly all historical personalities buried at Prague Castle were available for another anthropological study conducted in the 1960s. Currently, the research continues with modern nature science analyzes.
In the past, removed grave goods did not receive proper care for the most part, mainly due to a lack of understanding as to what constituted correct procedures for handling artefacts deposited for years in the unsuitable conditions of graves and tombs. The grave goods themselves were often restored in an inappropriate manner. The restoration situation improved significantly after the establishment of restoration and conservation workshops in 2000.
The opening of graves is problematic and, from an ethical point of view, should be performer only to a very limited extent. Necessary construction work is a common reason for disruption, and in this case remains should be treated with respect. And if grave goods are removed, they must be cared for in a proper manner, as these artefacts are often irreplaceable heritage whose scientific study is a legitimate pursuit. The mere lust for knowledge, often connected with efforts to generate sensation, does not entitle us to disturb the resting place of our ancestors with ill-considered interventions.
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Shin, Junhyoung Michael. "Avalokiteśvara's Manifestation as the Virgin Mary: The Jesuit Adaptation and the Visual Conflation in Japanese Catholicism after 1614." Church History 80, no. 1 (March 2011): 1–39. http://dx.doi.org/10.1017/s0009640710001575.
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Since St. Francis Xavier landed in Kagoshima in 1549, the Jesuit mission in Japan had achieved an amazing number of conversions, even though their activity lasted for merely about fifty years. Their great success came to an abrupt end in 1614 when the Bakufu government began the full proscription and persecution of the religion. An earlier ruler, Toyotomi Hideyoshi, had already banned Christianity and ordered the expulsion of foreign missionaries in 1587, but without strict enforcement. Since the 1630s, the former Christians were required to enroll in local Buddhist temples and annually go through the practice of treading on Christian icons in order to prove their apostasy. However, many Christians secretly retained the faith by disguising their true religious identity with Buddhist paraphernalia. These so-called “underground” (or sempuku) Christians survived more than two hundred years of persecution, and today some groups still continue to practice their own religion, refusing to join the Catholic Church. The present-day religion of the latter, called “hidden” (or kakure) Christians to distinguish them from the former, has drawn the attention of ample anthropological as well as religious studies.
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Pokorný, Adam, and Petr Skalický. "Restoration research of the murals in the Church of the Virgin Mary and the Chapel of St. Catherine at Karlštejn Castle." Zprávy památkové péče 79, no. 4 (December 1, 2019): 402–20. http://dx.doi.org/10.56112/zpp.2019.4.03.
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Tkachenko, Victoria Vladimirovna. "Russian history in “Lives of the Saints” of St. Dimitry of Rostov." Исторический журнал: научные исследования, no. 4 (April 2020): 118–30. http://dx.doi.org/10.7256/2454-0609.2020.4.33427.
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The subject of this research is the largest printed compilation of the lives of the saints venerated by the Russian Orthodox Church – “Lives of the Saints” by St. Dimitry of Rostov (1689-1705). Despite a widespread opinion that the only printed book on the Russian history until the middle of the XVIII century was the “Synopsis” by Innokenty Gizel, the author refers to “Lives of the Saints” as a landmark of historical writing that reflects crucial events in the Russian history from ancient times until early XVIII century. Traditionally viewed as a literary and hagiographical landmark, “Lives of the Saints” by St. Dimitri Rostov were out of the scope for the researchers of Russian historiography. This article is the first to conduct comprehensive analysis of historical records contained in the lives of Russian saints as part of the compilation “Live of the Saints”. Emphasis is places on the representation of events of the past. The research demonstrates that “Lives of the Saints” included descriptions of the milestones in Church and political history. Featuring certain aspect of scientific writings (accuracy of dates, critical analysis of sources, reference apparatus), they conveyed a special, Christian perception of Russian history as a chain of miracles of the saints and the Virgin Mary. The conclusion is made on the considerable importance of “Lives of the Saints” in proliferation of information on the Russian past among broad population, and formation of historical memory of the Russian society of the XVIII – XIX centuries.
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Antonsson, Haki. "The end of Árna saga biskups and the cult of St Magnús of Orkney: Hagiography and ecclesiastical politics in early fourteenth-century Iceland." Gripla 34 (2023): 139–71. http://dx.doi.org/10.33112/gripla.34.5.
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This article begins by focusing on the final chapter of Árna saga biskups, specifically chapter 147 found in the saga’s modern edition. This chapter is only present in a single transcript of the saga, originating from a lost portion of Reykjafjarðarbók. It narrates the events leading to the death of Provost Þorvaldr Helgason in 1290. The account follows his journey to Norway, where he encountered demonic possession. He received temporary relief from this affliction in the Faroes Isles, thanks to the intervention of St Magnús of Orkney and the Virgin Mary, within a church dedicated to St Magnús. However, Þorvaldr’s condition worsened, leading to his demise in Norway. The saga implies a connection between Þorvaldr’s fate and his betrayal of Bishop Árni Þorláksson’s efforts for the Church’s interests during the Staðamál. St Magnús of Orkney plays a significant role in this narrative. The article contends that his role aligns with the promotion of the Orkney martyr’s cult by the Skálholt bishopric, likely during the time when Árna saga biskups was composed – either in the late thirteenth or early fourteenth century. This promotion probably included the crafting of Magnúss saga lengri (‘The Longer Magnúss Saga’) within the same context. Further, the article argues that the interest in St Magnús is tied to his association with the Church and its freedoms. This connection can be traced back to a twelfth-century Latin Life of St Magnús, which was influenced by the biographies of Thomas Becket, especially his martyrdom in defence of the Church. The article also identifies echoes of the Becket corpus in Árna saga, which is unsurprising given the saga’s subject matter and the prominence of the Canterbury martyr within Icelandic clerical circles. Previous research suggests that the original saga likely concluded in 1290, eight years prior to the central character’s death. However, the exact reasons for this ending remain uncertain. This article reveals how this seemingly insignificant concluding episode to Árna saga biskups combines significant religious and intellectual elements in a manner that the saga’s early audience would have understood. This case study underscores the adaptable and allusively fertile nature of the hagiographic tradition to address contemporary concerns.
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Susak, Vladyslav, and Mykhailo Khokhon. "SACRED APPROACH OF CALATRAVA." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (May 17, 2024): 165–75. http://dx.doi.org/10.23939/sa2024.01.165.
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The work of Santiago Calatrava is characterized by biomorphic imitation combined with engineering thought, an approach that has made him one of the foremost and renowned architects of contemporary times. The architect employed principles of symbolic imitation and historical resonance. The main form, in this project, for imitation was taken from the icon of the Virgin Mary with a Child, which the architect skillfully transformed into the silhouette of a church, while the idea of geometric analysis of the Virgin's Face with a halo inspired the creation of the plan. The principle of historical resonance is ubiquitous in the project, from the orientation of the church and adherence to liturgical traditions to the incorporation of distinctive elements from existing cultic objects of Byzantine sacred architecture. On the other hand, the architect did not overlook modern challenges and needs. By utilizing advanced technologies and creativity, the author and his studio adeptly use light to emphasize important elements of the structure in the interior and create a unique appearance of the church from the outside during the dark hours of the day. Indeed, the illumination of the church at night is another idea of imitating the church candle as a symbol of God's presence. Functionally, the church is equipped not only with liturgical spaces but also with areas that will serve the community and as a memorial to the tragedy of September 11. These volumes are harmoniously integrated by the western façade and have important visual connections with the Park of Freedom and the memorial complex itself. St. Nicholas Church in New York should be singled out as a successful example of the symbiosis of tradition, modern technologies, and the author's creative approach.
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Kunka, Sławomir Jerzy. "Is a Theological Synthesis Still Possible? The Paradigm of Objective Mariology." Religions 14, no. 7 (June 25, 2023): 831. http://dx.doi.org/10.3390/rel14070831.
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As a “doctrinal synthesis of the Christian faith” (St. John Paul II), the dogma of the Immaculate Conception of the Mother of God could serve as a focal point that brings together various theological concepts and approaches pertaining to salvation history. For that to happen, however, it is necessary to delve into and discover the richness of Mariology. Often regarded as a secondary discipline, as a context for other disciplines or even as a source of difficulties in ecumenical dialogue, Mariology nowadays needs a revival of its own. The call for constructing an “objective Mariology” presumes that the autonomy of theology as an academic discipline will be preserved and that theological reflection on the Virgin Mary will be objectivized in terms of both form and content. To meet these demands, one must strive to respect the supernatural purpose and sources of theology as such, and strengthen and develop biblical Mariology as well as the reflection of the Church Fathers. Furthermore, there is a need to draw from the rich legacy of the Franciscan school when reflecting on the unity of God’s plan of creation and Redemption in His eternal reasons. Finally, one must not accept a departure from the “hermeneutic of continuity” in the Catholic doctrine on the Most Blessed Virgin Mary, Mother of God, Immaculate and Assumed. The article sets out to describe the essence of the above assumptions and proposes specific conditions that would foster the development of an “objective Mariology”. In that respect, it is important to establish the First Person of the Holy Trinity as the starting point for any reflection on the plan of salvation—of which the Immaculate Conception is the ultimate origin and ultimate goal.
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Terletska, Khrystyna, and Mykhailo Kosmii. "THE GENESIS AND PRECONDITIONS FOR THE FORMATION OF THE ARCHITECTURAL HERITAGE OF PRYKARPATTIA." Current problems of architecture and urban planning, no. 64 (August 31, 2022): 119–33. http://dx.doi.org/10.32347/2077-3455.2022.64.119-133.
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Today, Ukraine is actively integrating into the world cultural space, therefore a full and comprehensive study of the formation of the architectural heritage of the Carpathian region and its impact on the country's cultural environment is of great national importance. Prykarpattia occupies the third place in Ukraine for several monuments of architecture and urban planning. There are 3,944 objects of cultural heritage in the region and 1,443 of them are monuments of architectural heritage, 90 objects are of national importance. These are such sights as the church of St. Panteleimon in the village of Shevchenkove, the Carmelite church of the 17th century, with a monastery complex, the remains of the Galician castle of the 13th-17th centuries, in the town of Halychi, a monastery in the village of Manyava, St. Anthony's Church and the Bernardine monastery in the village of Hvizdets the Church of the Immaculate Conception of the Blessed Virgin Mary, the Holy Resurrection Cathedral, the College of Jesuits, the Dominican Monastery, the Armenian Cathedral the Brewery in Ivano-Frankivsk, etc.
The article deals with the study of architectural, local and historical literature, analyzes the formation of the architecture of Prykarpattia in the prehistoric (primordial) period, the architecture of Prykarpattia in the Ancient, Middle Ages, New and Modern periods. In each historical period, we have identified stages associated with important social and political changes in the Carpathian region and are the drivers of changes in the architecture of the region. The historical prerequisites for the formation of the cultural heritage of the Carpathian region from the earliest stage to the present are determined, which includes the evolution and development of society and the emergence of socio-economic relations, the emergence of complex political entities such as the Principality of Galicia, and later the Galicia-Volyn state, the change of religion and the expansion of foreign economic relations connections, raids of Crimean Tatars and Turks the emergence of firearms and the conquest of the Carpathian territories by Poland, Austria-Hungary, Moldova and the entry into the USSR.
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ÖZKAYNAK YOLCU, Merve. "Kent Kimliği Açısından Önemli Bir Ermeni Kilise Mimarisinin İncelenmesi: Digor Khtzkong Manastırı." JOURNAL OF HISTORY AND FUTURE 9, no. 3 (September 17, 2023): 540–55. http://dx.doi.org/10.21551/jhf.1348131.
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Cultural heritage enables us to have information about past civilizations that form the identity of the built environment in a residential area. While cultural heritage structures reflect the material properties and techniques of the period they belong to, the architectural styles they adopted, and the level of civilization, they express the societies they belong to and the way of life of the societies, world view, management style and religious structure. For this reason, the sustainability of cultural heritage is important for the preservation of the local identity of societies and the continuity of cultural values. However, historical buildings such as mosques, churches, monasteries, chapels, synagogues, madrasas, inns, baths and castles, which reflect the identity of different regions, were built in masonry. Masonry structures, on the other hand, are not resistant to natural disasters such as earthquakes.
In this context, it is aimed to examine the monastery, which consists of five churches from the Armenian churches in the Eastern Anatolia Region of Turkey. This monastery is Khıdskonk Monastery, which consists of the Churches of St. Karapet, Virgin Mary (Surp Asdvadzdzin), St. Stefanos, St. Krikor and St. Sarkis. The churches, which differ in terms of culture and architecture, are important in terms of having the first church plan typologies. The problem of the study is that the remains of four of the five churches that were built in the same region and that were recently built, and that only one church is partially preserved. Based on this problem, it is aimed to document and archive these churches, which are important for the Kars region, and to examine their plan typologies. In this context, the relationship between earthquake damage and typologies was investigated and evaluations were made for the churches surveyed in the sample area. As a result, by emphasizing the importance of cities for their identities, suggestions were made for the protection of cultural heritage.
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Goja, Bojan. "Pietro Sandrioli indorador iz Venecije i drvene oltarne pale u Rabu i Šibeniku." Ars Adriatica, no. 3 (January 1, 2013): 159. http://dx.doi.org/10.15291/ars.467.
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Based on new archival research, the article focuses on previously unknown information about wooden altarpieces in Rab and Šibenik. The documents created by the Rab notary Ivan Božidar Kašić, which are keptin the State Archive at Zadar, contain a contract about the making of a wooden superstructure (palla) for the high altar in the Church of St. Andrew and its original altar painting. The contract bears the date of 19 April 1623 and obliges Piero Sandrioli, an indorador and resident of Zadar, to make an altarpieces according to a set design, fifteen-feet high and nine-and-a-half-feet wide, together with a canvas painting of the Blessed Virgin Mary and paintings depicting the scenes of the Most Holy Rosary. He was required to paint the figure of St. Dominic to the right of the Virgin, the figure of St. Catherine of Siena to her left, and, next to the Virgin’s feet at the bottom of the painting, the scenes on the topic of the Most Holy Rosary. The rest of the altarpieces had to correspond to the aforementioned design in all respects. The whole structure (probably referring to the wooden superstructure and the painting) had to be carved, delivered to the Church of St. Andrew and set up on the altar at the expense of Pietro Sandrioli. Once in Rab, after the delivery of the wooden altarpiece and the painting, Sandrioli was also required to gild the altarpiece. The entire task had to be completed by the following December. As soon as the work was completed, Sandrioli was to be paid the amount of 250 ducats and here it is mentioned that he had already received 360 lire. Apart from the described altar superstructure from Rab, the same mistro Pietro Sandrioli da Venecia indorador is mentioned in connection to the making of the former high altar in the Church of St. Dominic at Šibenik. This document of 13 June 1628 has been preserved in the records of the Šibenik notary Ante Vrančić which are also kept in the State Archive at Zadar. The document states that Lorenzo Corradis, a representative and intermediary on behalf of the confraternity of the Virgin of the Most Holy Rosary from the Church of St. Dominic, paid Pietro Sandrioli, the indorador of Venice, 376 lire which is also confirmed by a receipt issued for the services of carving and painting undertaken in Venice for the wooden high altar of the Virgin of the Most Holy Rosary.As confirmed by Pietro Sandrioli himself, only 180 of those 376 lire had been spent and he owed Lorenzo Corradis the amount of 196 lire. In other words, he owed him the amount which could be somewhat higher or lower than the stated sum but which would correspond to the amount of money that was actually spent. The next step was to see a Venetian notary who was to issue Corradis with a confirmation that the amount of 180 lire was spent to pay for the work of the master craftsman, and this would guarantee that the money was indeed spent. For this purpose, the indorador Pietro Sandrioli, in the company of the aforementioned witnesses, promised and committed to provide a trustworthy and original confirmation issued by a Venetian notary in which these master carvers and painters would state the exact cost of their work while under oath. Then, he would bring or send this confirmation from Venice by the end of the following January. In the event of Sandrioli’s failure to send or bring the confirmation by the end of the following January, he was to be replaced by another master indorador, Zuanne Voicovich, who would be responsible for the payment of the 196 lire in full. Although this document merely regulates some expenditures, it can still be used to establish that the work on the wooden high altar for the Church of St. Dominic at Šibenik was begun before 13 June 1628 when, it seems, it was still ongoing; that the majority of work was done in Venice, and that the indoradori Pietro Sandrioli and Zuanne Voicovich were involved in the production together with numerous unnamed master wood-carvers and painters. It may be concluded that Sandrioli and Voicovich were at that time in Šibenik together, and that they worked on the completion of the altar, decorating it with gilding. Since Pietro Sandrioli was mentioned in the Rab document of 1623 as a resident of Zadar, it can be suggested with a high degree of certainty that he worked for the commissioners who were based in the capital of Dalmatia and its environments. In Venice, the term indoradóri or doradóri denoted those craftsmen who used gold or silver foils to decorate various hand-made objects, most frequently those made of wood. The Indoradóri did not have a guild of their own but formed one of the branches of the confraternity of painters, a member ofwhich, between 1597 and 1610, was a certain Piero de Zen Sandrioli, probably the same master craftsman who worked on the wooden altarpieces at Rab and Šibenik. On the basis of the analysis of archival records and other examples of the production of carved and gilded wooden altars in seventeenth-century Venice and Dalmatia, it is concluded that the making of the wooden altar superstructure from Rab was a task shared by a number of master craftsmen who specialized in the various aspects of carpentry such as the marangoni, tornitori, figuristi, ornatisti and indoradori. Pietro Sandrioli, apart from being responsible for the tasks of an indorador, probably acted as an intermediary of sorts between them and the commissioners. After Pietro Salamone (Hvar, Zadar) and Jacopo Costantini (Trogir), Pietro Sandrioli is the third Venetian indorador to have worked for Dalmatian patrons in the late sixteenth and the early decades of the seventeenth century. Since the indorador Costantini also made the canvas painting of the Virgin and Child with St. Dominic and a donor for the wooden altar in the Dominican church at Trogir, it can be assumed that the indorador Sandrioli may have also been responsible for the painting of the now lost Virgin of the Most Holy Rosary with SS Dominic and Catherine of Siena, which was inset in the wooden altar superstructure of the main altar of the Church of St. Andrew.