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Kuhn, Stephan. "Marian Tabernacles on Main Altars. Norwegian Thirteenth-Century Altar Decorations in Their European Context." Medievalia 23, no. 1 (May 20, 2020): 101. http://dx.doi.org/10.5565/rev/medievalia.506.
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Morell, Joan Aliaga, and Nuria Ramón Marqués. "Bertomeu Coscollà and Valencia Cathedral’s Main Altar: New documents." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 42, no. 2 (2014): 15–51. http://dx.doi.org/10.1353/cor.2014.0012.
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Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.
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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.
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Shin, Yoon. "Confessing at the Altar." Pneuma 42, no. 2 (August 24, 2020): 201–19. http://dx.doi.org/10.1163/15700747-bja10004.
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Abstract This article responds to J. Aaron Simmons’ concerns that James K.A. Smith’s methodology for confessional pentecostal philosophy prohibits philosophical dialogue with the confessional Other. Its responses specifically address Simmons’ proposed personal methodology and his two main concerns about Smith’s methodology: (1) confessional philosophy allows an encroachment of theology into philosophy that threatens the autonomy of philosophy; and (2) confessional philosophy discourages philosophical dialogue with the confessional Other, and promotes insularity and defensiveness by utilizing theologically determinate evidence that act as incommensurable authority structures. The first section of this paper exposits Simmons’ other works that illumine the reasons for his concern. Specifically, it identifies Simmons’ Thomistic view of reason and new phenomenology’s commitment to the hypothetical status of God-talk as the reasons for Simmons’ opposition to Smith’s confessional philosophical method. After clarifying Simmons’ own position, the second section addresses Simmons’ concerns that confessional philosophy promotes epistemic arrogance, defensiveness, and dialogical insularity. Moreover, it provides five responses to Simmons’ concern that confessional philosophy utilizes incommensurate authority structures and that it threatens philosophy’s autonomy through the incursion of theology. The paper concludes with a reflection on the current state and future of pentecostal philosophy
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Ožanić, Martina. "Conservation, Iconography and Typology of the Main Altar of St. Anthony’s Church in Slavetić." Portal 5 (2014): 149–60. http://dx.doi.org/10.17018/portal.2014.9.
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Morresi, Manuela, and Dorothy Hay. "Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza." Journal of the Society of Architectural Historians 55, no. 2 (June 1, 1996): 158–77. http://dx.doi.org/10.2307/991118.
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In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in the work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones in the basilica of S. Croce in Gerusalemme, Rome.
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Romero, Gabriela Natalí Fonseca, Danny Daniel Castillo Vizuete, and Luis Alberto Quevedo Báez. "Mora: ¿Fuente De Ingresos Para Productores Y Comercializadores?. Un Enfoque Desde El Análisis De La Dinámica Del Mercado De Las Familias De La Ciudad De Riobamba. Estudio De Caso: Parroquia El Altar, Ecuador." European Scientific Journal, ESJ 13, no. 7 (March 31, 2017): 399. http://dx.doi.org/10.19044/esj.2017.v13n7p399.
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Agriculture is one of the main economic activities in Ecuador, and it is fundamental to an economy in terms of food security. Currently, the country is involved in a process of changing its production system. Its main objective is to carry out the substitution of exports for imports and the generation of added value. In order to achieve these goals, agriculture is considered as a dynamic element of the rural Andean regions. El Altar is a rural parish located in the Penipe area of Chimborazo Province. Due to its particular geographical location, El Altar has several climates ranging from the subtropical to the high altitude plane. This climate facilitates the development of a heterogeneous agriculture. In this mix, the cultivation of blackberries has developed into an important economy activity for the parish inhabitants. Consequently, based on an analysis of the demand of the competition and a calculation of the objective demand, we determined the likely acceptance of families in Riobamba to consume the blackberries cultivated in the El Altar parish. Also, we ascertain the possibility of the producers to expand their market and the profit the seller could receive. In conclusion, it was found that families in Riobamba would like to consume the blackberry cultivated from El Altar. However, this activity could generate significant economic benefits for the producers and commercial sellers of this fruit.
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Pummer, Reinhard. "Was There an Altar or a Temple in the Sacred Precinct on Mt. Gerizim?" Journal for the Study of Judaism 47, no. 1 (February 18, 2016): 1–21. http://dx.doi.org/10.1163/15700631-12340451.
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After the recent excavations by Itzhak Magen on the main summit of Mount Gerizim it has become clear that the Samari(t)an sanctuary stood within a sacred precinct in the Persian and Hellenistic times. So far, no direct evidence of the nature of the sanctuary has been unearthed. The excavator and many contemporary scholars assume it was a temple building. However, some scholars question the accuracy of this assumption and believe that the sanctuary more likely was an altar. This paper reviews both the arguments that speak for an altar and those that speak for a walled and roofed temple.
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Kuznetsova, Nataliya S. "THE IMAGE OF THE ALTAR OF ST. PETER'S BASILICA IN THE ROMAN CHURCHES OF THE 12-13TH CENT." Articult, no. 3 (2020): 56–64. http://dx.doi.org/10.28995/2227-6165-2020-3-56-64.
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The Main purpose of the study is an analysis of influence of the image of St. Peter's Basilica on the Roman church architecture of the 12th-13th centuries. It is possible to search the special type of the presbytery, characterized by uniting of the altar on the pedestal and the reliquary “confession” in the general vertical composition. The congregation of these churches had opportunities to see the process of worship and approach the saint relicts. The altar stood so that the Priest served the mass facing the worshippers, as it was in San Pietro. So, this important monument of Rome could be a model for the other churches of the Middle Ages. Among the churches of this period, such features have the altar space of San Giovanni in Laterano, as well as the basilicas of San Giorgio in Velabro, Santa Maria Assunta in Anagni and Santi Giovanni e Paolo in Ferentino. All these buildings was connected with the Power of Papa.
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Gavrilovic-Vitas, Nadezda. "Monumental altar from Singidunum with scenes of a sacrificial procession - pompa et immolatio." Starinar, no. 70 (2020): 95–109. http://dx.doi.org/10.2298/sta2070095g.
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A monumental altar was found in the very centre of Belgrade, ancient Singidunum, in 1932, with iconographic scenes of the sacrificial procession for a ritual animal sacrifice - immolatio. The scenes depict the procession of sacrificial animals to the altar known as pompa, by the victimarii, but also represent priests of a lower rank (flamines minores), with ritual utensils like a wine-pitcher, patera and acerra, used for the ritus of purification which precedes the sacrifice and for ritual acts during the sacrifice. The altar from Singidunum represents a unique monument with the described iconography in the territory of Moesia Superior and it has only been published in catalogue form to date, never fully analysed or interpreted. Through the analysis of its iconography, typology, function, geographically closest analogies and possible context of its finding, new conclusions regarding the praxis of public ritual sacrifice are brought to light related to the period from the second half of the 2nd century to the first decades of the 3rd century in Singidunum, one of the main centres of Moesia Superior.
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Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.
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In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the presence of painter Cristoforo Tasca in Rijeka has been confirmed for the first time in a written document. A painting of the Annunciation, which originates from the former Benedictine monastery of St Rochus in Rijeka and is today preserved in the Benedictine monastery of San Daniele in Abano Terme near Padua, has been likewise attributed to Tasca. The second part of the article focuses on artworks that have been newly attributed to the Venetian painter Giovanni Battista Augusti Pitteri (Venice, between 1691 and 1695 – Zadar ?, after 1759 ?), who moved to Zadar around 1730 and left a major opus in Dalmatia. Before 1730, a large painting of the Baptism of Christ was made for the parish church of San Martino in Burano, attributable to Pitteri. Another artwork discussed in the article is the anonymous signed painting of the Virgin with the Child and Saints from the Franciscan Church of St Anne in Koper.
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Fisković, Igor. "Lopudski oltari Miha Pracata." Ars Adriatica, no. 2 (January 1, 2012): 177. http://dx.doi.org/10.15291/ars.448.
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Three cinquecento polychrome wood-carved altars have been preserved on the island of Lopud near Dubrovnik, the most monumental of which is situated in the parish church of Our Lady of Šunj. Its retable was constructed to resemble a classical aedicule, with an intricately carved frame and a central figural depiction of the Assumption of the Virgin, complemented by a complex iconographic programme in the symmetrically arranged adjoining scenes. Filling the small cassettes of the predella are reliefs of the Annunciation and Christ as the Man of Sorrows, together with perspectively rendered narrative scenes of the Last Supper and the Washing of the Feet, while in the pediment is a frontal depiction of the Coronation of the Virgin by the Holy Trinity. In the narrow side wings between the columns and pilasters are four bas-reliefs of local patron saints depicted half-turned towards the central image, and thus achieving an overall plastic harmony for a demanding content. In terms of space, the main scene is well-developed through a pronounced sculptural modelling of the figures of the eleven apostles in the round, the most prominent of which is that of St Peter, placed in the foreground and turned to face the nave of the church, while the others are consumed by the miraculous assumption of the Virgin into heaven. She is followed high up by a pair of small angels and several tiny symbolical cherubim heads, all of which helps to achieve an extremely convincing religious scene. Its attractiveness is significantly heightened by the all’antica realism and pedantic Roman-inspired modelling which highlight the skill of a highly trained and talented master wood carver, which leaves no doubt that this is a special work of art, and indeed, the most beautiful carved wood retable in the east Adriatic which has survived to date. In this first complete study of the altar, the author traces historical records in which it is mentioned without the exact year of its creation, origin or carver being cited. He dispels the tradition that the altar was brought from England, supposedly from the Chapel of Henry VIII, and explains this tradition as having been based on the discovery of an alabaster altar, a typical product of late Gothic workshops at Nottingham, several examples of which exist in Dalmatia. From the seventeenth-century records, on the other hand, we learn that the altar in the church of the „Madonna del Sugni” (a vernacular Italo-Croatian transformation of the word Assunta) was dedicated in 1572. An examination of comparative material establishes that the altar’s compositional scheme draws upon altarpieces painted by Alvise Vivarini around 1480, while its morphological features find their closest parallel in the activities and mannerisms of the Venetian workshop of Paolo Campsa, who worked from the 1490s to the early 1550s, and who sold his works in the wide area under the government of La Serenissima. The Republic of Venice profited a great deal from this export, while its urban centre’s innumerable wooden altars disappeared following subsequent changes of fashion. A group of securely attributed works shows that Paolo Campsa frequently borrowed formulas and idioms from Venetian painters of the older generation; analogies with two of Vivarini’s altar paintings confirm that he repeated this technique on the Lopud altar, even though altars as complex as this are not found in the surviving oeuvre of this artist. An overview of the extremely numerous works attributed to this fecund wood carver has not led to a secure attribution of this scenically developed altar to his hand. However, an analytical observation points to significant similarities with individual figures considered by scholars of Renaissance wooden sculpture to be products of his workshop - more a factory, in fact - or of his circle which, without a doubt, Paolo stamped with his mark. Apart from the assumption that there are master wood carvers who have not been identified, or formally and clearly differentiated, who followed his teachings and mannerisms, this paper opens the possibility of locating more exactly the place of the altar’s creation. Since Campsa’s workshop was active even after his death, it can be assumed that the altar was made in the 1560s or 1570s, and that it was transported and assembled on the island of Lopud for its dedication of 1572. Furthermore, the author observes the meaning of the subsequent addition of the background, which was painted once the altar reached its destination; it shows a summarized depiction of the scenery of Lopud and a tiny settlement with a precisely and proportionately drawn sailing ship docked at the island’s bay. The background reveals that the nature of the work was votive and, by identifying the layers of local historical circumstance and by combining them with the relevant written sources, it can be connected to the activities of the distinguished ship owner Miho Pracat, the richest citizen of the Republic of Dubrovnik during the cinquecento. Two more wooden sculptures can be added to Miho Pracat’s donation to his home island: the figures of St Catherine and St Roch which were also made in Venice and which had originally belonged to a small altar of his family in the local church of St Francis, known from archival records. This altar was composed of an older polychrome triptych, now unfortunately lost, and which, together with a pair of side statues, formed a piece resembling a number of altarpieces from Paolo Campsa’s workshop. Thus, the analysis of these works of art reveals key components of visual culture, and a peculiar mosaic of sixteenth-century artistic production in a peripheral community of the small island of Lopud under the government of the Republic of Dubrovnik.
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Pearson, Timothy G. "“I Willingly Speak to You about Her Virtues”: Catherine de Saint-Augustin and the Public Role of Female Holiness in Early New France." Church History 79, no. 2 (May 18, 2010): 305–33. http://dx.doi.org/10.1017/s0009640710000053.
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On July 11, 1666, the new cathedral in the French colonial capital at Quebec was finally consecrated by the vicar apostolic of New France, Msgr. François de Laval. Catherine de Saint-Augustin, a nursing sister who belonged to the Hôtel-Dieu de Québec, described the elaborate ceremony in her journal. The celebrants in their regalia made three trips around the church sprinkling holy water and chanting prayers before they came to the main door. After striking the door three times with a cross, “to signify the power of Jesus Christ, sovereign bishop of the Church,” they entered, and majestically processed toward the high altar. Upon the altar sat four candles, which signified “that Catholics (have) spread to the four corners of the world.” In the middle of these was a single cross, “that of Our Lord,” which symbolically linked the entire Church throughout the world to its (European) center—“au milieu du monde.” Following a number of minor rites including lessons and responses, the bishop circled the altar seven times sprinkling its base with holy water. The relics of saints were interred within it, and the church was dedicated to the holy trinity—the new seat of a new bishop in a “New” World.
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Zakh, V. A. "Incense burners and altar dishes of the Sargatka Culture." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (53) (May 28, 2021): 66–82. http://dx.doi.org/10.20874/2071-0437-2021-53-2-6.
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The paper concerns the so-called incense burners and small altar dishes found in the burial complexes of the Sargatka Culture in the forest-steppe region of the Western Siberia, as well as in the burials of the Cis-Urals nomads of the 4th–2nd c. BC, which were used for burning and incensing of various substances. Compilation of materials allows forming a clearer view on the possible function of these objects, which is debatable amongst the researchers. The incense burners are small cylindrical stone or pottery vessels with considerable amount of tal-cum in the pottery clay. The altar dishes represent round, oval or subrectangular objects made of stone and clay with or without legs. The cylinder-shaped incense burners and altar dishes are, apparently, similar in function to each other. The absence of a high rim on the latter is compensated by a large area of the dish itself. The volume of the incensed substance would be nearly the same in both types of the burners, while sustaining burning on the altar-dishes would not require special means, such as wall penetrations alike those in the cylindrical incense burners. Few preserved burials contain incense burners alongside other, in our opinion related, objects — flat-bottom vessels, sometimes with stone bases, which allows econstruction of the implement in its assembled form and suggestion of a method of its application. The main item was an incense burner — a container of a cylindrical or conical shape, usually with through-holes in the wall to allow air intake inside the ware, sometimes having nip-ple-shaped protrusions on the inner surface of the bottom increasing the surface area of contact with the incense substance. The incense burner would have been placed in a flat-bottom jar filled with smoldering embers and installed on a fire-resistant base. The studied objects and their handling resemble the ceremonial described by Herodotus as a ritual purification amongst the Scythians. However, in our opinion, it cannot be ruled out that they could have been used in the rituals involving hallucinogenic substances, performed with the aim of prophesizing, divination, to communicate with gods and spirits, which were practised by people of the Sarmatian and Sargatian (at least in the western part of the area) Cultures and administered, most likely, by special, elected persons. When those persons die, the implements would be placed into their burials as a grave goods.
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Žeňuch, Vavrinec. "Obraz Užskej stolice na základe kanonickej vizitácie z roku 1734." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (February 24, 2022): 439–54. http://dx.doi.org/10.1556/060.2020.00034.
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Text kanonickej vizitácie sleduje farnosti Užhorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, dnes Сторожниця) a Ruská.V Užhorode bol chrám zasvätený svätému Jurajovi, ktorý sa nachádzal na soľnej ulici. Vo vnútri chrámu boli umiestnené tri väčšie a dva menšie oltáre. Väčšie oltáre boli zasvätené svätému Ladislavovi, sv. Štefanovi, sv. Jurajovi a sv. Panne Márii. Menšie oltáre boli zasvätené sv. Alžbete, sv. Kataríne a sv. Jánovi Nepomuckému so svätou Rozáliou a Kristom v uprostred.Farnosť Jovra mala farský chrám zasvätený Panne Márii Kráľovnej. Chrám bol murovaný a mal tri oltáre. Prvý bol zasvätený Panne Márii, menšie boli zasvätené sv. Barbore a sv. Šebastiánovi. V Jovre vyučoval učiteľ Michal Kertés, ktorý bol platený v naturáliách a jedným florénom.Farnosť Ratovce mala murovaný chrám v hroznom stave. Chrám sa rekonštruoval v roku 1734 a oltár bol bez obrazu či patrocínia. Správcom farnosti bol Ján Enickej jeho rekatolizačná činnosť bola zameraná na modlenie litánii s umiestnení obyvateľmi v ich jazyk.Farnosť Ruská sa nachádzala v nábožensky zmiešanom regióne. Chrám bol murovaný z tehál nachádzali sa v ňom dva oltáre. Tretí oltár sa začal vyrábať, mal byť zasvätený sv. Krížu. Farnosť spravoval Andrej Moštenský, ktorý sa modlí s miestnymi v ich jazyku modlitby ako Otče náš, ruženec, krédo alebo litánie.Vo farnosti Pavlovce nad Uhom stál murovaný chrám s jedným oltárom. Oltár nemal patrocínium, preto nemôž chrám v minuloti používali kalvíni. Správcom miestnej farnosti bol Mikuláš Berekovič.Farnosť Senné spravoval Ján Ziffian. Miestny chrám bol tehelný a nachádzali sa v ňom tri oltáre. Hlavný bol s titulom Nanebovzatia Panny Márie. Na menšom oltári boli na okrajoch vyobrazenia evanjelistov a v strede sa nachádzali obraz sv. Panny Márie, sv. Juraja a Baránka Božieho. Ako tretí oltár bol zasvätený sv. Jurajovi. Titul chrámu bol sviatok Navštívenia Panny Márie.Onokovská farnosť sa nachádzala severnej od Užhorodu. Chrám v Onokovciach bol drevený, zasvätený Nanebovzatiu Panny Márie. Patrocínium chrámu bolo totožné s titulom chrámu, ďalšie obrazy sa v kostole nenašli. Farnosť spravoval Sebastián Kašaj, ktorý mal 40 rokov. V jeho okolí boli hlavne obyvatelia gréckeho rítu.Najšpecifiskejšou farnosťou bola Vojnatina. Farnosť bola misijným územím, kde pôsobil Ján Patkovič. Medzi Užhrorodom a Michalovcami, bolo veľké množstvo rozbitých alebo zdevastovaných chrámov. Ako prvý bol obnovených chrám vo Vojnatine. Chrám bol tehelný, vo vnútri sa nachádzal len jeden oltár, ktorý bol zasvätený sv. Krížu a bol presunutý z Užhorodu.The canonical visitation focused on parishes Uzhgorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, today Сторожниця), and Ruská.In Uzhgorod, there was a temple dedicated to Saint George, which was situated on the salt street and inside were three bigger and two smaller altars. The bigger altars were dedicated to Saint Ladislaus and Saint Stephen, Saint George, and Saint Mary the Virgin, while the smaller altars were dedicated to Saint Elisabeth and Saint Catherine, Saint John of Nepomuk with Saint Rosalie, and Christ in the middle.The parish Jovra had a parish temple dedicated to Virgin Mary Queen. The local temple was from brick and had three altars. The first one was dedicated to Virgin Mary, the smaller ones were dedicated to Saint Barbara and Saint Sebastian. In Jovra, there was a teacher named Michal Kertés, who was paid in kind and with one florin.The parish Ratovce had a brick temple in a horrible condition. The temple was being under reconstruction in the year 1734 and there was an altar without a picture or a patron. The administer of the parish was John Enickei, his re-Catholic activity was focused on praying litany with the locals in their language.The parish Ruská was located on a confessionally mixed territory. The temple was made from brick and there were two altars. The third one was being produced, it should have been dedicated to Holy Cross. The parish was administered by Andrej Moštenský, who prayed prayers such as Our Father, Hail Mary, I believe in God, or Litany with the locals in their language.In the parish Pavlovce nad Uhom, there was a brick temple with one altar. The altar did not have a patrocinium since the temple had been used by the Calvinists. The administer of the local parish was Nicolas Berekovič.The parish Senné was administered by John Zaffian. The local temple was made from brick and inside there were three altars. The main was with the title of Assumption of Virgin Mary. The smaller altar had depictions of Evangelists in corners, and in the middle, there was a picture of Virgin Mary, Saint George, and Lamb of God. The third altar depicted John the Baptist. The title of the temple was Visitation of the Virgin Mary’s holiday.Onokov’s parish was located north of Uzhgorod. The temple in Onokovce was made from wood and dedicated to the Assumption of Virgin Mary. The title of the temple was depicted on an altar, other altars or pictures were not found in the church. The parish was administered by Sebastian Kašaj, who was 40 years old. In his surroundings, there were mainly presbyters orientated to Greek ceremony.The most specific parish was Vojnatina. The parish was a mission village where John Patkovič worked. Between Uzhgorod and Michalovce, there was a big amount of broken or devastated temples. As the first one, the temple in Vojnatina was renewed. The temple was from brick and inside there was one altar with the title of Holy Cross brought from Uzhgorod.
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Romero, Gabriela Natalí Fonseca, Danny Daniel Castillo Vizuete, Carlos Benjamín Ricaurte Yépez, and Luis Alberto Quevedo Báez. "Modelo De Gestión: Una Alternativa De Cambio Para La Producción Y Comercialización.Estudio De Caso: Mora En La Parroquia El Altar, Ecuador." European Scientific Journal, ESJ 13, no. 13 (May 31, 2017): 492. http://dx.doi.org/10.19044/esj.2017.v13n13p492.
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In Ecuador, agriculture has an important role to play in its economic development. This, however, is closely related to the change in the production system and consequently its production chains. This fact has made agriculture one of the main sources of income for rural populations in the country. The Altar is a rural parish of Ecuador which belongs to the Penipe canton of the province of Chimborazo due to its geographical location. It has several climates that facilitate the development of agriculture, and a big part of its population is dedicated to the cultivation of Blackberry. Thus, based on the current territorial model, created from a production approach, a proposal for a management model was designed. This proposal aims to improve agricultural production, generate added value, and introduce new agricultural products into the Markets for marketing. In conclusion, the proposed management model is a tool that can be applied to the producers and marketers of the Altar parish, with the purpose of generating greater economic income.
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Teijeira Pablos, María Dolores. "El traslado de la sillería coral de la catedral de León en el siglo XVIII. La aportación documental." Estudios humanísticos. Geografía, historia y arte, no. 16 (February 4, 2021): 233. http://dx.doi.org/10.18002/ehgha.v0i16.6671.
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<span>The choir of the cathedral of León, originally placed in the bays before the main altar, had several attempts of removal since the XVI century, because of his inconvenient position to follow the sacred services. The move was finally made in the first half of XVIII century, when the choir was established in the first bay of the central nave of the church, where it remains nowadays.</span>
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Matejčić, Ivan. "Crkva Sv. Nikole u Puli (nekada posvećena Sv. Mariji)." Ars Adriatica, no. 2 (January 1, 2012): 7. http://dx.doi.org/10.15291/ars.438.
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The church of St Mary at Pula was rededicated to St Nicholas in 1583 when it was handed over for the use of the Greek Orthodox community of refugees from Crete and the Peloponnese. During the seventeenth and eighteenth century, various structures (the bell-tower, the narthex, the sacristy) were added along the eastern and northern sides of the church, several door and window openings were walled in, and the lintel and jambs of the main portal were replaced; however, the main architectural core has remained well-preserved. It has a single-cell structure of square ground plan with an eastern apse, which is semicircular in shape in the inside but polygonal on the outside. The dimensions of the church are based on a module of ten Byzantine feet (c. 31.25 cm); the church is 20 feet wide and 30 feet long, while a 10 foot square can fit into the apse. In the interior is a well-preserved triumphal arch. It is composed of a pair of marble columns with capitals which carry a large, central arch. The composite capitals possess an interesting detail: the centres of the capitals on opposing sides were left undecorated and so it can be concluded that these capitals were intended for insertion in a multi-apertured structure which was screened off with a transenna. Such capitals can be seen on large early Byzantine structures, and two similar capitals are placed in the atrium of the Basilica of Euphrasius at Poreč (mid-sixth century). This detail provides evidence about a technique used in the church’s construction, which made extensive use of prefabricated, often even imported elements of architectural decoration. The same type of marble used for the columns of the triumphal arch was used for the parts of the small trifore window set on the façade. In the scholarly literature to date, this trifore has been considered late medieval, but the carving details are identical to those on the parts of the triumphal arch and altar posts at the church of St Nicholas. The masonry of the wall also points to the fact that it had not been inserted in the sixth-century façade at a later date. In the centre of the apse is a marble block which belonged to an altar base, having four holes which still bear the lower parts of the small posts which originally carried the altar table. The remains of the altar can be seen on the photographs which document the restoration works in 1962. The altar remains were subsequently covered with a new altar structure which was removed during the works in 2000. In 1962, when the filling of the window in the south wall was removed, B. Marušić discovered a part of a marble post with a simple capital which he recognized as belonging to the aforementioned altar. Based on this data, a reconstruction of the altar has been proposed in a drawing. B. Marušić also discovered two stone transennae in the walled in-windows of the south wall, which were smaller than the original structure of the window opening and for this reason he suggested that they belonged to a later intervention. The transennae were removed and transported to the Archaeological Museum of Istria for safekeeping. During the 2000 works, fragments of identical transennae were also found in two apse windows, while a complete transenna was discovered in the walled-in window on the north face which was obscured by the addition of the bell-tower. Similar and identical transennae are found on the nearby chapel of Santa Maria Formosa, the remainder of a large basilica which was built in the mid-sixth century by the archbishop of Ravenna Maximian. In the vicinity of Pula, at least three more examples of similar transennae were found, all of which can be compared to the shape of a wooden window frame from the church of Sant’Apollinare in Classe at Ravenna. A number of arguments suggest that the aforementioned transennae belong to the first phase of the church of St Nicholas.
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Murovec, Barbara. "Iconography of Kinship. The Holy Family and Attems Family in the Holy Virgin’ s Church at Zagorje near Pilštanj." Radovi Instituta za povijest umjetnosti, no. 45 (December 31, 2021): 105–18. http://dx.doi.org/10.31664/ripu.2021.45.08.
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Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of the Habsburg family.
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Grossman, Jonathan, and Eliezer Hadad. "The Ram of Ordination and Qualifying the Priests to Eat Sacrifices." Journal for the Study of the Old Testament 45, no. 4 (May 31, 2021): 476–92. http://dx.doi.org/10.1177/0309089220963436.
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The priests qualified for their priestly function in three main ways: being robed in the priestly vestments; being anointed; and undergoing the ceremony of the days of ordination. This article is intended to clarify the contribution of each of the three components of the procedure, but especially that of the ram of ordination. A semantic and literary analysis demonstrates that donning the vestments qualifies the priests to minister in the tabernacle; anointing them makes them ‘holy’; and the ram ceremony qualifies them to eat the sacrifices that are offered on the altar.
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Van Der Ploeg, Frank. "Jan II van Coninxloo en zijn werkzaamheden voor het benedictinessenklooster van Groot-Bijgaarden bij Brussel." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 104–26. http://dx.doi.org/10.1163/187501798x00293.
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AbstractThis article examines the relationship between the Brussels painter Jan 11 van Coninxloo (ca. 1489-1561 or later) and the Benedictine convent of Groot-Bijgaarden. In earlier publications by J. Maquet-Tombu the link between certain members of the Van Coninxloo family and the Vorst convent have already been pointed out. A new chapter can now be added. In the archive of Groot-Bijgaarden convent are two books in which payments made by the prioresses Françoise and Catherine van Straten for the dccoration of the convent and the church are recorded. The books list a separate item for painting and polychrome work. Here, for the first time, the name Jan van Coninxloo crops up in connection with a sum paid for painting the side panels of the main altar. Van Coninxloo was also paid for painting organ doors, a vaulted ceiling and for 'rough painting'. Four triptychs by Van Coninxloo have also been preserved; they were commissions from women of noble birth who had taken the veil. The names of three of these nuns are known: Anthonine de Locquenghien, Berbel van dcr Noot and Marie Brant. The fourth was called Barbara (Berbel). In view of all this material it may be concluded that Van Coninxloo played a significant part in the decorative appearance of the convent church. He was responsible for triptychs on altars dedicated to St. Anne, St. John and St. Benedict. He also painted the smaller triptych with the Seven Sorrows of the Virgin, the panels of the high altar, doors for an organ and (part of) the ceiling decorations. The article offers a new insight into the context of a group of paintings and adds a number of works to Jan 11 van Coninxloo's oeuvre.
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Singh, R. P., J. Huerta-Espino, W. Pfeiffer, and P. Figueroa-Lopez. "Occurrence and Impact of a New Leaf Rust Race on Durum Wheat in Northwestern Mexico from 2001 to 2003." Plant Disease 88, no. 7 (July 2004): 703–8. http://dx.doi.org/10.1094/pdis.2004.88.7.703.
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Durum wheat (Triticum turgidum var. durum) is the main irrigated winter crop in northwestern Mexico. Historically, leaf rust, caused by Puccinia triticina, had not induced significant losses to durum production in the area until 2001. That year, a new race, designated as BBG/BN, was detected that caused the most widely grown cultivar, Altar C84, which had remained resistant for 16 years, to become susceptible. Other recommended cultivars also became either moderately susceptible or susceptible. Detailed characterization of avirulence/virulence characteristics on Lr genes indicated that this race possibly did not evolve from the older races, but may have been introduced. Rust epidemics during the 2000-2001, 2001-2002, and 2002-2003 crop seasons have caused estimated losses of at least US$32 million. Although a majority of cultivars from 31 different countries, including the United States and Canada, and most of CIMMYT's durum wheat germ plasm were highly susceptible, diversity for both race-specific resistance and moderate levels of slow rusting resistance were identified. Jupare C2001, a resistant cultivar released in 2001, showed high levels of resistance and negligible losses in grain yield in a trial where Altar C84 suffered over 27% losses.
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Gavilanes Montoya, Alex Vinicio, José Fernando Esparza Parra, Carlos Renato Chávez Velásquez, Paúl Eduardo Tito Guanuche, Grace Maribel Parra Vintimilla, Carlos Mestanza-Ramón, and Danny Daniel Castillo Vizuete. "A Nature Tourism Route through GIS to Improve the Visibility of the Natural Resources of the Altar Volcano, Sangay National Park, Ecuador." Land 10, no. 8 (August 23, 2021): 884. http://dx.doi.org/10.3390/land10080884.
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Tourism in natural areas attracts people seeking contact with pristine ecosystems as opposed to a polluted urban habitat and a stressful pace of life. An adequate tourist route and itinerary guarantees a high level of tourist satisfaction. The objective of this study was to focus on the design of a tourist route and itinerary in the Altar Volcano, Sangay National Park, central Ecuador, by integrating tourist attractions and facilities. Within the methodological process, the main tourist attractions of the area were identified and georeferenced; then, a thematic map was elaborated using ArcGIS 10.5® software. Distances were determined by considering the transportation alternatives in relation to the base camps. Finally, the itinerary was structured by considering the possible tourist activities of each place or attraction. As a result, a tourist route was obtained that included 19 attractions and an itinerary that interacts with various activities in the study area. This research will strengthen tourism activities in the Altar Volcano, allowing for an increase in the number of visitors and the development of sustainable tourism thanks to proper planning in the use of a new tourist route.
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Zalewska, Karolina. "The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588." Ikonotheka 27 (July 10, 2018): 187–209. http://dx.doi.org/10.5604/01.3001.0012.2333.
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The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identified as Christoff Schreiber), used graphic patterns in the composition of biblical scenes and included crypto-portraits of Griffin rulers in the depictions of the Last Supper and Crucifixion. After Anna of Stettin married Ulrich III of Mecklenburg, another (also unknown) artist repainted the face of one of the apostles into a high-quality portrait of the duke of Mecklenburg.
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Pavlov, Nikolay L. "Construction of a Temple with Regard to the Rising Sun Ray." Light & Engineering, no. 04-2021 (August 2021): 100–106. http://dx.doi.org/10.33383/2021-032.
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Using the example of a number of cultural traditions, the author considers a construction of the temple structure along a rising sun ray. There are two main types of temples built according to the rising sun ray: the temples oriented towards the sunrise by their sanctuaries, and the temples oriented towards the sunrise by the entrance portal. Examples of such a construction are given for the temples of Ancient Egypt, Ancient Greece, Orthodox and Catholic Christianity, Hinduism and Shintoism. The first type of temple in Ancient Egypt is shown to represent the birth of the sun in its sanctuary. In Christianity, this type of temple represents a ray of the sun entering the temple from an apse window – from the God depicted there. The second type of temples in Ancient Egypt represents the revival of image of the pharaoh-god located in his sanctuary, with the rising sun ray. In the ancient tradition, this type of temple represents the meeting of the rising sun over the large pre-temple altar, along with a statue of a deity in the depths of the sanctuary. It is shown that the main cathedral of Catholic Christianity, St. Peter’s Cathedral in Rome, is oriented towards sunrise not according to Christian, but according to ancient tradition. In the Hindu Shaiva tradition, the meeting of the rising sun in front of the temple portal is associated with penetration of its ray into the sanctuary and the highlighting of the statue or the main attribute of the god. In the Shinto tradition, the ascendant is presented in a special portal. The welcoming sacrifice takes place on the pre-temple altar. In general, the paper deals with the semantic, spatial, decorative, and ritual aspects of the construction performed of both types of temples.
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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.
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Galgani-Barraza, Paola, Jorge Enrique Moreno, Sofia Lobo, Wendy Tribaldos, David W. Roubik, and William T. Wcislo. "Flower use by late nineteenth-century orchid bees (Eufriesea surinamensis, Hymenoptera, Apidae) nesting in the Catedral Basílica Santa María la Antigua de Panamá." Journal of Hymenoptera Research 74 (December 30, 2019): 65–81. http://dx.doi.org/10.3897/jhr.74.39191.
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A recent restoration of the Basilica Cathedral in Casco Viejo, Panamá, revealed that prior to 1871–1876 female orchid bees (Eufriesea surinamensis) built large nesting aggregations high above the main altar, based on physical evidence dating to a nineteenth-century restoration. Bees constructed cells in approximately 120 clusters in six different aggregations on the reredos (“altarpiece”). Palynological analyses of cell contents showed that bees visited 48 species of plants, representing 43 genera and 23 families. Contents of bee cells reflect elements of floristic diversity surrounding Panama City that are seen in historical contemporaneous photographs of the nesting site and environs.
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Licheli, Vakhtang. "Urban Development in Central Transcaucasia in Anatolian Context: New Data." Ancient Civilizations from Scythia to Siberia 17, no. 1 (2011): 135–56. http://dx.doi.org/10.1163/092907711x575377.
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Abstract The settlement and necropolis of Grakliani Hill are located in Central Transcaucasia, Georgia. Excavations of the settlement on the eastern slope and the necropolis on the south-western part of the hill demonstrated that the site had been occupied between the Chalcolithic and the Late Hellenistic periods. The most interesting remains of buildings belong to 2nd and 1st millennium BC. Several sanctuaries of this period were excavated. A monumental altar was discovered in the eastern part of the settlement. The altar was located in the north-western corner of a building. On its eastern side there was an ash pit with a platform along the northern wall. The platform was used for placing offerings, including a South Mesopotamian seal. An architectural complex of the following period (450-350 B.C) was discovered in the western part of the lower terrace. It consisted of three main rooms and three store-rooms. Burials of various periods were discovered in the western part of the hill’s southern slope. The earliest one is a pit-burial dating to the Early Bronze Age, the latest one belongs to the 2nd century BC. After analyses of the finds several directions of cultural and commercial links were identified: Colchis, Persia, Phoenicia, Mesopotamia, Egypt, Asia Minor.
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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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Kratochvíl, Petr, and Tomáš Doležal. "THE EUROPEAN UNION AND THE ROMAN CATHOLIC CHURCH: THE ALLIANCE OF THRONE AND ALTAR REVISITED?" POLITICS AND RELIGION JOURNAL 8, no. 2 (December 1, 2014): 213–38. http://dx.doi.org/10.54561/prj0802213k.
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Starting from the assumption that the resurgence of the political influence of religion also affects the European continent, the article explores the interactions between the Roman Catholic Church and the European Union, focussing mainly on their mutual ideational influences. The study is divided into three parts: In the first, it analyses a substantial corpus of EU documents, trying to identify explicit references to Christianity and the religious inspiration of the integration process in them. Following from this, the second section identifies the key loci where the religious language used by the Church can be translated into the secular language used by EU policy-makers. In particular, we focus on the institutions which were set up specifically to foster the dialogue between the Church and the EU or to present the Church´s views to EU officials. Finally, after an analysis of the EU´s discourse on religion and the Catholic bodies dealing with the EU, we assess the overlap of the fundamental value-orientations of the two institutions. The main question the study addresses here is whether the discursive and institutional interactions between the RCC and the EU are supported by a deeper agreement between the Church´s and the Union´s fundamental values concerning the preferred political order.
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Hnilica, Ondřej, Stefan Bichlmair, and Josef Plášek. "Indoor Climate in Jesuit Church of Holy Name of Jesus in Telc." E3S Web of Conferences 111 (2019): 03056. http://dx.doi.org/10.1051/e3sconf/201911103056.
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The Jesuit church of Holy Name of Jesus from year 1667 is integral part of main square of Telc with Baroque houses from 17th century listed in UNESCO World Heritage Site since 1992. The natural indoor climate of Jesuit church is heated only in occupied pews during liturgical ceremony in winter season. The hygrothermal analysis of natural indoor climate in Jesuit church is performed by preventive conservation method of Target range and Historical climate in period from April 2017 to October 2018. The obtained result shows appropriate indoor climate for preventive conservation of historical furniture (main altar, lateral chapels, pulpit, confessional, organ, paintings), holy remains and valuable artefacts for liturgical ceremony. This hygrothermal analysis of natural indoor climate in Jesuit church supports current state of local heating in occupied pews during liturgical ceremony in winter season.
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Jennings, Margaret, and Francis P. Kilcoyne. "Defacement: Practical Theology, Politics, or Prejudice: The Case of the North Portal of Bourges." Church History 72, no. 2 (June 2003): 276–303. http://dx.doi.org/10.1017/s0009640700099856.
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The Cathedral of St. Étienne at Bourges, which Ribault justly styles “un chef d'oeuvre gothique” (a Gothic masterpiece), did not escape the Huguenot depredations of 1562. Especially vulnerable to the pikes and pry-bars of the Reformers were the choir screen in front of the main altar, the north and south doorways commemorating respectively Mary in Majesty and Christ in Majesty, and several areas of the West facade: the jamb statues (whose subjects are currently unknown), the spandrel sculptures under the dado that celebrated events of the Christian scriptures and of the book of Genesis, and the five extensively carved tympana dedicated from right to left as one faces them:
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Želinská, Jana, Ivana Kopecká, Eva Svobodová, Stanislava Milovská, and Vratislav Hurai. "Stratigraphic EM-EDS, XRF, Raman and FT-IR analysis of multilayer paintings from the Main Altar of the St. James Church in Levoča (Slovakia)." Journal of Cultural Heritage 33 (September 2018): 90–99. http://dx.doi.org/10.1016/j.culher.2018.03.006.
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Zamora, Hector A., Benjamin T. Wilder, Christopher J. Eastoe, Jennifer C. McIntosh, Jeffrey Welker, and Karl W. Flessa. "Evaluation of Groundwater Sources, Flow Paths, and Residence Time of the Gran Desierto Pozos, Sonora, Mexico." Geosciences 9, no. 9 (August 30, 2019): 378. http://dx.doi.org/10.3390/geosciences9090378.
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Environmental isotopes and water chemistry distinguish water types, aquifer recharge mechanisms, and flow paths in the Gran Desierto and Colorado River delta aquifer. The aquifer beneath the Gran Desierto supports a series of spring-fed wetlands, locally known as pozos, which have provided vital water resources to diverse flora and fauna and to travelers who visited the area for millennia. Stable isotope data shows that local recharge originates as winter precipitation, but is not the main source of water in the pozos. Instead, Colorado River water with substantial evaporation is the main component of water in the aquifer that feeds the pozos. Before infiltration, Colorado River water was partially evaporated in an arid wetland environment. Groundwater followed flow paths, created by the Altar Fault, into the current location of the pozos at Bahía Adair. Mixing with seawater is observed at the pozos located near the coast of the Gulf of California. The wetlands or other natural settings that allowed recharge to the aquifer feeding the pozos no longer exist. This leaves the pozos vulnerable to major groundwater pumping and development in the area.
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Crook, John. "The Typology of Early Medieval Shrines—A Previously Misidentified ‘Tomb-Shrine’ Panel from Winchester Cathedral." Antiquaries Journal 70, no. 1 (March 1990): 49–64. http://dx.doi.org/10.1017/s0003581500070293.
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SummaryAfter a short, general review of medieval shrine types, a particular category is defined and examined: ‘tomb-shrines’: which were a form of shrine-base with round, window-like openings, constructed over the pre-existing grave of a saint. The archaeological and documentary evidence (including evidence from drawings and painted glass) for tomb-shrines is examined, and the few extant structures are described and discussed. In the light of these findings an important fragment of thirteenth-century Purbeck work from Winchester Cathedral is reassessed: it is argued that it derived from the tomb-of St Swithun. This stood on the site of the saint's original grave until the Reformation, and was a focus of veneration that was as important as the main reliquary behind the high altar within the cathedral itself.
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Verdiani, Giorgio, Alexia Charalambous, and Federica Corsini. "Reconstructing the Past, Enhancing the Traces from Frescos." i-com 21, no. 1 (April 1, 2022): 19–32. http://dx.doi.org/10.1515/icom-2022-0014.
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Abstract Architectures are always subject to transformation in time. When a historical building is seen by a tourist or by an occasional visitor, it appears like a complete and final artefact, showing its main characteristics like a clear example of a style or of an artistic phase. This interpretation may turn out to be mostly a simplification, while the building is often the result of a large set of interventions in time. It is the case of a large number of main and secondary architectures, changed according to the mutation of needs and tastes. In Fabriano, in central-eastern Italy, the St. Venanzio Church (later Cathedral) was subject to a significant transformation of the apse interiors during the XVII century, with the demolition of the original chapels’ asset and their replacement by a larger unitarian space behind the main altar. This intervention has afflicted all the frescos that were the decoration of those chapels, they were partially deleted by the new masonry works, covered by paint, or walled in the new shape of the church. Since its early discovery, this patrimony has received various restorations. The research for a virtual reconstruction was based on a detailed digital survey of the building.
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Tulić, Damir, and Mario Pintarić. "Io Antonio Michelazzi Architetto di professione. Nepoznati majstorovi projekti i nacrti za Krk, Omišalj, Senj, Karlobag i Rijeku." Ars Adriatica 9 (February 28, 2020): 107–32. http://dx.doi.org/10.15291/ars.2927.
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The article brings twelve unknown designs and projects of Rijeka’s sculptor and altar maker Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771). The earliest two designs, dating from 1750 and linked to the island of Krk, are today preserved at the Archivio di Stato in Venice. One is a ground plan and assessment of a public ruin in the town of Krk, and the other a panoramic view of the Omišalj bay. A newly discovered document clarifies Michelazzi’s commissioning by the Trieste administration in charge of Rijeka, Senj, and Karlobag, since Empress Maria Theresa appointed him the imperial-royal architect in 1755. In that capacity, Michelazzi worked on a dozen plans and projects for public works in Senj and Karlobag during 1757 and 1758. He drew a map of Senj with a project for modernizing the city port and its defence against stormy winds. A particularly important project was his plan to redirect the stream that ran through the town into the harbour of Senj, for which he designed a new riverbed. There were also projects for prisons in the citadel, a health office, a slaughterhouse, and butcher shops. In Karlobag, he made a project for the renovation of the citadel, butcher shops, a new cistern, and a public administrative-residential building on the main town square. His last design and project was a new slaughterhouse with butcher shops in Rijeka in 1770. Although most of Michelazzi’s designs were never put in practice because of the lack of finances, the designs published here are the first of this kind in his known oeuvre, which will certainly grow further, since he was also involved in architecture besides sculpture and altar making.
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Martynov, A. I., K. N. Sivina, and R. D. Meshcherskiy. "Mount Turu-Alty in the Mountain Altai and the Identification Problem of Ancient Shrines." Bulletin of Kemerovo State University 21, no. 3 (October 5, 2019): 626–34. http://dx.doi.org/10.21603/2078-8975-2019-21-3-626-634.
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The paper features the problem of identification of natural-historical shrines in the case of petroglyphs of Mount TuruAlty in Kosh-Agachsk district of the Altai Republic. Currently, all rock art sites in Southern Siberia are considered in scientific literature as rock art monuments. The authors studied the Mount Turu-Alty, the location of the petroglyphs, and other archaeological monuments in the neighborhood. As a result, they offer a different scientific interpretation of the monument as a natural-historical shrine. On the mountain top there is a rocky platform with a vertically standing large stone that faces the south and is completely covered with images. In the vicinity, there are several stone mounds. The mountain top is clearly visible from the foot on the sides of the southern slope. From this center, there are two ridges of large stones extending down to the right and left: they go round the terrace-like platforms of the steep southern slope. This natural formation has the shape of an amphitheater. On its top, there is an altar-like large stone. Standing at the foot of the southern slope, one cannot but feel the sacredness of this natural formation. On the large boulders that frame the southern slope, there are grouped and single etchings of animals. The field studies revealed images on 271 stones; 97 of the images are grouped, most are thematic. According to the plots, most of the images refer to the first millennium BC and the first half of first millennium AD. At the beginning of the first millennium BC, in the early Saka period, Mount Turu-Alty obviously acquired a special sacred status and began to function as a natural-historical shrine. The "altar" stone played a special role in this geological composition. It stands vertically on the top of the mountain, and its southern side is covered with 101 images of stylized deer, sheep, and goats. The stone is the main symbol of Turu-Alty. In the center, there are two large figures of deer flying to the east. All the other silhouettes are much smaller; all but one face the east. The animals are subject to eastward movement towards the sun. The authors consider the Turu-Alty complex as a natural-historical shrine from the period of the first millennium BC – first millennium AD.
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Stissi, Vladimir. "Het onzichtbare Olympia." Lampas 54, no. 2 (January 1, 2021): 213–29. http://dx.doi.org/10.5117/lam2021.2.003.stis.
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Abstract Although ancient Olympia is usually viewed as a Classical Greek site, most buildings that are visible nowadays were not there yet when Pindar celebrated famous victors or Peisistratos and Alcibiades won their races. More generally, even though new research has substantially improved our knowledge, the early history of the site is often still neglected in introductory presentations of the site. In this article some important main issues are discussed. First, new excavations have revealed that Bronze Age occupation of the area cannot be connected to the later cult, as some scholars have argued in the past. The older remains were covered by flooding of the nearby rivers when the sanctuary was founded in the 11th century BCE. Up to the late 7th century the sanctuary remained an open area around a large ash altar. Its main structure was a large dam protecting it from floods. The temple now associated with Hera, built around 600 BCE, was the first monumental building of the sanctuary. Recent research suggests this may originally have been dedicated to Zeus, but this cannot be proven conclusively. The common idea that this temple was originally a wooden construction has now also been debunked.
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Dzik, Janina. "Dekoracja okazjonalna (1715) w kościele Jezuitów w Lublinie. Ze studiów nad ikonografią św. Stanisława Kostki." Roczniki Humanistyczne 67, no. 4 (July 4, 2019): 45. http://dx.doi.org/10.18290/rh.2019.67.4-2.
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Lublin, a city that is the seat of the Crown Tribunal, was one of the centers where St. Stanislaus Kostka was especially venerated. The main center of worship was the former Jesuit church of the St. John the Baptist and St. John the Evangelist (the present cathedral), where the miraculous image of the young man was kept.The discovery of the note in the hand-written chronicle of the Romanum Societatis Jesu Archives reminds us of the occasional decoration of the Jesuit church during ceremonies connected with the announcement of the canonization of Stanislaus Kostka in 1715. The expanded multifaceted picture-verbal decoration focused primarily on the facade, main altar and chapel, bringing together the national aspect (Polish king), the papal aspect (Pope Clement XI) and the prophetic sign, for which the coat of arms of the Albani family from which the Pope came. The Polish nobleman-priest was created from the beginning of the cult to become one of the main supporters of the triumphs of the Polish State. The canonization of Stanislaus became a symbolic guarantee of the expected peace and stability of the country. That is why the decoration revealed a great historical message and a mystery given to the Poles through the young Jesuit, raising the importance of Poland in connection with the papacy and Catholic faith.
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Motušić, Eugen. "Porušena crkva Rođenja Blažene Djevice Marije u Silbi." Ars Adriatica, no. 4 (January 1, 2014): 347. http://dx.doi.org/10.15291/ars.508.
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It is known that the Church of the Nativity of the Blessed Virgin Mary at Silba was demolished in 1828 so as to provide the necessary building material for the completion of the new parish church which inherited the dedication from the old one. As we learn from the archival records, the demolition was authorized by the Archbishop of Zadar Josip Nowak who stipulated that the Franciscan Church of Our Lady of Carmel would function as the local parish church while the new one was being built. All that remains from the old church today is the bell tower which continued to be used by the new parish church. It is obvious from the schematic ground plan and the dimensions of the demolished church, recorded in the now lost document from the parish church archive, that it was a single-nave longitudinal structure with a rectangular sacristy to the east, two shallow chapels extending from the lateral walls and a porch of the lopica type (resembling a loggia) at the front which abutted onto the corner of the bell tower with its own south corner. Apart from the high altar, placed against the back wall, the church had three pairs of side altars. The analysis of the canonical visitations carried out during the second quarter of the seventeenth century demonstrates that the church, recorded for the first time in 1579, was a modest building in which the oil for the anointment of the sick was being kept because the local parish church of that time, dedicated to St Mark, was too far from the village. The church was provided with five side altars put up by the more distinguished individuals and members of the lay fraternities the most prominent of which was that of Our Lady of the Rosary after which the church was called by eighteenth-century locals. Based on the analysis of the 1670 visitation of Archbishop Evangelisto Parzaghi who described the renovation during which certain altars changed their places, the article argues that the church was completed just before this visit. The bell tower was mentioned as a campanile for the first time in 1678.By means of comparative analysis, it can be established that the Church of the Nativity of the Virgin at Silba belonged to the same architectural type as a large group of simple yet spacious churches which were built in rural communities along the east Adriatic coast by local masters during the seventeenth and eighteenth centuries. The activity of such masters on the island of Silba is corroborated by contemporary birth, marriage and death records as well as a number of monuments such as a tombstone in the Church of St Mark and the door lintel in the house of master builder Franić Lorencin (1660), both of which depict building and carving tools. The analysis of the land registry maps and topographical drawings of 1824 and 1833 shows that the church’s south wall, to the east of the chapel of Our Lady of the Rosary, was laid in a different direction compared to that of the rest of the wall, indicating that this portion belonged to an earlier layer of the building which, judging from everything, seems to have been medieval. Therefore, the wall was widened and extended towards the west during the rebuilding documented in the visitation of 1670. This possibility, which a future excavation of the site ought to be confirm, is strengthened by the frequency of such alterations as can be seen on the seventeenth- and eighteenth-century churches on the island of Ugljan and in particular on the Church of St Lawrence at Lukoran, built in 1632, which is the best example of that architectural type.Another feature of these churches is the lopica-type porch which stands out as an architectural element typical of Istria and the Quarnero gulf to which, geographically speaking, the island of Silba gravitates. The lopica porch of the Church of the Nativity at Silba had a particularly elongated plan and featured two symmetrical sets of three supports and an axial main entrance into the porch, that is, the church. It is unlikely that the porch was added prior to the late seventeenth century because during that time, Silba was exposed to the raids of the Turkish pirates who threatened it directly. It is certain that the bell tower was used for defensive purposes and the addition of a porch would have diminished its importance as a fortification structure and hampered the visual communication with the entrance to the church.The examination of the architecture of the bell tower revealed two different building phases: an earlier one which included the body of the bell tower and a later one which saw the addition of the pyramidal structure together with a shallow square drum. In its original form, the bell tower had a compact body featuring a round-headed opening at the centre of each side of the two topmost storeys. Their stylistically undefined morphology corresponds to modest bell towers which were built in this area from the late sixteenth to the eighteenth century. The original pyramidal top had to be dismantled in 1858 due to wear and tear and it was replaced by the present one which has oval openings at the bottom of each side of the drum. This structure is almost identical to the top of the bell tower of the Church of Our Lady of the Rosary at Preko on the island of Ugljan which was built in 1844.Based on the archival records, the article also establishes that the substantially repainted image of the Virgin and Child with SS Mark and Matthew, today at the high altar of the parish church, was originally larger. It was the object of ex-voto veneration and numerous offerings had been placed in its glass case. The painting was cropped so that it could be inserted into the niche of the marble altar piece designed by Ćiril M. Iveković (1898) which meant the loss of the two evangelists. According to the preserved contract and drawing, the lower part of the altar was set up in 1860 by Giovanni dalla Zonca, an altar maker from Vodnjan, and it featured the still preserved wooden statues of SS Peter and Paul which are dated to the mid-seventeenth century on the basis of their stylistic features. Therefore, it can be concluded that painting and the statues were taken from the high altar of the demolished church.
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Zabrodina, Elena Al'bertovna. "“Sacred Theology” of Nicholas of Cusa in the portraits and altar paintings of the artists of the Early Netherlandish painting." Человек и культура, no. 4 (April 2020): 21–32. http://dx.doi.org/10.25136/2409-8744.2020.4.33349.
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The subject of this research is the processes that unfolded in the spiritual sphere of the Netherlandish society of the XV century, which can be assessed by the treatises of the prominent philosopher and figure of the Catholic Church Nicholas of Cusa (1401-1464), as well as by the images, scenes, artistic techniques used by Netherlandish artists of that time such brothers van Eyck, Rogier van Weyden, Hans Memling, Petrus Christus, Hieronymus Bosch, Robert Kampin, and others. Main attention is given to the comparison of the views of Nicholas of Cusa, as well as the manner and ideological program that can be seen in the work of the XV century artists. The scientific novelty consists in demonstration of just how the views of Nicholas of Cusa correlate to the worldview of the people of the XV century – transitional period from the Medieval Era to the Modern Age. Perceptions of the Netherlanders of that time of the world and people’s place within it, of divine predestination and everyday life are reflected in the orders for a new type of altar compositions and portraits. The conducted analysis uses specific examples to reveal the theme of commonness of the worldview in the examined chronological period. Comparison of the paintings and thoughts of Nicholas of Cusa demonstrate the commonness of views that reflect the transformational era in the history of art.
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Sustic, Sandra, Ivan Rezic, and Mario Cvetkovic. "Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)." Ge-conservacion 18, no. 1 (December 10, 2020): 247–57. http://dx.doi.org/10.37558/gec.v18i1.828.
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This study is related to the major recovery project of an 18th century oil painting on canvas depicting Our Lady of the Rosary, the patron saint of the parish community of Vrlika and its surroundings. During the Croatian War of Independence in 1992 it was taken off the main altar and vandalized by the paramilitary units. This resulted in termination of a century long tradition of annual feasts in Vrlika in which the painting was publicly displayed and carried by the townsmen. Based on the available visual materials: a high resolution old black and white photograph and the low resolution coloured one, respectfully, using the computer colorization algorithm, and also relying on detailed visual analysis of the original paint layer, a major reconstruction was carried out in 2017. This research has demonstrated that the recovery of the artworks with dramatic losses is an extremely complex social phenomenon difficult to characterize by any general factor or based on any general approach.
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Pineda de Carías, María C., Nohemy L. Rivera, and Cristina M. Argueta. "STELA D: A SUNDIAL AT COPAN, HONDURAS." Ancient Mesoamerica 28, no. 2 (2017): 543–57. http://dx.doi.org/10.1017/s0956536116000286.
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AbstractThe Maya of Copan, Honduras used Stela D, its altar, and the surrounding structures as a sundial to record time. Archaeological investigations show that wooden posts and stelae could have been used to measure time and to perform associated rites in the northern sector of the Main Plaza of the Copan Archaeological Park. We constructed a digital model of Stela D to study the shadows cast at different times of day and on different dates of the year, such as solstices, equinoxes, and solar zenith passages. The size and orientation of the shadows may have served as a time marker that ancient residents of Copan used to accurately track the tropical year. We also found evidence that supports the iconographic interpretation of an analogy between serpents’ bodies that adorn the figure of the ruler on Stela D and shadows and sun positions on dates of major solar events that form a solar calendar that counts years from winter solstice day.
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Quilty, Patrick G., and Gillian Winter. "Robert Falcon Scott: a Tasmanian connection." Polar Record 48, no. 2 (July 12, 2011): 192–94. http://dx.doi.org/10.1017/s0032247411000283.
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ABSTRACTThe Edge Anglican church (originally St Alban's) in the northern Hobart suburb of Claremont has above its main altar a triptych stained glass window, a memorial to Robert Falcon Scott R.N. New information suggests that the designer/manufacturer was Auguste Fischer of Melbourne, a close associate of the church's architect, Alan Cameron Walker of Hobart. The window was promised by Mrs Edith Knight at the laying of the foundation stone of the church in July 1913, five months after Scott's death became known to the world. Lady Ellison-Macartney attended the ceremony. She was Scott's sister and wife of the recently appointed governor of Tasmania, Sir William Ellison-Macartney. Other members of Scott's family were also living in Hobart at the time. The Ellison-Macartneys and their daughter Esther attended the dedication of the window on 17 October 1915. Admiral E.R.G.R. Evans, second in command of Scott's expedition, spoke to The Royal Society of Tasmania on 29 March 1930, on the topic of Scott's last Antarctic venture.
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Sukhanova, Inna. "Numerical modeling of the microclimate and air quality of an Orthodox church in Saint-Petersburg." E3S Web of Conferences 91 (2019): 02002. http://dx.doi.org/10.1051/e3sconf/20199102002.
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A numerical model of the microclimate and air quality in the premises of an Orthodox church is built in STAR CCM+ software. The building of the Church of the Nativity with a capacity of 900 people in St. Petersburg was adopted for modeling. The model takes into account features of architecture, heating equipment, the number of people and candles. There is a warm floor in the prayer hall to compensate for the loss of heat. The supply of fresh air in the serviced area is provided by inclined falling jets, and the removal of air is provided through the transom. The distribution of velocity and temperature fields and concentrations of CO2 in the main premises of the church (vestibule, prayer hall, altar) was obtained under non-stationary operation and full capacity of the church. The conclusion was made about the provision of normalized microclimate parameters in the premises of the church with the adopted design solutions for heating and ventilation systems.
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Bucci, Giovanna. "Geological Materials in Late Antique Archaeology: The Lithic Lectern Throne of the Christian Syrian Churches." Heritage 4, no. 3 (August 17, 2021): 1883–98. http://dx.doi.org/10.3390/heritage4030106.
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The geological materials used in early Christian Syrian churches involve a lithic furnishing element: the lectern throne of the Syriac bema, a stone device used as a support for the holy books. Some inscriptions found in Syria suggest an interpretation for this artifact, located in the middle of the Syriac bema hemicycle, fronting the altar zone. These elements were made of basalt or limestone, depending on the geographical–geological context of the building. In this work, an unedited classification of the main typologies of thrones is proposed with a collatio between geo-archaeological data, epigraphic texts, mosaic inscriptions, literary sources, and findings. The role of this uncommon piece of furniture, uncertain up to now, is explained with a new interpretation coming from archaeological–architectural data combined with ancient sources. The study thus locates this architectonical sculpture in the building stratigraphy and also describes decorations from the lecterns, thus contributing to chronology analysis of published and unedited Syrian sites.
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Maydagán, Laura, Marta Franchini, Massimo Chiaradia, Josefina Pons, Agnes Impiccini, Jeff Toohey, and Roger Rey. "Petrology of the Miocene igneous rocks in the Altar region, main Cordillera of San Juan, Argentina. A geodynamic model within the context of the Andean flat-slab segment and metallogenesis." Journal of South American Earth Sciences 32, no. 1 (July 2011): 30–48. http://dx.doi.org/10.1016/j.jsames.2011.04.007.
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Cargnelutti Filho, Alberto, Ismael Mario Márcio Neu, Rafael Vieira Pezzini, Gabriel Elias Dumke, Felipe Manfio Somavilla, and Samanta Luiza da Costa. "Sowing dates and node emission in buckwheat cultivars." Semina: Ciências Agrárias 42, no. 1 (January 19, 2021): 105–22. http://dx.doi.org/10.5433/1679-0359.2021v42n1p105.
Full textAbstract:
The aim of this study was to determine the rate of node appearance (RNA), the final number of nodes (FNN) and the period of node emission (PNE) in two buckwheat cultivars (Fagopyrum esculentum Moench) for different sowing dates, and to check variability in the RNA, FNN and PNE between the cultivars and sowing dates. The IPR91-Baili and IPR92-Altar cultivars were evaluated for 29 and 31 sowing dates from October to May in the 2017/2018 and 2018/2019 agricultural years respectively. In each experiment, a completely randomised design with five replications was used. The number of nodes (NN) on the main stem was counted twice a week in each plant (replication), from emission of the first node until the end of the cycle. The linear regression (y = a + bx) of the number of nodes (NN, y) was adjusted for each plant based on the number of days after emergence (DAE, x). The rate of node appearance (RNA), in days node-1, was determined from the inverse of the slope of the linear regression between NN and DAE (RNA = 1/b). The RNA was calculated for the period of node emission (PNE, in days), i.e. from emergence to emission of the last node. The final number of nodes (FNN) was counted at the end of node emission. Variability was found in the rate of node appearance (RNA), the final number of nodes (FNN) and the period of node emission (PNE) between the cultivars and sowing dates. The rate of node appearance ranges between 2.20 and 8.23 days node-1, the final number of nodes between 2.20 and 17.20, and the period of node emission between 16.60 and 49.20 days. Plants of the IPR91-Baili and IPR92-Altar cultivars show better vegetative development (lower RNA, higher FNN and greater PNE) when sown in November, December, January and February, compared to those sown in October, March, April and May.
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Łach, Janusz, Alicja Krzemińska, Krzysztof Widawski, and Anna Zaręba. "The role of the Protestant legacy in shaping Lower Silesian cultural heritage as exemplified by the refuge church in Borek Strzeliński (Großburg)." Muzeológia a kultúrne dedičstvo 10, no. 1 (2022): 53–78. http://dx.doi.org/10.46284/mkd.2022.10.1.4.
Full textAbstract:
Protestant refuge churches were built in Silesian Protestant principalities, and in the borderline areas of Saxony, Brandenburg and Poland before the end of Thirty Years’ War and the signing of the Peace of Westphalia. In the most part, the churches were erected by means of adapting Catholic churches to the needs of Protestant believers, e.g. by building emporas (choir galleries), a pulpit and an altar inside the church. The acquisition of churches in Silesia was peaceful, without any violence almost everywhere, and it was not a rare phenomenon that a single church was used by two religions at the same time. At the end of the eighteenth century, there were approximately 110 refugee churches in Silesia. Currently, there are no churches of this type in Lower Silesia, and their extraordinary decoration was preserved in only a few of them. The main aim is to analyse this specific, forgotten sacral Protestent heritage, i.e. refuge churches in Lower Silesia, from the historical, sociological and architectural perspective. The main objective is to focus on the historical importance of the refuge churches in Lower Silesia – restoring identity as exemplified by the church in Großburg (Polish: Borek Strzeliński), analyse the degree to which the Protestant cultural legacy was preserved in the material rural architecture of Großburg and analyse the acceptance of the Evangelical heritage in the mentality of the local community.