Relevant bibliographies by topics / Petri (Cathedral)

Academic literature on the topic 'Petri (Cathedral)'

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Published: 25 July 2024

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Journal articles on the topic "Petri (Cathedral)"

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De Hond, Jan. "Een onbekende tekening van Saenredam: het portret van Johannes Petri Junius." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 187–96. http://dx.doi.org/10.1163/187501799x00364.

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AbstractIn 1910 the print room at Dresden acquired an unsigned portrait drawing of the clergyman Johannes Junius (c.1587-1635). The drawing has been successively attributed to Hendrick Goltzius and Jacob Matham and is currently regarded as the work of Matthias van den Bergh (1617-1665). In this article it is proposed to attribute the drawing to Pieter Saenredam (1597-1665). Junius' portrait was drafted in black chalk. At a later stage this chalk drawing was worked up in pen and brown ink. The ink version differs from the chalk drawing in a few important details. The figure is placed in an oval with a rectangular surround. Everything outside that surround is treated sketchily or left as it was. This suggests that the drawing was a preliminary study for an engraving. A caption at the top identifies the sitter as Johannes Junius at the age of 45 in 1632. To the left of the head the date is more specific: 'Anno 1632 den 5 Julij'. Jan Pietersz de Jonge (Johannes Petri Junius) was born in Assendelft c. 1587 and returned to his native village as a minister of the church in 1618. In 1630 he moved to Bois-le-Duc, which had been conquered by Frederik Hendrik a year previously and was now in sore need of clergymen. Junius worked in's-Hertogenbosch until his death in 1635. Assendelft was also the birthplace of Pieter Saenredam, a second cousin of Junius. In the summer of 1632 Saenredam spent a month in Bois-le-Duc. Twelve of the drawings he executed there have been preserved. They are views of the town and architectural studies of the town hall, St. John's Cathedral and St. Peter's Church. The first drawing dates from June 29), the last from July 23. The portrait of Junius dated July 5 1632 thus fits exactly into Saenredam's Bois-le-Duc period. It was drawn a mere five days earlier than Sacnredam's first drawing of St. Peter's, the church where Junius was a minister. The handwriting on Junius' portrait bears a close resemblance to the handwriting on other drawings by Saenredam. The same applies to the way the date is written. Unfortunately there is virtually no material for stylistic comparison. Portraits are rare in Saenredam's oeuvre. The only extant portrait acknowledged as his work is a chalk drawing of Jan Jansz. van Ermelo of 1636. There arc however a few engravings after Saenredam which are closely related to the portrait of Junius. In 1629 Jan van de Velde made four engravings of Counter-Reformational ministers and in 1632 a portrait of the historian Antonius Bor, all after designs by Saenredam. The poses of the sitters and the oval framework correspond to Junius' portrait. The ministers have a common background too, for they were all orthodox Calvinists. The portrait of Junius may have been a design for a print. Direct evidence of this is found not only in the composition of the drawing with its distinctive oval and the rectangular surround, but also in lines quoted from a poem by Wilhelmus Suerendonck in Jan van Oudenhoven's history of Bois-le-Duc of 1649 - lines eminently appropriate to an engraving of Junius. No such engraving has surfaced as yet, however.
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Naumowicz, Józef. "Geneza święta "Natale Petri de cathedra"." Vox Patrum 46 (July 15, 2004): 255–64. http://dx.doi.org/10.31743/vp.6816.

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La fete Natale Petri de cathedra pouvait avoir ses origines dans un contexte d'une fete paienne de la Cara cognatio ou Caristia, qui cloturait par un banquet de la famille les six jours de Parentalia (commemoration annuelle des morts). Mais elle n'etait pas une commemoration funéraire liee au martyre de S. Pierre et son culte dans les catacombes ou au Vatican. Elle celebrait plutot s. Pierre comme garant de l'enseignement et de l'unite. En effet, le mot cathedra n'evoque pas seulement le siege vide pour le défunt dans les ceremonies funeraires, comme l'a constaté Th. Klauser, mais aussi la chair du docteur et son dignite.
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Moffitt, John F. "BERNINI'S "CATHEDRA PETRI" AND THE "CONSTITUTUM CONSTANTINI"." Source: Notes in the History of Art 26, no. 2 (January 2007): 23–31. http://dx.doi.org/10.1086/sou.26.2.23208072.

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Procop, Natalia. "Recreational Centers in Chisinau in the Vision of Visual Artists." Supplement 9, no. 1 (July 24, 2021): 116–29. http://dx.doi.org/10.37710/plural.v9i1s_8.

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One of the genres of easel painting that remains less pretentious to politics is landscape. The city of Chisinau, one of the most important cities of the Republic, was and remains a source of inspiration for artists Eugenia Gamburd, Rostislav Ocușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma, Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancă and others. That is one of the topics addressed by artists reflecting moments of relaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). This article analyzes the paintings from the collection of the National Museum of Art of Moldova, but also the private collections of plastic artists concerning the rest areas of Chisinau. These paintings made on the subject under research can be attributed not only to the landscape genre but also, in some cases, to genre painting. The subject becomes current for painters with the arrangement of the capital’s parks: The square of the Ensemble of the Metropolitan Cathedral of Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the Dinamo Stadium etc.
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Wilner, Renata. "Arte em explosão: rompimento dos limites entre as categorias artísticas." arte e ensaios 5, no. 5 (March 17, 2022): 17–34. http://dx.doi.org/10.37235/ae.n5.2.

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Exercício de comparação a partir da análise de duas obras: Cold Dark Matter: An Exploded View (1991), de Cornélia Parker, e Cathedra Petri (1656-1666), de Bernini. O termo "explosão" é ambivalente no caso, denotando a estrutura formal de ambas as obras e também a crise do modelo classificatório dos gêneros artísticos clássicos, característica tanto de determinada produção barroca quanto da arte contemporânea.
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Bondar, Kseniia, Sergiy Taranenko, Yaroslav Zatyliuk, Olena Popelnytska, and Tetiana Osinchuk. "Ground penetrating radar scanning and historical interpretation of the location of the destroyed Epiphany Cathedral in Kyiv Brotherhood Monastery (Ukraine)." Open Research Europe 3 (November 14, 2023): 196. http://dx.doi.org/10.12688/openreseurope.16592.1.

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Background The article presents results of a ground penetrating radar (GPR) scanning carried out in a site of the Epiphany Cathedral of Brotherhood Monastery in Kyiv, Ukraine, destroyed in 1936 by the Soviets. The Cathedral is known as a burial site of Hetman Petro Sahaidachnyi (1582–1622), a Ukrainian Cossack political and civic leader, guardian and patron of Kyiv Brotherhood Monastery. The collection of archival documents, blueprints, stock sources, photographs and cartographic materials of the 17th-19th centuries, as well as historical works of the 19th-21st centuries, were thoroughly analyzed and used as a basis for the interpretation of geophysical results. The set of historical data covers the period from 1615, that is, from the beginning of the construction of the wooden Epiphany Church, the predecessor of the cathedral, to the present day. Methods Summarized information about the construction, restoration after the fire, functioning and destruction of the Cathedral, as well as about the construction on its site in the 20th century, archaeological research in the 20th-21st centuries, was used to clarify possible location of hidden foundations and target GPR measurements. In this context, written testimonies of archaeologists who personally observed the foundations of the cathedral became especially valuable. The shielded GPR antennas, with a central frequency of 300 MHz and 700 MHz, is used for non-invasive investigation. Results GPR scanning specified the site and showed the best-preserved group of foundations of the western wall of the nave of the Epiphany Cathedral. Conclusions An integrated historical and geophysical study provided the basis to certify the foundation of the Epiphany Cathedral as a protected object of cultural heritage and facilitated its archaeological research.
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Hilje, Emil. "Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića." Ars Adriatica, no. 4 (January 1, 2014): 213. http://dx.doi.org/10.15291/ars.496.

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A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.
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Faerber, Robert. "« Les Acta apocrypha apostolorum dans le corpus homilétique vieil-anglais (Xe -XIe s.). Aelfric : De passione apostolorum Petri et Pauli et Cathedra Petri »." Apocrypha 15 (January 2004): 259–92. http://dx.doi.org/10.1484/j.apocra.2.300055.

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Miethke, Jürgen. "„Einheit und Einigung“ der Kirche, die „Mehrheit“ der Gläubigen und eine „ecclesia mathematica“ nach einigen neu edierten Texten des Nikolaus von Kues." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 102, no. 1 (September 1, 2016): 471–83. http://dx.doi.org/10.26498/zrgka-2016-0119.

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Abstract „Unity and Unification“ of the church, the „majority“ of believers and „ecclesia mathematica“ in the light of newly edited texts by Nikolaus of Cusa.The Heidelberg Edition of Opera Omnia presents vol. XV/1, Opuscula III, fasc. 1. At the council of Basle, while writing his most important political work De concordantia catholica, Nicolaus of Cusa published also some reflections on the reductio of the „Bohemians“ (i.e. the Hussites) regarding the „utraquist“ communion. Nicolaus suggests, according to patristic models by Cyprian and Augustin, to accept a „majority“ of the papal church only in strict connection with the cathedra Petri that guaranteed the truth of faith. Firstly, this idea of a majority is considered. Secondly, ecclesia mathematica or concilium mathematicum will be analysed: In the bitter conflict on Franciscan poverty at the beginning of the 14th century, pope John XXII himself characterized the dominium (ownership) of the Roman church as merely nudum verbale et mathematicum.
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Ratkovčić, Rosana. "Katolička crkva Sv. Petra i dubrovačka kolonija u Starom Trgu kod Trepče." Ars Adriatica 7, no. 1 (December 19, 2017): 129. http://dx.doi.org/10.15291/ars.1389.

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The construction of a Roman Catholic church dedicated to St Peter in Stari Trg near Trepča can be related to the presence of Catholic migrants, Saxon miners and merchants from Dubrovnik and Kotor, who colonized the area around the rich mine during the medieval period. This article focuses on the role of the Ragusan colony in the construction and furnishing of the Kosovo church. Judging from the remnants of the church, it may be presumed that it was a three-nave structure, with a dome above the last bay of the central nave, same as the cathedrals of Dubrovnik and Kotor, and that a workshop from the littoral probably also decorated the church with paintings. The fact that in 1487 the parish priest at St Peter's church commissioned the altar polyptych from the Ragusan painter Stjepan Ugrinović shows that architects and painters may have been invited from Dubrovnik in the earlier centuries as well, and that there may have been continuity in their work on St Peter’s church in Trepča.
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Dissertations / Theses on the topic "Petri (Cathedral)"

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Starzyk, Mary Celeste. "Bernini: The Magic Art." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1571831670841782.

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Mikeska, Pavel. "Vývoj gotického opěrného systému." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335152.

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The diploma thesis deals with the development of Gothic supporting system. In particular, chronologically arranged chapters are given examples of individual buildings, which are grouped into chapters according to their geographical location. Starting with the first supporting systems, as well as the Gothic style in France, we come to the spread of new ideas into neighboring countries such as England, Italy, the Netherlands, Germany and the Czech Republic. Next chapter is devoted to the supreme form of the support system using the example of the cathedral in Amiens and Cologne. Whole work closes chapter devoted to St. Vitus Cathedral, as a leading work of Peter Parler with a detailed description of the support system of the high choir and transept. Keywords Gothic, architecture, evolution, flying, buttress, cathedrale, kostel, Peter, Parler
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Pavlíčková, Anna. "Náročné kamenické prvky v Parléřovské dílně v evropském kontextu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352502.

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The present work relates to the transfer of the inspirational elements used in St. Vitus Cathedral in Prague focusing on the hanging bolts in the sacristy of the cathedral. Two architects, Matthias of Arras and Peter Parler, participated in the construction of St. Vitus Cathedral in the 14th. Century Both of these builders were inspired by the most important buildings of contemporary Europe and the experience they gained was incorporated in the Prague cathedral. Through thorough research of the life of Matthias of Arras I am able to describe this builder as a unique personality who used a bold modern style for the construction of Prague cathedral and laid the foundation for cathedral architecture in Bohemia. Subsequent analysis of selected buildings constructed in the south of France during the 13th. and the first half of the 14th. centuries reveals many features which exhibit common characteristics with elements used on St. Vitus Cathedral, thus indicating the sources of inspiration for Prague cathedral. Both builders work meets in a space called "Old Sacristy" decorated with two unique pendant bosses. Thanks to exhaustive investigation it has been clarified that these bosses originated from southern France and Alsace. It has also been possible to chart their transmission throughout Europe and to...
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Urbanová, Karolína. "Zvířata v katedrále. Architektonická skulptura zvířat a fantaskních tvorů parléřovské huti v katedrále sv. Víta, jejich symbolika a ikonografie." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-346103.

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This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...
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Books on the topic "Petri (Cathedral)"

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Maccarrone, Michele. Romana ecclesia, cathedra Petri. Roma: Herder editrice e libreria, 1991.

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Petrucci, Francesco, and Pietro Zander. Vanvitelli Segreto: I suoi pittori tra Conca e Giaquinto, la "Cathedra Petri". Roma: Gangemi, 2014.

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Rinke, Wolfgang. Dortmunder Kirchen des Mittelalters: St. Reinoldi, St. Marien, St. Johannes Bapt. (Propstei), St. Petri. Dortmund, Germany: Fr. Wilh. Ruhfus, 1987.

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Die Erhaltung des St. Petri Doms zu Bremen im 19. Jahrhundert. Bremen: Hauschild, 2007.

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Maĭor, R. Kafedralnyĭ kostel svi︠a︡tykh apostoliv Petra i Pavla: Turystychnyĭ putivnyk. Kam'i︠a︡net︠s︡ʹ-Podilʹsʹkyĭ: TOV "Ruta", 2016.

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Nechvátal, Bořivoj. Kapitulní chrám sv. Petra i Pavla na Vyšehradě: Archeologický výzkum = The Capitular Church of SS Peter and Paul at Vyšehrad : archaeological investigation = St. Peter-und Paul-Kollegiatkirche auf Vyšehrad : Archäologische Forschung. Praha: Archeologický ústav AV ČR, 2004.

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Libor, Jan. Sedm set let Brněnské Kapituly: Sieben Hundert Jahre des Brünner Kapitels. Brno: Vydalo Biskupství brněnské, 1996.

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Müller, Harald. Verlust der Eindeutigkeit: Zur Krise Päpstlicher Autorität Im Kampf Um Die Cathedra Petri. de Gruyter GmbH, Walter, 2017.

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Müller, Harald. Verlust der Eindeutigkeit: Zur Krise Päpstlicher Autorität Im Kampf Um Die Cathedra Petri. de Gruyter GmbH, Walter, 2017.

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Müller, Harald. Verlust der Eindeutigkeit: Zur Krise Päpstlicher Autorität Im Kampf Um Die Cathedra Petri. de Gruyter GmbH, Walter, 2017.

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Book chapters on the topic "Petri (Cathedral)"

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Esel, Yunus E., Ercan Erkul, Sandra Hintz, Detlef Schulte-Kortnack, Christian Leonhardt, Julika Heller, and Thomas Meier. "St. Petri Cathedral Schleswig: non-destructive geophysical damage analysis of medieval plaster." In Advances in On- and Offshore Archaeological Prospection, 681–90. Kiel: Universitätsverlag Kiel | Kiel University Publishing, 2023. http://dx.doi.org/10.38072/978-3-928794-83-1/p69.

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Non-destructive geophysical methods were applied to detect moisture at the St. Petri Cathedral in Schleswig. One of them is thermography, which allows to distinguish between intact and defective medieval plaster. Additionally, thesuccess of a restoration can be determined by ultrasonic surface measurements.
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Hartmann, Florian. "Streit an der cathedra Petri oder Streit um die cathedra Petri? Konflikte um den Papstthron in der Deutung päpstlicher Quellen." In Streit am Hof im frühen Mittelalter, 365–88. Göttingen: V&R Unipress, 2011. http://dx.doi.org/10.14220/9783847098164.365.

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Schieffer, Rudolf. "Aus dem „Hafen des Klosters" auf die Cathedra Petri." In Religiöse Bewegungen im Mittelalter, 241–50. Köln: Böhlau Verlag, 2007. http://dx.doi.org/10.7788/9783412332457-012.

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Martin, Guido. "Der salische Herrscher als Patriáus Romanorum. Zur Einflußnahme Heinrichs III. und Heinrichs IV. auf die Besetzung der Cathedra Petri." In Frühmittelalterliche Studien, 257–95. De Gruyter, 1994. http://dx.doi.org/10.1515/9783112421963-008.

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"In cathedra sancti Petri, die 22 februaris ‘Beatus es, Simon Bar Iona, quia caro et sanguis’ etc. (Matth. 16:17)." In Meister Eckhart, The German Works, 88–100. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26v88.9.

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