Academic literature on the topic 'St. Georg (Church)'
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Journal articles on the topic "St. Georg (Church)"
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Tykhyi, Bohdan. "DEFENSIVE CHURCH OF SAINT NICHOLAS AND THE MONASTERY OF BERNARDINS IN BEREZHANY." Current Issues in Research, Conservation and Restoration of Historic Fortifications 2020, no. 13 (2020): 143–56. http://dx.doi.org/10.23939/fortifications2020.13.143.
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The article is devoted to the history of the monastery of the Order of Bernardines in Berezhany in Ternopil region. The analysis of the architectural features of the complex is main purpose of the work. The monastery is located in the northwest corner of the city. The territory of the was surrounded by defensive bastion fortifications. The monastery fortifications were a part of the city defensive lines. The mountain, on which the monastery located, is called - "St. Nicholas Mountain". On the place of the present monastery was a boyar's manor in the XIV century, and then the orthodox church of St. Nicholas.The construction of a defensive complex of monastic buildings began in 1630. The Bernardine complex includes - the Catholic Church of St. Nicholas, the house of the monastery cells, defensive walls and ramparts. The complex occupied the highest position in the north-western wing of the city's defense system. It was an important strategic point that controlled the Lviv-Berezhany road. The construction of all the objects of the monastery lasted 112 years until 1742.In 1809–1812, the Austrian authorities liquidated the city's powerful defenses. In particular, the ramparts and bastions that were on the territory of the monastery were eliminated. Today there is only a fragment of a defensive wall and a moat on the southern slope of the mountain, which separated the territory of the monastery from the urban areas of the New Town. The fortifications of the monastery are shown on the map of 1720 by Major Johann von Fürstenhof. The bastion belt of the monastery had underground structures. In 2010, murals were found in the interior of the church. According to the author, the carved stone decoration of the church (columns, capitals) was made by the sculptor Johann Pfister (in 1630–1642). The altars, with carved figures of saints, were probably made by the artist Georg Ioan Pinzel from Buchach. The architecture of the monastery's defensive structures needs further research. In the temple there are several valuable icons of the prophetic series of iconostasis. These are works originating from the famous Krasnopushchany iconostasis by Gnat Stobynsky and Fr. Theodosius of Sichynskyi. This iconostasis was donated in 1912 by Metropolitan Andrei Sheptytskyi. Restoration work on the monastery began in 2007 after a visit by President Victor Yushchenko. First of all, the roof of the temple was repaired. Work is underway to restore and recreate the interior of the temple. Archaeological research of lost fortifications needs special attention.
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Botica, Dubravka. "Pročelja crkava u Međimurju u razdoblju baroka. Prilog poznavanju tipologije sakralne arhitekture kontinentalne Hrvatske." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 29–42. http://dx.doi.org/10.31664/ripu.2023.47.03.
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An overview of the façades of Međimurje churches built during the Baroque period reveals a typological affinity with comparable regions in continental Croatia – Hrvatsko Zagorje, Varaždin County, and Križevci-Koprivnica County – as well as some characteristic peculiarities. Most have a bell tower in front of the façade, following a traditional form since the Middle Ages, including churches in Sveti Martin na Muri, Selnica, Prelog, Gornji Mihaljevec, Sveti Križ, Cirkovljan, Donji Kraljevec, Dekanovec, Mursko Središće, Podturen, Sveta Marija, Ivanovec, Sveti Juraj u Trnju, Belica, Nedelišće, Kotoriba, and Razkrižje. The oldest among these are the churches of St Martin in Sveti Martin na Muri and St Mark in Selnica, with bell towers in front of the façade supported by buttresses, along with the likewise older parish church in Prelog. The bell tower of the church in Kotoriba stands out with its curved sides as a high-Baroque design. Apart from being positioned in front of the façade, the bell tower is sometimes located next to it, as observed in the parish church in Goričan and the Franciscan church in Čakovec, where the bell tower’s position follows the tradition of spatial organization in Franciscan building complexes. A third variant within this group is the bell tower’s placement next to the sanctuary, as yet another example of continued tradition, seen in churches in Donji Vidovec, Lopatinec (Sveti Juraj na Bregu), and Štrigova. These examples of adding a Baroque bell tower to the Gothic sanctuary emphasizes continuity and long duration, important features of re-Catholicization in regions with widespread Protestantism. Stylistically more pronounced is the type of façade with an integrated bell tower, prevalent in 18th-century architecture across Central Europe and exemplified by churches in Legrad, Novo Selo Rok, and Kapelščak. The most complex in terms of design are church façades with two bell towers, such as St Jerome in Štrigova and St Rochus in Draškovec. The Pauline church in Štrigova shows numerous parallels with the Maria Trost church in Graz, executed by the Stengg construction workshop – including its prominent position in the landscape, the wide façade with bell towers on the sides, the curved contour of the central gable, and the originally rich architectural articulation. The church in Draškovec is an exquisite combination of late Baroque style in its interior design and emphasized Classicism in the design of the façade and the bell tower. In addition to numerous common features, such as the typology and adoption of certain traditional solutions, the peculiarity of this group of churches in relation to other regions of continental Croatia is the appearance of dynamically shaped façades and bell towers. Churches in Lopatinec and, to a lesser extent, in Legrad have façades along the curve of the ground plan, while the bell tower of the church in Kotoriba has an accentuated dynamic plan, with recessed sides and prominent corners with pilasters. These examples demonstrate the adoption of influences from neighbouring Styria, especially the sacral architecture of Graz’s architect Johann Georg Stengg. Another specificity of the corpus of Međimurje churches is the number of churches designed in the Classicist style, with high-quality achievements in a combination with late Baroque, reflecting the proximity and connectedness of Međimurje to the Hungarian artistic circles. The analysis of bell tower and façade designs in this corpus has shown that within the typological groups present across the area, along with the general features of Baroque architecture, one also finds very specific solutions that corresponded to the needs of the environment. In other words, the adoption of models and their adaptation to the local context is an example of cultural transfer expressing the local character, in which the commissioning environment has left its visible mark.
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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse." Muzikologija, no. 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.
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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.
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Hogan, Micah. "A Marked Absence: Pneumatic Abandonment as Desert Hermeneutic." Religions 14, no. 5 (May 10, 2023): 642. http://dx.doi.org/10.3390/rel14050642.
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This paper examines the ways in which the Letters of Ammonas, John Cassian’s Conference IV, and the corpus of Macarius-Symeon appropriate and develop the motif of divine abandonment found in St. Antony and shifts it into a distinctly pneumatological key through Scriptural exegesis. Correcting a misconception popularized by Vladimir Lossky, this paper argues for a normative experience of divine abandonment in the Eastern Christian tradition via sustained engagement with the experience of those practitioners of desert spirituality. Engaging with the hermeneutics of Hans Georg Gadamer and following the previously established trajectories of Douglas Burton-Christie, I argue that the desert fathers, despite initial hesitation and eventual qualification, accepted the reality of pneumatic abandonment due to the interlocking pressures of Scripture and monastic experience. The paper concludes with some implications for contemporary pneumatological discussions by drawing critical parallels between the pneumatological tradition of the desert and the contemporary pneumatic doctrine of Ephraim Radner. Radner is affirmed in his insistence on individual pneumatic abandonment but is critically questioned regarding his articulation of the pneumatic abandonment of the Church through the vantage of Macarius-Symeon’s stabilized pneumatology.
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Jávor, Anna. "Johann Lucas Kracker: új kutatási eredmények." Művészettörténeti Értesítő 70, no. 1 (March 17, 2022): 5–46. http://dx.doi.org/10.1556/080.2021.00001.
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The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.
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Mogarichev, Yuriy, and Alena Ergina. "The Temple of the “Three Horsemen” (Eski-Kermen, South-West Crimea): On Issues of Chronology and Interpretation of Paintings." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (December 2022): 30–45. http://dx.doi.org/10.15688/jvolsu4.2022.6.3.
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Introduction. The Church of the “Three Horsemen” is located on the southeast edge of Eski-Kermen hill fort (Southwest Crimea). Its name comes from the fresco with the images of three saints riding on the horses. Methods. Historians of the end of the 18th – beginning of the 20th centuries rarely mentioned this site. Modern scholars have discussed two issues: 1) whether the church with fresco was the original one or it was preceded by an earlier (early medieval) cave religious building; 2) the image depicts only St. George, presented in three scenes; St. Demetrius, St. Theodore, and St. George; or this image amplified with figures of local historical persons. Analysis. Nikolay Repnikov proved the chronological identity of fresco and the church. As regards the differences in the quality of handling walls, the author concludes that this is the result of the preparation of the rock base on plaster application and later paintings. The inscription under the picture of saints confirms this statement. All the translation variants confirm the simultaneity of paintings and cutting. Therefore, the fresco and the church were definitely created at the same time, probably in the second part of the 13th century. The analysis of paintings on the fresco shows that we have an image of St. Demetrius, St. Theodore (Stratelates or Tiron), and St. George. The images of these three saints, in contrast to “triple St. George” are common on the other sites of Crimea. Results. All the attempts to “find” in the Three Horsemen martyrium the “earlier church” are baseless. The church was carved and painted in the second part of the 13th century. The fresco depicts St. Demetrius, St. Theodore (Stratelates or Tiron), and St. George. Authors’ contribution. Yuriy Mogarichev prepared sections on historiography and features of the considered monument. Alena Ergina investigated art history aspects.
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Puhmajer, Petar, and Ana Škevin Mikulandra. "Crkva sv. Jurja na Bregu u Lopatincu: razvoj sklopa i podrijetlo stilskog rješenja." Peristil 57 (2015): 65–80. http://dx.doi.org/10.17685/peristil.57.6.
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Surdokaitė-Vitienė, Gabija, and Adomas Vitas. "The Building and Renovation History of Vilnius and Kaunas Churches: Dendrochronological Dating and Historical Sources." Art History & Criticism 13, no. 1 (December 1, 2017): 18–28. http://dx.doi.org/10.1515/mik-2017-0002.
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Summary We present the application of dendrochronological dating of the renovation and construction works of churches in the Kaunas and Vilnius regions of Lithuania. The model for the estimation of the missing rings of Scots pine was used in Lithuania for the first time. We have assessed 18 timber cross-sections from nine churches, which were used for the constructions from the second half of the 17th to 19th c. The oldest wood samples were dated from St. Michael’s Church in Vilnius (1668±4) and St. George, the Martyr, (Bernardine) Church in Kaunas (1693±3). The aim of this study was to compare the results of the investigation of timber samples from 9 churches with archival sources and literature data and to reveal the renovation history of the buildings. The study of written historical sources has revealed a lack of recorded building and reconstruction phases of the churches. This fact was later confirmed by the results of dendrochronological dating. The dating of the timber revealed undocumented reconstruction dates in Zapyškis church (1791±3), St. George, the Martyr, (Bernardine) Church in Kaunas (1711±4), St. Anne Church in Skaruliai (1693±3) and Vilnius Cathedral (1814±4).
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Onufrienko, Maksim Olegovich. "St. George Church in Mlado Nagoričane: the artistic context of the frescoes." Studia Slavica et Balcanica Petropolitana 31, no. 1 (2022): 171–85. http://dx.doi.org/10.21638/spbu19.2022.110.
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The frescoes of the St. George Church in Mlado Nagoričino (North Macedonia) have repeatedly attracted the scholars’ attention, but so far the circle of monuments close to these paintings has not been accurately identified. The article deals with attribution a number of preserved images to certain workshops whose works are known from other ensembles. There are three different styles in the painting, which can be attributed to three different painters (or a group of painters). Apparently, the same artists who painted the church of the Slimnitsa monastery worked in the naos. This conclusion is consistent with the observation of Macedonian researchers. The other two styles apparently belong to Greek painters who can be associated with the artist Michael of Linotopi. He worked in the first third of the 17th century and painted many churches in the Balkans. One of the closest analogs of the St. George Church painting in Mlado Nagoričino are the frescoes of the Dormition Church in Zervat (Albania) and the katholikon of the Makryaleksi monastery (Greece), where Michael worked. Both the similarity of the handwriting of the inscriptions and the proximity of the physiognomic features of the some saints’ faces pointed that way. However, the style of these frescoes does not exactly match the painting of St. George’s Church. Since the analogs given in the article are rather approximate, the frescoes of the St. George church in Mlado Nagoričino cannot be attributed to the activities of the Michael’s workshop with certainty. However, it can be argued that the painting in Mlado Nagoričino was done by painters who were part of the entourage of this artist.
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Cuthbertson, G. C. "The St Andrew's Scottish Church mission in Cape Town, 1838-1878." New Contree 9 (July 11, 2024): 7. http://dx.doi.org/10.4102/nc.v9i0.810.
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When slaves at the Cape were emancipated at the end of 1838, St Andrew's Presbyterian (Scottish) Church became the first church in Cape Town to open its membership to Blacks. This accounts for the fact that ex-slave converts joined St Andrew's and not other churches. The St Andrew's Mission became an important 'westernizing agency' under the Rev. George Morgan and the Rev. G. W. Stegmann. It performed not only a religious function, but also became an educational and welfare organisation for ex-slaves during the 1840s. A clash between Morgan and Stegmann resulted in a split in the Mission and the establishment of an independent Coloured congregation at St Stephen's Church. Later, in 1878, dissension between the White congregation and the mission congregation at St Andrew's Church caused the closure of the continuing St Andrew's Mission. The mission to the Blacks was taken over by the newly formed Cape Presbytery in 1893.
Dissertations / Theses on the topic "St. Georg (Church)"
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Esplin, Scott Clair. "Education in Transition: Church and State Relationships in Utah Education, 1888-1933." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1194.pdf.
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Cannataci, Maria Dolores. "The St Paul cult in Malta : an evaluation of the contributions of Monsignor Giuseppe De Piro and Saint George Preca / Maria Dolores Cannataci." Thesis, 2014. http://hdl.handle.net/10394/13149.
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According to tradition, but not definitely corroborated by either historical or archaeological sources, the Maltese islands received their seed of faith in A.D. 60 by the Apostle Paul, when he was on his way to Rome, as recorded in the Acts of the Apostles.
The aim of this study is to examine the background of the cult of St Paul in Malta; to investigate the efforts of Mgr G. De Piro and Fr G. Preca in safeguarding the Roman Catholic faith and the cult of St Paul; specifically their contributions when Malta became a British colony and was placed under a Protestant administration; and whether or not their contributions are still valid today. To achieve this, we will carry an exegetical research of the Acts of the Apostles chapters 27, 28:1-10, historiography, modern literary studies.
The best primary sources to investigate these two personalities are the archives of the Missionary Society of St Paul (MSSP), and of the Society of Christian Doctrine (SDC). These archives provide the core of the authentic findings of the enormous wealth of religious literature these priests were able to produce, as well as the testimonies of both Founders. Their spiritual and theological writings include books, pamphlets, articles, sermons, letters and other religious materials.
When the British settled in Malta (1800-1964), the Maltese were very religious and completely loyal to the Roman Catholic Church, but their religiosity had no sound theological basis. Hence, the majority of the Maltese could have been easily influenced by Protestant proselytism and Freemasonry. Both Mgr De Piro and Fr Preca foresaw the need of a sound catechetical teaching, so that the Roman Catholic faith would be better understood and appreciated. They could read the signs of the times.
Mgr De Piro and Fr Preca provided catechetical information and spiritual literature in Maltese, which were almost non-existent at the time; and groups of lay persons were well trained and educated in religious matters. To understand better how the contributions of Mgr De Piro and Fr Preca were so vital to safeguard the Roman Catholic faith and the cult of St Paul, it was imperative to study the history of the local church during the nineteenth and twentieth centuries, the socio-political situation, and
the Church-State problems. This study shows the indefatigable work and sacrificial life
led by both Founders and how the Roman Catholic faith was not only saved during the
British administration but also became much stronger.
In the course of this study, we will investigate how the faith of the Maltese and the cult
of St Paul helped to save them from calamities, misery and in time of war; and if the
contributions given by Mgr De Piro and Fr Preca are still valid today where the roots of
Christianity and Christian tradition are being threatened once again.PhD (Church and Dogma History), North-West University, Potchefstroom Campus, 2014
Books on the topic "St. Georg (Church)"
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Thurner, Adolf. Die St. Georg-Kirche zu Obermenzing. München: A. Thurner, 1993.
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Speckels, Gabriele. St. Georg Amberg: Die wechselvolle Geschichte von Kirche und Pfarrei. Amberg: Buch- & Kunstverlag Oberpfalz, 1994.
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Johannes, Weingart, Zimmermann Karl Josef, and Pfarrkirche St. Georg (Rhodt unter Rietburg, Germany), eds. Das Seelbuch der Pfarrkirche St. Georg zu Rhodt unter Rietburg. Speyer: Pilger-Varlag, 1997.
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1928-, Reinhardt Rudolf, ed. Reichsabtei St. Georg in Isny, 1096-1802: Beiträge zu Geschichte und Kunst des 900jährigen Benediktinerklosters. Weissenhorn: A.H. Konrad Verlag, 1996.
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Berschin, Walter. Reichenauer Wandmalerei, 840-1120: Goldbach - Reichenau-Oberzell St. Georg, Reichenau-Niederzell St. Peter und Paul. Heidelberg: Mattes, 2012.
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Josef, Fridrich, ed. Familienbuch der katholischen Pfarrei St. Georg Kula in der Batschka, 1771-1943: Mit den Filialen. Kirchdorf am Inn: Heimatortsgemeinschaft (HOG) Kula in der Batschka, 2007., 2007.
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Novak, Manfred. Orgelbau, Orgelspiel und Kirchenmusik einst und jetzt. Wien: LIT, 2013.
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Kulosa, Christfried. Die Hecklinger Basilika 1883 - 2008: Festschrift anlässlich "125 Jahre General-Restaurierung". Edited by Freundeskreis Basilika Hecklingen. Berlin: Pro Business, 2008.
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Jansen, Lutz. Dorfarchäologie des Mittelalters und der Neuzeit in Elfgen und Belmen: Die Ausgrabungen in der Pfarrkirche Sankt Georg und den Kölner Lehenshöfen. Darmstadt: Verlag Philipp von Zabern, 2014.
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Ratz, Edmund. Der lutherisch-orthodoxe Dialog: Aktuelle Standpunkte : Bericht über das Symposium am 31. August 2005 in St. Petersburg : Erzbischof em. Prof. D. Georg Kretschmar als Festschrift zum 80. Geburtstag zugeeignet. Erlangen: Martin-Luther-Verlag, 2008.
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Ali, Alaa Abdalla Saeid, Safial Aqbar Zakaria, Arran Chang Kien Guan, and Ch’ng Jack Shun. "Lighting for Heritage Building: A Case Study of the Lighting Design Applied on St. George’s Church in George Town, Penang Island." In Lecture Notes in Civil Engineering, 113–19. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1193-6_13.
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Butler, Lynn Edwards. "Small Projects and Proposals." In Johann Scheibe, 215–30. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044311.003.0010.
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This chapter invites the reader into Scheibe's workshop, into the day-to-day work of an organ builder. Scheibe's work involved not just building and renovating large organs, but also regular maintenance and tuning, examinations of organs (some of them built by colleagues and competitors), submission of proposals to renovate or build new organs (some successful, some not), and undertaking small projects. Projects considered include the new organ for Gundorf (and its examination by Georg Friedrich Kaufmann of Merseburg), proposals made to Leutzsch, Gollma, Stötteritz, the Georgenhaus in Leipzig, and to the St. Jacob's Church in Köthen. In addition, Scheibe's regular maintenance of Leipzig's organs at St. Paul's, St. Thomas's, St. Nicholas's, St. John's, and at the New Church, is documented.
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Rowland, Tracey. "Introduction." In Ratzinger's Faith, 1–16. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199207404.003.0001.
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Abstract On 6 November I992, Joseph Ratzinger was appointed an associate member of the prestigious Académie franÇaise in the section for moral and political sciences. The Académie was founded by Armand-Jean Cardinal Richelieu in I635. Its members, known as les immortels, have included Victor Hugo, Louis Pasteur, and Voltaire. This honour from a completely secular institution in the capital of a country renowned for keeping God out of the public realm, at least since I789, is some indication of Ratzinger’s high standing in the world of European letters. As one of the most prolific theologians of his generation he has held positions at the University of Bonn (1959–1963), the University of Münster (1963–1966), the University of Tübingen (1966–1969), and the University of Regensburg (1969–1977). He speaks several modern languages (German, French, Spanish, Italian, English) and is quite at home with classical Greek, Latin, and Hebrew. He plays the piano and especially enjoys the music of Mozart and Beethoven. He shares this interest with his older brother Georg who has held the post of Kapellmeister of Regensburg Cathedral. Ratzinger was made a bishop and cardinal by Paul VI in 1977 and appointed Prefect for the Sacred Congregation for the Doctrine of the Faith (the CDF) by John Paul II in 1981. This latter post is regarded by some as the second most significant within the Catholic Church after that of the papacy itself, or at least the most significant of the nine heads of Congregations. While holding these appointments Ratzinger continued to publish substantial academic works. His doctoral dissertation, defended in 1953, was entitled The People and the House of God in Augustine’s Doctrine of the Church; and his postdoctoral thesis, or Habilitationsschrift, offered an examination of St Bonaventure’s theology of history.
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Sullivan, Ceri. "Building." In George Herbert and the Business of Practical Piety, 67–99. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198906841.003.0003.
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Abstract In celebrations of sacred space, architecture and furnishings create a cognitive niche which transports the worshipper into the realm of the numinous. Herbert’s churches likewise help him worship God—but in a very different register. Herbert needed to know concrete details about contemporary construction for his lengthy and expensive repairs of St Mary the Virgin (Leighton Bromswold), St Peter’s (Fugglestone), St Andrew’s (Bemerton), and Bemerton Rectory. Other authors can relish the feelings produced by entering finely modelled and sensitively lit churches; Herbert has to think about paving, glass, pulleys, and cement. They can allow themselves to be lost to the world; he has to be present to the construction work around him. Poems such as ‘Church-monuments’, ‘Coloss. 3.3’, and ‘Love-joy’ register Herbert’s attempts to turn physical architecture into a form of godly choice architecture.
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Morris, Colin. "Towards the First Crusade." In The Sepulchre of Christ and the Medieval West, 134–79. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198269281.003.0005.
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Abstract At the end of September 1009, Caliph al-Hakim of Egypt ordered the destruction of the church of the Holy Sepulchre. It is said that he was aggrieved by the scale of the Easter pilgrimage to Jerusalem, which was caused specially by the annual miracle of the holy fire within the Sepulchre. The measures against the church were part of a more general campaign against Christian places of worship in Palestine and Egypt, which involved a great deal of other damage: Adhemar of Chabannes recorded that the church of St George at Lydda ‘with many other churches of the saints’ had been attacked, and the ‘basilica of the Lord’s Sepulchre destroyed down to the ground’.
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Balakhovskaya, Alexandra S. "Hagiographic Text as Interpretation (According to the Hagiography of St. John Chrysostom)." In Translation, Interpretation, Commentary in the Eastern and Western Literature, 337–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-337-358.
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The article based on the hagiography of the bishop of Constantinople St. John Chrysostom studies a formation process of the hagiographical version of the saint’s biography and its interpretation in the hagiographical tradition. The life of the saint, being a literary work created in the context of a church cult, expresses the actual church ideology and is the answer to the current problems of the church life. The Life written by Pseudo-George of Alexandria reflects one of them — the intervention of secular authorities in the affairs of the Church in Byzantium. St. John Chrysostom and Empress Eudoxia are represented here as symbolic figures marking this opposition. On the other hand, they are correlated with the biblical images of the prophet Elijah and Queen Jezebel — their typological prototypes. The Life of Pseudo-George is a literary model that formed the basis of the subsequent hagiographical tradition, part of which are two encomiums, written by St. John of Damascus and Emperor Leo VI the Wise. In these works we find the interpretation and further development of the theme of contradiction between spiritual and secular powers.
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Ellenzweig, Allen. "Imperial Fantasies." In George Platt Lynes, 12–16. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0002.
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George Lynes was a dreamy child with a willful temperament. He was born 1907 in East Orange, New Jersey, of a father who abandoned the law to minister in the Episcopal Church and a mother who descended from a Southern family and had graduated New York’s Hunter College. George occasionally lorded it over his younger brother Russell as they grew up in the idyllic New England town of Great Barrington in the Berkshires where their father, Joseph Russell Lynes, was rector of St. James Episcopal Church. George once regaled a local barber with the imperial fantasy that he was really an escaped “Russian prince” who had been brought to live with a minister and his wife. But the boy inherited a lifelong taste for comfortable surroundings from a paternal great-grandfather, George Platt, an English immigrant who built a business in blinds and furnishings to become an interior decorator.
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Berman, David. "The Good Bishop (1735—1753)." In George Berkeley, 167–98. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198267461.003.0007.
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Abstract Returning from America, Berkeley and his family remained in London from late 1731 until early 1734. While this was for Berkeley a prolific period of writing and publication, rivalling that of 1709-13, it was also, as Luce notes, ‘a second period of waiting, of waiting for a mark of Royal favour’; for without some mark of favour, Berkeley’s ‘position would have been difficult, if not intolerable’, given the failure of his American project (Life, 153). The necessary preferment came in January 1734, when he was appointed Bishop of Cloyne. In February he resigned as Dean of Derry. Three months later he was back in Ireland, where in St Paul’s Church, Dublin, on 19 May, he was conse, crated Bishop of Cloyne.
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Cioni, Francesca. "‘All show’d the builders, crav’d the seers care’." In Materiality and Devotion in the Poetry of George Herbert, 143–75. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198874409.003.0005.
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Abstract ‘The Crosse’ gives voice to a struggle to perform effective worship; it also seems, biographically, to record Herbert’s labours in the 1620s rebuilding of the church of St Mary at Leighton Bromswold, where he was rector. Conceptual parallels and practical correspondences between devotional service, poetic composition and church building were an important part of the devotional experience of not only poets and clergy but readers and lay worshippers too. Believers’ relationship to the church building was one of close affective and interpretive attention: the church was an edifice to be maintained as a demonstration of piety, and to be ‘read’ as an architectural metaphor. Consecration sermons offer a valuable way of understanding how the meaning and use of church buildings was consecrated, and inform The Temple’s own ‘Dedication’ and its metaphorical ‘building’ works in poems like ‘The Windows’, ‘The Altar’, and ‘JESU’.
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Ellenzweig, Allen. "The Great Barrington Boy." In George Platt Lynes, 17–31. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0003.
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Age eleven, George enters the Fessenden School near Boston where the 1918 “Spanish flu” interrupts the first semester, yet the Great War’s Armistice is celebrated. By spring, George hopes he and his father can watch the parade of returning troops. The Lynes family moves to Jersey City where Dr. Lynes assumes the rectorship of St. Paul’s Church. Concerned his sons enter the Ivy Leagues, Dr. Lynes has George enrolled in the Berkshire School for Boys near Great Barrington. Its headmaster, Seaver Burton Buck, inculcates the trusted values of “muscular Christianity” into a boarding school where sports competition is as honored as academic excellence. George is an enthusiast of neither but is taken by classmate Lincoln Kirstein for a “poseur” who “fancies he is pretty to look at.” The Lyneses and Seaver Buck are tacitly aware of George’s “kittenish” disposition toward the hardier boys, but never express outright their suspicions of his homosexuality.
Conference papers on the topic "St. Georg (Church)"
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Mantopoulou Panagiotopoulou, Thalia. "KING MILUTIN’S BUILDING ACTIVITY IN THESSALONIKI: THE CHURCH OF TAXIARCHES AND ITS IDENTIFICATION WITH THE HILANDAR METOCHION OF ST. GEORGE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.445mp.
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The church of Taxiarches is one of the most important monuments of the Paleologan era in Thessaloniki. During its long life, it underwent several modifications, that blurred its original dedication and func- tion. The present study investigates the building phases of the monument and attempts their dating. It bases the research on architectural drawings, old and updated, morphological and constructional observations, Byzan- tine and modern written sources, painting analysis and dating, and urban location evidence. The study argues that Taxiarches should have been the Hilandar metochion in Thessaloniki founded by St. Savas Nemanjić at the dawn of the thirteen century and dedicated to St. George. The church itself was built on a pre-existing structure. The Nemanjić church was burnt and collapsed. In 1316−17 it was restored and decorated by King Milutin.
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Panisova, J., J. Haličková, P. Brunčák, R. Pašteka, V. Pohánka, J. Papčo, and P. Milo. "Detecting Shallow Medieval Features in the Church of St. George, Slovakia." In Near Surface Geoscience 2014 - 20th European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20141975.
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Maksimović, Goran. "ZADUŽBINE SVETOG KRALjA MILUTINA U SRPSKIM PUTOPISIMA (KRAJ 19. I POČETAK 20. VIJEKA)." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.797m.
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The review analyzes the travelogues of Vladan Djordjević, Travel Traces by Vladan Djordjevic (Book One, Belgrade, 1865), Mita Rakić, From New Ser- bia (1881), Metropolitan Mihailo Jovanović, Christian Shrines in the East (1886), Dragomir Brzak, From Avala to Bosphorus (1895), Branislav Nušić, Kosovo - description of the country and the people (1902-03), Grigorij Božović, Lines and cuts (1928), Wonderful angles (1930), as well as Stanislav Krakov, Through southern Serbia (1926). Special attention is paid to the artistic display of the endowments of the Holy King Milutin (such as the monasteries Gračanica and Banjska, St. George in Old Nagoričanin, but also small churches dedicated to Joachim and Anna in the Studenica monastery complex, as well as the monastery Prohor Pčinjski when restored by King Milutin, and among the monastery of the Holy Archangels in Jerusalem near the Church of the Holy Sepulcher is also en- dowed). Milutin's famous endowment of the Mother of God Ljeviska in Prizren at that time was turned into a mosque and therefore is not described in detail in the travelogues. The saintly cult of King Milutin and his grave site in the church of the "Holy King" in Sofia, which was built in 1865, etc., were also pointed out.
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Grigorova, Totka. "THE THEME OF CYRIL AND METHODIUS IN THE WALL-PAINTINGS AT THE ARAPOVO MONASTERY." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.22.
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The following paper is an attempt at a complete analysis of the theme of Cyril and Methodius in the iconography at the Arapovo Monastery. In 1864 in the cella of the “St. Nedeliya” church, ten paintings, depicting the work of the Slavic teachers, were painted. They have been examined numerous times over the years, but different publications offer different interpretations of depiction for each of the scenes. The paper presents the current condition, as well as content, of said depictions. An attempt has been made to provide a background for the scenes depicted, based on available texts from the 19th century. One of the paintings depicts St. Cyril as the one who converted the Bulgarian ruler to Christianity, which contradicts the legend of Methodius, that was popular during the Bulgarian National Revival. The depiction of St. Cyril in this role could be based on “The Legend of Thessalonica” (better known in Bulgarian as “Solun”), “The Dormition of Cyril” and “The Czech Legend”, which were available in publications dating from the early 19th century. The examples lead to the conclusion that the switch of roles in the conversion scene was an intentional choice, representing the patriotic understandings of young painter Georgi Danchov regarding the fight for an independent church which was occurring during that decade. A thematically identical scene, which depicts St. Methodius in the role of baptizer, was painted in the monastery’s holy spring. The paper also provides an image with initials present, according to which, the painting was done in 1870 by Aleksi Atanasov. It depicts the Thessalonica Brothers as they are compiling the alphabet, surrounded by their pupils. There are nine people present, as opposed to the usual seven, usually referred to as the “Seven Saints”. A brochure, put out in 1857 by the bishop Polycarp, provides an explanation for that number. In publications from 1988 and 2008, there are mentions of painted figures, identified as St. Cyril and St. Methodius. These depictions serve as basis for two hypotheses for identifying them that the paper explores. The more likely of the two is the one that connects these depictions to St. Cyril and St. Athanasius of Alexandria. The monastery’s katholikon features depictions of St. Cyril and St. Methodius at the southern entrance, as well as two icons, signed by Georgi Danchov in 1866 and Nikola Danchov in 1871.
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Fedorov, Tatjana. "THE PASSION CYCLE OF ST. GEORGE IN STARO NAGORIČINO – A PARTICULAR ATTENTION ON THE ARTISTIC DESIGN ELEMENTS AND THE PARTICIPATION OF THE BEHOLDER." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.693f.
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The church of St. George in Staro Nagoričino, raised by King Milutin, has a rich treasure of Late Byzantine paintings depicting the Passion of Christ. Particularly appreciated are the fresco cycles, which fill the surfaces of the church in densely packed registers and the intelligent solutions to create clarity among the decoration. The present study is primarily approaching the profound analysis of the artistic design elements of the Passion cycle, combined with the participation of the beholder. Selected episodes are examined for the composition. In addition, the study deals with possible optical guidance assistance for the beholder, so that he can visually find his way among the church space and its densely packed fresco decoration. Results show in what way the construction of a composition connects the components of the episode. Imaginary construction lines that are shaped by figures and objects of the composition guide the beholder´s gaze throughout significant centers of the depiction. They chain the single scenes within the cycle and refer them to the beholder. In conclusion, you see, that efforts are made to achieve a harmony in a whole because the single image, the cycle and the entire space is kept in view at the same time. The participation of the beholder was taken into account in the conception of the cycle, the overall decoration of the church and its artistic design.
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Galochkina, Tatiana. "Word formative structure of words with the root lěp- in Old Russian written records." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.10121g.
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System of derivational morphology of the Old Russian language has its own characteristics based on the origin of the book vocabulary, which consisted mainly of Proto-Slavic words and calques from Greek words. The main morphological way of word formation was the heritage of the Proto-Slavic language, which developed together with the formation of morphemes as a language unit. Active derivation took place during the formation of the Old Russian book vocabulary. During this period an uninterrupted process began the creation of book translations from the Greek into Church Slavonic. The ancient scribes made extensive use of Greek words calquing, which especially intensified the creation of compound words. Compound words were formed according to the models of Greek composites, but using Russian morphemes. As a result of this process, the lexical fund of the literary language was created, which included words with the root *lěp-. Such words are contained in ancient Russian written records (“Life of St. Sava the Sanctified”, composed by St. Cyril Skifopolsky, “The Life of St. Andrew the Fool”, “The Chronicle” by John Malalas, “The Chronicle” by George Amartol, “History of the Jewish War” by Josephus Flavius, Christianopolis (Acts and Epistles of the Apostles), Uspensky Сollection of XII–XIII centuries etc.). In the article will be considered the word formative structure of words with the root lěp-.
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Galochkina, Tatiana. "Word formative structure of words with the root lěp- in Old Russian written records." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.10121g.
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System of derivational morphology of the Old Russian language has its own characteristics based on the origin of the book vocabulary, which consisted mainly of Proto-Slavic words and calques from Greek words. The main morphological way of word formation was the heritage of the Proto-Slavic language, which developed together with the formation of morphemes as a language unit. Active derivation took place during the formation of the Old Russian book vocabulary. During this period an uninterrupted process began the creation of book translations from the Greek into Church Slavonic. The ancient scribes made extensive use of Greek words calquing, which especially intensified the creation of compound words. Compound words were formed according to the models of Greek composites, but using Russian morphemes. As a result of this process, the lexical fund of the literary language was created, which included words with the root *lěp-. Such words are contained in ancient Russian written records (“Life of St. Sava the Sanctified”, composed by St. Cyril Skifopolsky, “The Life of St. Andrew the Fool”, “The Chronicle” by John Malalas, “The Chronicle” by George Amartol, “History of the Jewish War” by Josephus Flavius, Christianopolis (Acts and Epistles of the Apostles), Uspensky Сollection of XII–XIII centuries etc.). In the article will be considered the word formative structure of words with the root lěp-.
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Shaty, Georgy. "Porcelain and glass jar findings from St. George Church in Staraya Ladoga' burials (based on archaeological materials of 2013-2014." In Actual Archaeology 5. Institute for the History of Material Culture Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-04-0-2020-376-380.
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Novak, Zlatan, and Kristina Krulic. "Application of 3D technology for the documentation of late medieval wall paintings in the church of St. George in Lovran, Croatia." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413844.
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Николов, Александър. "Св. Седмочисленици и формирането на българската „протонационална“ идентичност." In Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.03.
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THE SEVEN APOSTLES OF THE SLAVS AND THE FORMATION OF THE BULGARIAN “PROTO-NATIONAL” IDENTITY (Summary) Some historians assume that the emergence of national identities in Europe is a result of social changes occurring in the Early Modern era, while others claim that this process was set in motion already in the Later Middle Ages. Similar disputes on the beginnings of the modern Bulgarian nation are also present in historiographic works. The Slavo-Bulgarian History of Paisiy Hilendarski is usually presented as the first clear sign of the emerging Bulgarian nation. The aim of this article is to confirm a proto-national stage in the development of the Bulgarian medieval ethnic community, which was instrumental for the survival and continuation of the Bulgarians as a separate ethnie and, despite the interruptions in the independent existence of the Bulgarian state and church, led to the transformation of this ethnie into a modern nation. The development of the Bulgarian medieval state, founded in 681 (widely accept¬ed date), lacks continuity. It has been interrupted in 1018 by the Byzantine conquest, which provoked deep social, economic and cultural changes and was followed by ethnic changes too. However, former Bulgarian lands, especially the core area around the last capital of the First Bulgarian Empire, Ohrid, retained certain level of ecclesiastical and economic autonomy. In the diocese of the Ohrid Bishopric began to emerge a “proto-national” pantheon, centered around the figures of St Clement of Ohrid and St John of Rila, and promoted by Byzantine prelates like Theophylactus of Ohrid and George Skylitses. The Bulgarians were regarded as a separate ethnie (according to the theory of Anthony Smith) within the limits of the Byzantine Empire, identified by their traditions, culture, language, and by their own patrons and spiritual teachers, who formed their “proto-national” pantheon. This tendency was successfully continued after the restoration of the Bulgarian state in 1185 (again a widely accepted date). The Second Bulgarian Empire had a multieth¬nic composition, including not only Slavic-speaking Bulgarians, but also Pecheneg and Cuman migrants, Vlah population, etc. All these groups, engaged very often in the gov¬ernment of the re-established empire, were centered around the political and state ideol¬ogy of the Bulgarian ‘proto-nationalism”. In the newly formed “pantheon” of national saints were included as “Bulgarians” also people with non-Bulgarian or at least disputed ethnic origin. In their Vitae, written after the liberation from the Byzantines, the question about their ethnic origin was of growing importance. Special place was given to the holy brothers Cyril and Methodius, (whose Bulgarian origin and direct links with Bulgaria are at least obscure) and five of their most prominent disciples. They were venerated as Bulgarian saints and became important part of the “proto-national” ideology of the Sec-ond Bulgarian Empire. This attitude has been transferred successfully into the national ideology of the modern Bulgarian nation. Later, in the 16th century, this group of saints was stylized as the Seven Apostles of the Slavs and acquired popularity even among the Greek-speaking clergy. Consequently, Cyril and Methodius, who were representatives of the universalistic Christian culture of the Second Rome entrusted with the task to enlighten the Slavonic peoples and to introduce them to the Holy Scriptures, together with their most prominent disciples, became emblematic figures, actively engaged in the formation of one of the Slavonic “proto-nations” during the Late Middle Ages.