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AbstractThis paper presents and discusses four Latin tombstones relating to Italian residents of medieval Ephesus that have been recovered from properties on the terrace of Ayasuluk (Selçuk), near the Byzantine Church of St John the Evangelist. Two of them, dating from the late 14th century, were originally published in 1937, while the other two, from the mid- 15th century, came to light more recently in January 2017.
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Pratt, Douglas. "Unintentional Receptive Ecumenism: From Ecclesial Margins to Ecumenical Exemplar – A New Zealand Case Study." Review of Ecumenical Studies Sibiu 8, no. 2 (August 1, 2016): 219–37. http://dx.doi.org/10.1515/ress-2016-0018.
Abstract The Community Church of St John the Evangelist, situated on a relatively remote island off the east coast of New Zealand, is a unique ecumenical venture supported by the Anglican, Catholic, Methodist and Presbyterian Churches. This paper describes and situates this venture and discusses its development and modus vivendi in light of the paradigm of receptive ecumenism. This paradigm did not feature in the thinking of those who established this ecumenical community church; nevertheless it is argued that the paradigm aptly applies, so yielding the phenomenon of an unintentional receptive ecumenism at work.
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Dudley, Martin R. "Natalis Innocentum: the Holy Innocents in Liturgy and Drama." Studies in Church History 31 (1994): 233–42. http://dx.doi.org/10.1017/s0424208400012894.
It has come to our knowledge, not without grievous amazement and displeasure of heart [Bishop Grandisson wrote to the clergy of Exeter Cathedral and of other collegiate churches in his diocese before Christmas 1360] that for these past years and some years preceding, at the most holy solemnities of Christ’s Nativity, and the feasts of St Stephen, St John the Apostle and Evangelist, and the Innocents, when all faithful Christians are bound to busy themselves the more devoutly and quietly in praise of God and in Church Services, certain Ministers of our aforesaid Church, together with the boys, not only at Matins and Vespers and other hours, but also (which is more detestable) during the solemnity of the Mass have rashly presumed, putting the fear of God behind them, after the pernicious example of certain Churches, to associate together within the Church itself and play certain foolish and noxious games, unbecoming to clerical honesty.
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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.
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.
The motet Summus secretarius remains an enigma in the polyphonic output of the south Netherlandish composer Johannes Brassart (ca. 1400/5–1455). While extant sources (I-Bc Q15 and GB-Ob 213) attest to Brassart’s authorship, the message and function of this motet have long perplexed musicologists seeking to identify the work’s elusive subject and understand its cryptic language. Who is the “highest secretary” hailed at the outset, and what is this figure’s relationship to the biblical and cosmological references in the ensuing lines? Summus secretarius reveals its secrets when examined within the context of the medieval cult of St. John the Evangelist. Taking cues from Brassart’s careful musical treatment of words quoted from the Gospel of John (1:1), we can decipher the motet’s language and symbolism using a diverse array of exegetical writings, images, and liturgical music that illuminate the unique status of John as Christ’s most intimate confidant, the seer and evangelist privy to his secrets. Brassart would have experienced the evangelist’s cult most vividly through his service as singer, chaplain, priest, and canon at the collegiate church of Saint-Jean l’Evangéliste in Liège—the most likely place for the motet’s composition and performance. Summus secretarius demonstrates to an exceptional degree the hermeneutic richness of enigmatic language in the unique texts of freely composed fifteenth-century motets.
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Mariana, Yosica, and Sigit Wijaksono. "Project Evaluation and Review Technique (PERT) Analysis in the renovation project of the Church of St. John the Evangelist, Jakarta." IOP Conference Series: Earth and Environmental Science 794, no. 1 (July 1, 2021): 012188. http://dx.doi.org/10.1088/1755-1315/794/1/012188.
Goodwin, Mary. "An Art Historian Encounters a Hybrid Global History at Home: Alfredo Ramos Martinez’s Designs for Sacred Spaces." Religion and the Arts 18, no. 1-2 (2014): 120–55. http://dx.doi.org/10.1163/15685292-01801008.
Southern California’s hidden treasures include two church interiors containing elements designed by Alfredo Ramos Martinez (1871–1946). This Mexican-born artist trained in France, returned to take an activist role in Mexican revolutionary culture, and migrated to the United States in 1929. For sixteen years, his talents were in demand among members of the Hollywood elite. In 1934, he produced the fresco murals at the Santa Barbara Cemetery Chapel, a jewel of Spanish Revival architecture. His images crossed over traditional boundaries between the sacred and the profane. He created odes to human rights and suffering humanity, depicting Christ and his mother as indigenous peasants with dark-skinned New World ethnicity. A decade later in 1946, Ramos sketched designs for his final projects at St. John the Evangelist Church in Los Angeles: a series of stained glass windows representing fourteen multiethnic saints as well as incomplete oil painted Stations of the Cross that recall his earlier pictures of suffering humanity. The architectural setting—a modernist church with stripped-down forms and materials of concrete, steel, and neon—announces a radically transformed post-war industrial culture. The contrast of these two aesthetics, the Spanish Revival and the modernist, demonstrates an evolution in liturgical forms as Californians came to grips with global migrations and an evolving modernist identity.
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MAHRT, WILLIAM PETER. "Responsory prosae and the post-Christmas ‘Choir Solemnities’ at Salisbury Cathedral." Plainsong and Medieval Music 25, no. 1 (March 15, 2016): 27–36. http://dx.doi.org/10.1017/s0961137115000212.
ABSTRACTThe Christmas octave in the Sarum rite included the singing of prosae on Christmas Day and on the three days following Christmas – the feasts of St Stephen, St John the Evangelist and the Holy Innocents. After the Vespers preceding each of these three days, a procession was made to an appropriate altar in the church, during which a responsory was sung with its prosa and wordless melismas after each prosa verse, with two responsory prosae based upon the melody from Christmas. These processions featured, in turn, the deacons, the priests and the choirboys, vested in silken copes and carrying lighted candles, going to the altar of St Stephen, of St Peter and All Apostles, and of Trinity and All Saints (the Lady Chapel). Rubrics indicate their special character, especially for St Stephen, described as solemnitas diaconorum, but also for all three, described as being for the sake of deacons, priests and choirboys in turn. Processions to altars in Salisbury Cathedral were strictly limited to one each year; these processions took up those three altars, which then had no further processions on their proper days. The processions had been established during the initial building-phases of the cathedral, when only these three altars existed. This exceptional series of processions emphasised the distinct importance of the Christmas octave and honoured the hierarchy of the choir, who served the liturgy throughout the year.
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Nalewaj, Aleksandra. "Janowe wyznania wiary w ujęciu Prospera Grecha." Ruch Biblijny i Liturgiczny 58, no. 3 (September 30, 2005): 191. http://dx.doi.org/10.21906/rbl.595.
Confessions of faith in the New Testament are the Early Church’s reply to the apostolic kerygma, which centre was Jesus and His saving work. The John’s Tradition includes many texts, which in their literature structure and theological content unmistakably indicate the confession of faith. In the Fourth Gospel and John’s Epistels, Prosper Grech has distinguished thirty-two text groups, which can be called formulae of faith in strict sense. The author has classified the formulae according to the following criteria:– verbs that introduce confessions,– Christological titles,– Jesus’ work,– Sitz im Leben of formulae.The Johannine Tradition does not include the formulae on Jesus’ Passion and Death which are so frequent in St. Paul and the Acts of the Apostles because the fourth evangelist represents the high Christology. His ideas are focusing on Incarnation, Revelation and Salvation with a universal dimension. Presence of so many homologies in the Writings of John proves that in the Early Christian era the Christological ideas were developing. In the future, the formulae of faith will contribute to the Credo of the Church.
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Bufeev, F. K., I. A. Demkin, M. A. Naumov, and D. D. Shubina. "The Chemical and Mineralogical Changes of Soils Composition in the Destroyed Pile Foundations of Russian Architecture Monuments (The example of the Church of St. John the Evangelist)." IOP Conference Series: Earth and Environmental Science 666, no. 4 (March 1, 2021): 042094. http://dx.doi.org/10.1088/1755-1315/666/4/042094.
Mitchell, Heather. The Kirkyards of Blairdaff, St John the Evangelist, St Ninian & The Chapel of St Apollinaris. Aberdeen: Aberdeen & North-East Scotland Family History Society, 2014.
Mansell, Sue. [Parish registers of St. John the Evangelist, Church of England, Berlin, now Kitchener, Ontario]. Kitchener: Waterloo-Wellington Branch, Ontario Genealogical Society, 1985.
Lynch, Edward J. The history of Saint John the Evangelist Parish, Canton, Massachusetts, 1861-1996. [Canton, Mass: St. John the Evangelist Parish, 1996.
Book chapters on the topic "St John the Evangelist (Church : Dudley)":
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Diarmait Mac Carthaig. "10. Diarmait Mac Carthaig, King of Desmond, to the Church of St John the Evangelist, Cork." In Irish Royal Charters: Texts and Contexts, edited by Marie Therese Flanagan. Oxford University Press, 2005. http://dx.doi.org/10.1093/oseo/instance.00263324.
