Bibliografías temáticas / Peter (Cathedral)

Literatura académica sobre el tema "Peter (Cathedral)"

Autor: Grafiati

Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Peter (Cathedral)"

Barrett, Philip. "Episcopal Visitation of Cathedrals in the Church of England". Ecclesiastical Law Journal 8, n.º 38 (enero de 2006): 266–88. http://dx.doi.org/10.1017/s0956618x00006438.

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In December 1994 the Revd Philip LS Barrett BD MA FRHistS FSA, Rector of Compton and Otterbourne in the Diocese of Winchester, successfully submitted a dissertation to the University of Wales College of Cardiff for the degree of LLM in Canon Law, entitled ‘Episcopal Visitation of Cathedrals in the Church of England’. Philip Barrett, best known for his magisterial study, Barchester: English Cathedral Life in the Nineteenth Century (SPCK1993), died in 1998. The subject matter of this dissertation is of enduring importance and interest to those engaged in the life and work of cathedrals, and the Editor invited Canon Peter Atkinson, Chancellor of Chichester Cathedral, to repare it for publication in this Journal, so that the author's work might receive a wider circulation, but at a manageable length. In 1999 a new Cathedrals Measure was enacted, following upon the recommendations of the Howe Commission, published in the report Heritage and Renewal (Church House Publishing 1994). The author was able to refer to the report, but not to the Measure, or to the revision of each set of cathedral Statutes consequent upon that Measure. While this limits the usefulness of the author's work as a point of reference for the present law of cathedral visitations, its value as an historical introduction remains.

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Vlasova, Maria. "The image of Pentecost in the iconographic programme of the altar ciborium of Sts Peter and Paul Cathedral in St. Petersburg". St. Tikhons' University Review. Series V. Christian Art 53 (29 de marzo de 2024): 92–109. http://dx.doi.org/10.15382/sturv202453.92-109.

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The article is devoted to the unique monument of Peter the Great Baroque – the altar ciborium of the St. Petersburg Peter and Paul Cathedral. The study presents an analysis of the decoration of the ciborium (1722-1729, I.P. Zarudny). First of all, the connection of the iconographic and iconological program of the monument with the circumstances of the apostolic dedication of the cathedral of the new capital of the Russian Empire in the context of the church reform carried out by Peter I is traced. The synodal reform is proposed to be considered from the point of view of the principles of the structure of the ancient Church as a justification for the transition from patriarchal governance in favour of the conciliar Most Holy Governing Synod.In the article, the altar canopy of the Peter and Paul Cathedral is compared with the baldachin of the Assumption Cathedral of the Moscow Kremlin, with the imperial coronation baldachins of Catherine I and with the baldachin of D.L. Bernini from Saint Peter's Basilica in Rome. The external imitation of the European fashion for baldachins was perceived as an embellishing decoration, which didn't prevent the continuation of the Moscow tradition of church decoration in the St. Petersburg monument, and the preservation of its archetypal relationship with the Jerusalem temple. Thus, the semantic connection of the royal and Divine thrones, laid down in the early Byzantine period, continues until the beginning of the XVIII century. It has found its artistic interpretation, including in the composite monogram crowning the Cathedral of Peter and Paul, the variant of interpretation of which is proposed by the author. The theme of the kingdom in the decoration of I.P. Zarudny's ciborium is intertwined with the theme of apostolic succession and the foundation of the church. The apostolic dedication of the Peter and Paul Cathedral was embodied in the artistic solution of the entire altar composition, for which the image of the "Descent of the Holy Spirit on the Apostles" became central. The establishment of a new Church and a new Jerusalem, manifested in the image of "Pentecost", indicated a particularly important role for the new state symbolically denoting its continuity from both the artistic tradition of Byzantium and the tradition of the Western Christian world.

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Brooks, Chris. "Exeter Cathedral Church of St Peter". Archaeological Journal 147, sup1 (enero de 1990): 24–34. http://dx.doi.org/10.1080/00665983.1990.11770929.

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HUGHES, LINDSEY. "The Cathedral of SS Peter and Paul". Slavonic and East European Review 88, n.º 1-2 (enero de 2010): 25–47. http://dx.doi.org/10.1353/see.2010.0076.

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KOMOVA, M. A. "HISTORICAL AND CULTURAL EXPERTISE AND THE SOURCES OF THE RUSSIAN WOODEN SCULPTURE "NIKOLA MTSENSKY" ORIGINATION". JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 9, n.º 3 (2020): 87–100. http://dx.doi.org/10.22394/2225-8272-2020-9-3-87-100.

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The purpose of the article is to present the history and the analysis of the Russian wooden sculpture “Nikola Мtsenskiy” results of the examination from Peter and Paul Cathedral in Mtsensk. For the first time, the author conducted a historical and cultural examination of this object for religious purposes. The article defines the historical and cultural context of this object existence, its veneration as a relic, the problem of comparing the “The Legend of the appearance of the miraculous icon of St. Nicholas Wonderworker in the city of Mtsensk” and the preserved sculpture. The author also examines the historical and artistic sources of origin of similar items in the culture of the medieval Moscow state. The author dates the preserved fragment of the sculpture from Mtsensk Peter and Paul Cathedral to the late 1600s.

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SAYERS, JANE. "Peter's Throne and Augustine's Chair: Rome and Canterbury from Baldwin (1184–90) to Robert Winchelsey (1297–1313)". Journal of Ecclesiastical History 51, n.º 2 (abril de 2000): 249–66. http://dx.doi.org/10.1017/s0022046900004243.

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The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.

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McAleer, J. Philip. "A History of Ely Cathedral. Peter Meadows , Nigel Ramsay". Speculum 81, n.º 1 (enero de 2006): 239–41. http://dx.doi.org/10.1017/s0038713400020054.

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Gerov, G. P. "The early iconographic program of St. Andrew Stratelates Churchin Novgorod Detinets". Journal of Visual Theology 5, n.º 2 (2023): 164–76. http://dx.doi.org/10.34680/vistheo-2023-5-2-164-176.

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The article begins with the history of St. Andrew Stratelates Church in Veliky Novgorod. It is shown that today’s church dedicated to St. Andrew was originally built as a chapel of the Boris and Gleb Cathedral in Novgorod Detinets. The St. Andrew Stratelates Church now stands alone in the south-eastern part of Novgorod Detinets, but until 1682 it was the south-ern chapel of the Boris and Gleb Cathedral. Its earliest part was erected at the former location of cathedral’s staircase tower. The initial church, as the paper suggests, was constructed to com-memorate the capture of Swedish Landskrona fortress in 1301 by the army of Prince Andrey III Alexandrovich. It was later rebuilt by Euthymius II, the Archbishop of Novgorod, likely in 1441, simultaneously with rebuilding the Boris and Gleb Cathedral “on its old foundation”. Then the paper turns to the description and analysis of what remains today of the initial iconographic pro-gram of the original St. Andrew Stratelates Church, namely a composition with nine images of saints in the lower part of the northern wall, which belongs to the earliest period of painting. On the right we see the Apostle Peter, an Archangel (Michael?) and the Apostle Paul being blessed by Christ. In the background stand a few praying figures: St. Andrew Stratelates, the patron saint of the church, as well as the Holy Equal-to-the-Apostles St. Prince Vladimir Svyatoslavich, passion bearers princes Boris and Gleb, and two unidentified holy women. The composition was likely to be created after 1494, when the Boris and Gleb Cathedral in Novgorod burned again. Although the origins of the mural remain unknown, a connection with the capture of the Landskrona for-tress is a likely possibility. Indeed, St. Andrew Stratelates Church was first constructed in 1302, i. e., a year following the capture of Landskrona, and it was initially integrated into the Boris and Gleb Cathedral which speaks for itself in view of military overtones of the cult of Boris and Gleb.

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Mozgot, Sofia Valerievna. "East and West in the traditions of the State Museum of the History of St. Petersburg “Peter and Paul Fortress”". Pan-Art 2, n.º 2 (31 de mayo de 2022): 48–50. http://dx.doi.org/10.30853/pa20220009.

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The aim of the paper is to show the presentation of architecture traditions of the East and West in the State Museum of the History of St. Petersburg “Peter and Paul Fortress”. The article describes the historical background about the creation of “Peter and Paul Fortress” as a fortification in the beginning of the XVIII century. The major sites of “Peter and Paul Fortress” are introduced such as Petrovsky Gate, Trubetskoy Bastion Prison, Peter and Paul Cathedral. The most significant events connected with the development of this historical monument are discussed. It is concluded that the synthesis of the East and West traditions and history creates the unique beauty of this architectural and historical complex and shows the origins of architecture of the past epochs.

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CLARK, MARK J. "AN EARLY VERSION OF PETER LOMBARD'S LECTURES ON THE SENTENCES". Traditio 74 (2019): 223–47. http://dx.doi.org/10.1017/tdo.2019.2.

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The discovery of a copy (in Lincoln MS 230) of Peter Lombard's lectures on the Sentences in three books (starting with the hexameral discussion that follows the treatise on the angels in the four-book version edited by Brady) makes possible for the first time investigating the development of the Lombard's theological teaching during his Parisian teaching career and the fortuna of that teaching outside of Paris. The fact that the Lombard began his early-career lectures on the Sentences in precisely the same place as he began his lectures on Genesis means that all of his teaching originated with Scripture. Moreover, the fact that Lincoln MS 230 is one of many early copies of the Lombard's Parisian teaching found in English cathedral libraries — Lincoln's Cathedral Library has another manuscript containing another copy of the Sentences, Lincoln MS 31, this one on four books, almost certainly copied within the Lombard's lifetime — has revealed the inadequacy of Brady's edition for scholarly understanding of the Lombard's career and teaching. Until now, no scholar paid much attention to the fact that Brady's choice of manuscripts was largely arbitrary and that his edition reflected the state of the Lombard's text around the time of Bonaventure in the mid-thirteenth century. Thus this discovery makes clear that the Sentences, like Gratian's Decretum and Comestor's History, developed over time. The Sentences were not, as so long assumed, a book written by the Lombard late in his career but rather the product of lectures delivered over the course of his career. The discovery of a treasure trove of English manuscripts preserving the Lombard's earliest extant Parisian teaching will enable scholars for the first time to trace the origins and development of the institutional practices of the cathedral school of Paris right up to the time of its transformation into the University of Paris.

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Tesis sobre el tema "Peter (Cathedral)"

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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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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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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Libros sobre el tema "Peter (Cathedral)"

Klára, Benešovská, Hlobil Ivo 1942-, Kopřiva Jiří, Paul Prokop 1939- y Uher Vladimír, eds. Peter Parler & St. Vitus's Cathedral, 1356-1399. Prague: Prague Castle Administration, 1999.

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Sankt-Peterburga, Gosudarstvennyĭ muzeĭ istorii. Iconostasis of Sts. Peter and Paul Cathedral. Saint-Petersburg: Committee for culture of the government of Saint-Petersburg, 2004.

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Llewellyn, Robert. The Cathedral of Saint Peter and Saint Paul. Charlottesville, Va: Howell Press, 1988.

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Arakcheev, B. S. Saint Peter and Paul Cathedral and the Grand Ducal Burial Chapel. Saint-Petersburg: State Museum of the History of Saint-Petersburg, 2006.

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Peter, Lewis. The proctor's accounts of Peter Lewis, 1564-1565. Blackrock, Co. Dublin, Ireland: Four Courts Press, 1996.

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Gerasimova, I͡U J. The iconostasis of Peter the Great in the Peter and Paul Cathedral in St Petersburg (1722-1729). Leiden: Alexandros Press, 2004.

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Divita, James J. Indianapolis Cathedral: A construction history of our three mother churches. [Indianapolis]: Catholic Archdiocese of Indianapolis, 1986.

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Alessandro, Baccari, Scarpaci Vincenza y Zavattaro Gabriel, eds. Saints Peter & Paul Church: The chronicles of "The Italian cathedral" of the west, 1884-1984. San Francisco, Calif: Alessandro Baccari, Jr., for Saints Peter and Paul Church, 1985.

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Ria, Fabri, Hout Nico van, Aerts Willem y Onze Lieve Vrouwkerk te Antwerpen., eds. From Quinten Metsijs to Peter Paul Rubens: Masterpieces from the Royal Museum reunited in the Cathedral. [Antwerp]: De Kathedraal, 2009.

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Gendrikov, V. B. The Cathedral of St. Peter and St. Paul: The burial place of the Russian Imperial family. St. Petersburg: Liki Rossii, 1998.

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Capítulos de libros sobre el tema "Peter (Cathedral)"

Spink, Ian. "London". En Restoration Cathedral Music 1660-1714, 290–303. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161493.003.0025.

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Abstract London’s cathedral was St Paul’s·····a great medieval secular foundation and in 1660 the largest Gothic church in Europe. Just over a mile up-river was Westminster, where the abbey church of St Peter, dissolved at the Reformation, had been re-established in I 560 as a ‘Royal Peculiar’ with Dean and Chapter and a lavish choral and educational foundation. A few hundred yards to the north was the palace of Westminster, where the king had his court and Chapel Royal.

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Steinberg, Michael. "Benjamin Britten". En Choral Masterworks, 86–96. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0007.

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Abstract The War Requiem, commissioned to celebrate the consecration of Saint Michael’s Cathedral, Coventry, was composed in 1961, completed on 20 December that year, and first performed in that cathedral on 30 May 1962. The soloists were Heather Harper, Peter Pears, and Dietrich Fischer-Dieskau, who were joined by the Coventry Festival Chorus; the boys’ choruses of Holy Trinity, Leamington, and Holy Trinity, Stratford; the City of Birmingham Symphony Orchestra; and the Melos Ensemble. The chorus and full orchestra were conducted by Meredith Davies; the composer conducted the chamber orchestra. That division of conductorial duties came about because Britten was in frail health just then, but it was obviously desirable to have him take part in the premiere in some way. Some performances still use two conductors, but most are handled by just one.

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Pajor, Piotr. "Uwagi o lokalizacji i formie grobu św. Stanisława w średniowieczu". En Studia z dziejów katedry na Wawelu, 31–42. Ksiegarnia Akademicka Publishing, 2023. http://dx.doi.org/10.12797/9788381389211.02.

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This article summarizes recent findings regarding the location and setting of the tombof St. Stanislaus in Cracow Cathedral prior to the last quarter of the 14th centurywhen the bishop’s relics were placed in a silver reliquary funded by Elizabeth ofPoland. The martyr’s remains were transferred to the cathedral from the Church atSkałka around 1088, and, over time, a cult developed around them. The exact site ofthe original burial is unknown, but sources suggest it was in the form of an earthengrave. During the efforts for Stanislaus’ canonization in the 1240s, Bishop Prandotaretrieved the relics and displayed them in an unspecified location within the cathedral,this time above the floor. After the canonization, in 1254, contrary to the earlierliterature, the relics were likely placed in a chapel added to the southern aisle for thisparticular purpose; they rested there, presumably in a stone sarcophagus. The chapel underwent thorough reconstruction in the late 1340s, during the construction of the new Gothic cathedral. Most probably it acquired a new dedication to St. Peter and St. Paul at that time. Somewhat earlier, perhaps in 1346, the sarcophagus with the relics was moved to the intersection of the main nave and transept, and about three decades later, it was replaced with a silver reliquary. The emptied sarcophagus was returned to the chapel, where it was still kept in the days of Jan Długosz.

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Nardini, Luisa. "Prosulas for Graduals and Tracts". En Chants, Hypertext, and Prosulas, 135–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197514139.003.0004.

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Prosulas for graduals and tracts display a style that is either strophic or recitational. That these prosulas circulated only in the Italian peninsula shows a predilection for repetitive and simple melodic patterns in peninsular ecclesiastical circles. This preference, which could be fully exploited in prosulas for tracts and graduals, is also reflected in some Latin songs of Italian origins and that can be put in connection with monasteries and cathedral churches. The manuscript Ben35 is the largest testimony for prosula tracts compared to any other Italian source, thus revealing a particular propensity for the composition of tract prosulas by its scribe or at the monastery of St Peter Outside the Walls.

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"Simon Magus and Simon Peter in a Baroque Altar Relief in the Cathedral of Oviedo, Spain". En Simon Magus in Patristic, Medieval and Early Modern Traditions, 287–306. BRILL, 2005. http://dx.doi.org/10.1163/9789047415466_017.

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Whedbee, Simon. "The Study of the Bible in the Cathedral Schools of Twelfth-Century France: A Case Study of Robert Amiclas and Peter Comestor". En Education Materialised, 49–70. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110741124-005.

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"The Baroque Renovation of the Cathedral of Santiago de Compostela. From an Emulation of the Basilica of St. Peter to a New Monumentality". En Groß Bauen, 215–30. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035609752-017.

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Coffey, Patrick. "Science and the Nazis: Nernst and Haber". En Cathedrals of Science : The Personalities and Rivalries That Made Modern Chemistry, 151–74. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195321340.003.0006.

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Abstract In the spring of 1933, Walther Nernst, then cochairman of the University of Berlin’s department of physics, arrived at work and went looking for his colleague, Peter Pringsheim, only to be told that Pringsheim had been banned from the laboratory as a Jew. Enraged, Nernst stormed into the office of Artur Wehnelt, his cochairman. Wehnelt had been given the cochairmanship as a sinecure for past service and had always deferred to Nernst. But today he seemed puffed up, and he lectured Nernst on the importance of cleansing the laboratory of Jews and on the requirements of the new civil service law of 7 April, which clearly barred the employment of non-Aryans such as Pringsheim. Nernst was in no mood to listen. He left, hailed a taxi, and went immediately to see his old colleague and sometimes rival, Fritz Haber.

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Thompson, Guy Llewelyn. "The Place Of Paris In A Divided France". En Paris And Its People Under English Rule, 3–25. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198221593.003.0001.

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Abstract On I December 1420 King Henry V of England made his formal royal entry into Paris as regent of France and heir to the throne. The French king, Charles VI, was beside him; just behind rode the duke of Burgundy, foremost peer of France. The Parisians lined the streets, glad to welcome their king and his new ally, and the duke whom they regarded as their special leader. Although the chapter of Notre-Dame, irritated by the efforts of Henry and the duke of Burgundy to impose their nominee as bishop, declined to step more than a few yards outside the cathedral, the rest of the population was welcoming, even enthusiastic, decorating the streets and as far as possible dressing in red as a sign of celebration.

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