Artículos de revistas sobre el tema "Peter (Cathedral)"
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1
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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Cambridge, Eric. "The Romanesque Abbey of St Peter at Gloucester (Gloucester Cathedral)." Journal of the British Archaeological Association 174, n.º 1 (1 de enero de 2021): 195–97. http://dx.doi.org/10.1080/00681288.2021.1965325.
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Pesenson, Michael y Julia Gerasimova. "The Iconostasis of Peter the Great in the Peter and Paul Cathedral in St. Petersburg". Slavic and East European Journal 50, n.º 4 (1 de diciembre de 2006): 737. http://dx.doi.org/10.2307/20459400.
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Buzykina, Irina N., Yulia N. Buzykina, Marina Perst, Alexandra D. Golovkova y Zoya Yu Metlitskaya. "Incunable from the Book collection of Metropolitan Pitirim (Nechayev) (Monastery of St Joseph of Volokolamsk). The first attempt of attribution". Russian Journal of Church History 1, n.º 2 (8 de julio de 2020): 97–115. http://dx.doi.org/10.15829/2686-973x-2020-2-24.
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The following notice is the first draft description of the incunable, the famous Peregrinatio in terram sanctam, written by German nobleman, cathedral dean and politician in the Electorate of Mainz, Bernhard von Breidenbach, which had been discovered in the April 2020 in the library of St Joseph of Volokolamsk Monastery. This example is a German translation into early modern standard German dialect. By the comparison of the discovered book with the digital images of the editions of 1486 (Peter Schöffer of Mainz) and circa 1500 (Peter Drach of Speyer) collected in the European libraries it was identified as one of the copies printed circa 1500. Digitized copies are available in Bayerische Staatsbibliothek und Herzog August Bibliothek in Wolfenbüttel.
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Fuadi Nuriz, M. Adib, Abdullah Muslich Rizal Maulana, Silmi Rahma Pertiwi, Anis Kamila Zulfa, Naeli Nafis Syahda Tarmidzi y Dianah Nabilah. "Membongkar Makna Keagamaan dalam Estetika Dekorasi: Gereja Katedral Santo Petrus di Bandung". Abrahamic Religions: Jurnal Studi Agama-Agama 3, n.º 2 (30 de septiembre de 2023): 239. http://dx.doi.org/10.22373/arj.v3i2.16736.
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This article aims to explore the symbolism contained in St Peter's Cathedral, a historic church in the city of Bandung. Designed by architect Ir. C. P. Wolf Schoemakre and blessed by Mgr Luypen, the construction of St Peter's Cathedral shows a variation of the generally gothic European architectural style, while still incorporating symbolic elements of the Catholic religion in its architectural structure. These symbols not only have a decorative function, but also contain religious values that show the spiritual majesty reflected in the architectural form of St Peter's Cathedral. To uncover the religious meanings contained, the researcher used field observation methods and rigorous interviews. This research concludes that every religious symbol in St Peter's Cathedral has a religious dimension that calls for sacred respect by its adherents. In this ever-evolving era, deep meaning is often lost in the attention to mere appearance, resulting in insensitivity to the values embedded in symbols. Hence, an in-depth examination of the richness of meaning in these symbols becomes indispensable. As such, this article offers a fundamental and in-depth analysis of the symbolism of St Peter's Cathedral, exploring the depth of spiritual meaning embedded in each of its architectural details.AbstrakArtikel ini bertujuan untuk mendalami simbolisme yang terkandung dalam Gereja Katedral Santo Petrus, sebuah gereja bersejarah di kota Bandung. Dirancang oleh arsitek Ir. C. P. Wolf Schoemakre dan diberkati oleh Mgr. Luypen, konstruksi Gereja Katedral St. Peter memperlihatkan variasi dari gaya arsitektur Eropa yang umumnya gotik, sementara tetap memadukan elemen-elemen simbolis agama Katolik dalam struktur arsitekturnya. Simbol-simbol ini tidak hanya memiliki fungsi dekoratif, tetapi juga mengandung muatan nilai religius yang menunjukkan keagungan spiritual yang tercermin dalam rupa arsitektur Gereja Katedral Santo Petrus. Untuk membuka makna religius yang terkandung, peneliti menggunakan metode observasi lapangan dan wawancara yang teliti. Penelitian ini berkesimpulan bahwa setiap lambang keagamaan di Katedral St. Peter memiliki dimensi religius yang memanggil untuk dihormati secara sakral oleh para penganutnya. Dalam era yang terus berkembang ini, makna mendalam seringkali terhempas oleh perhatian pada penampilan belaka, mengakibatkan ketidakpekaan akan nilai-nilai yang tertanam dalam simbol-simbol. Oleh karena itu, sebuah telaah mendalam mengenai kekayaan makna dalam simbol-simbol tersebut menjadi sangat diperlukan. Dengan demikian, artikel ini menawarkan analisis yang mendasar serta mendalam terhadap simbolisme Gereja Katedral Santo Petrus, menggali kedalaman makna spiritual yang tersemat dalam setiap detil arsitekturnya.
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Kinshin, Vadim V. "The Battle of Preussisch-Eylau: The Fate of Trophy French Flags (1807)". Herald of an archivist, n.º 2 (2019): 583–94. http://dx.doi.org/10.28995/2073-0101-2019-2-583-594.
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The article presents results of the study of the fate of Napoleon’s army flags taken by Russian troops in the bloody battle of Preussisch-Eylau on January 26-27, 1807. These trophies were considered especially valuable in the Russian Empire. As the eternal symbol of the glory of the Russian arms, they were placed in the Peter and Paul Cathedral in St. Petersburg on February 3, 1807. However, from October 1812 they were thought to have been transferred to an unknown location and fate. Lack of reliable information, confirmed by archival documents, gave birth to several unreasonable inferences and hypotheses. Although the very possibility of a complete disappearance of valuable trophies is dubious, the issue has remained unstudied. The article is to establish the fate of the trophy flags. The study of scholarship on the Russian Imperial army, memories of the participants in the battle and regimental histories allow to establish the circumstances of the French flags capture and their exact number, while Kammerfurier journals provide information on their delivery to the cathedral. Documents found in the archives have illuminated the fate that befell these flags. Contrary to conventional belief, six trophy flags were brought to the capital with an escort of two platoons of the Horse Guards Regiment. It has been established that the Preussisch-Eylau trophies had not been transferred from the Peter and Paul Cathedral in 1812, but remained there until October 1906. As careful preservation and restoration was then needed, they were transferred to the Museum of Artillery History for temporary storage, until the Military History Museum was built. In March 1918, together with other museum valuables, they were evacuated to Yaroslavl, where four were burned during the suppression of the White Guard uprising. The vestiges of the remaining two were transferred to the State Hermitage Museum in 1948.
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CLARK, MARK J. "Hereford and Lincoln Cathedral Libraries during the High Middle Ages". Journal of Ecclesiastical History 71, n.º 3 (30 de abril de 2020): 502–26. http://dx.doi.org/10.1017/s0022046919002380.
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In this study evidence is brought forth from large treasuries of scholastic manuscripts at Hereford and Lincoln that challenges R. M. Thomson's assessment of the importance of those collections during the High Middle Ages. As it turns out, as early as the twelfth century those libraries contained copies of the most important works in the developing Parisian theological curriculum, and the earliest copies of those works may reside in these and other English cathedral libraries. Manuscripts preserving early versions of the Sentences are especially interesting, since they make it possible to study the evolution of Peter Lombard's thought during his lifetime.
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Bećir, Ante. "Crkvene institucije u srednjovjekovnoj praksi". Croatica Christiana periodica 45, n.º 88 (2021): 21–46. http://dx.doi.org/10.53745/ccp.45.88.2.
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The article sought to put the social and political agency of the Trogir Canons in the period from 1300 to 1360 into the wider context of political conflicts that took place between opposing noble factions within the Trogir commune in the 14th century. However, before commencing with the analysis, the author gives a basic insight into the status and infrastructure of the Trogir ecclesiastical organization, situated in its respective Dalmatian- Croatian and Hungarian context. Starting with the normative definition of a Cathedral Chapter, which exists to assist the Bishop and engage in the pastoral care of its human flock, the article compares the idea with the practical dealings of the Trogir Canons. It is highlighted that their dealings were almost primarily concerned with these-worldly matters. On the other hand, and on the basis of tracking several Trogir Canons, namely Jacob son of Peter (Vitturi), John son of Peter (Castrafoci), Stephan son of Michael (Cega), Lampredius son of Jacob (Vitturi), Kazarica son of Martin (Kazarice), Albert son of Marinus (Andreis) and some others, which are heavily exposed in the primary sources, it is argued that the Trogir Cathedral Chapter was not functioning in practice as an independent church corporation, rather than the Canons were in one way or another involved in the factional strifes. More precisely, the considered canons were deeply connected with the noble families, from which practically all of them originated, and sequentially with the informal factions. Therefore, the Canons exploited the existing institutional (corporate) framework and material resources of the Cathedral Chapter in the pursuit of their own individual or factional goals. In that respect, the Cathedral Chapter cannot be considered as an entity separate from the activities of the city lay authorities, regardless of the actual distinction in political and judicial jurisdiction between ecclesiastical and secular institutions. The Case of Trogir provided very fruitful material, which allowed the unraveling of social and political networks and the role of individual participants in the collective (political) agency. In other words, the paper put the focus more on individual agency, and less to structures, bearing in mind that individual agency is exactly that which shapes the institutions in the end.
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JONES, N. "PETER MAXWELL DAVIES-S 'SUBMERGED CATHEDRAL': ARCHITECTURAL PRINCIPLES IN THE THIRD SYMPHONY". Music and Letters 81, n.º 3 (1 de agosto de 2000): 402–32. http://dx.doi.org/10.1093/ml/81.3.402.
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Bonnet, Charles. "The archaeological site of the cathedral of Saint Peter (Saint‐Pierre), Geneva". World Archaeology 18, n.º 3 (febrero de 1987): 330–40. http://dx.doi.org/10.1080/00438243.1987.9980010.
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Allen, Joanne. "Nicholas V’s Tribuna for Old St. Peter’s in Rome as a Model for the New Apsidal Choir at Padua Cathedral". Journal of the Society of Architectural Historians 72, n.º 2 (1 de junio de 2013): 166–88. http://dx.doi.org/10.1525/jsah.2013.72.2.166.
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In 1486 the Padua Cathedral canons requested permission to build a new apsidal choir in “the way and structure of the church of St. Peter in Rome.” The canons were evidently referring to the unfinished Vatican tribuna: a deep vaulted apse at the west end of St. Peter’s. Newly published documents reveal that both Nicholas V and Paul II spent large sums on its construction. The Paduan case shows that the Vatican tribuna was influential in terms of architectural type and function. Although the physical extent of the fifteenth-century work is hard to determine, Bramante’s continuation of the extension in the sixteenth century shows it was considered substantial enough not to abandon completely. In Nicholas V’s Tribuna for Old St. Peter’s in Rome as a Model for the New Apsidal Choir at Padua Cathedral, Joanne Allen suggests that the St. Peter’s project could represent an important episode in the development of extended high altar chapels and retrochoirs, a phenomenon that gained momentum in the decades after work began on the Vatican tribuna.
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Paszkowski, Zbigniew W. y Magdalena Balcerzak. "FIRE PROTECTION IN RELIGIOUS MONUMENTS: ON THE EXAMPLE OF NOTRE-DAME DE PARIS AND THE CATHEDRAL OF ST. PETER AND ST. PAUL IN NANTES, FRANCE". Space&FORM 2023, n.º 54 (22 de junio de 2023): 7–30. http://dx.doi.org/10.21005/pif.2023.54.b-01.
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The cases of the fires of Notre-Dame in Paris and St Peter and St Paul in Nantes present the effects of the gradual neglect of monument conservation and their impact on a decrease in safety. The causes and consequences of the fires were described. Differences in the methods of technical protection and reconstruction after a fire have been specified. It was reported that in the Cathedral in Nantes, the wooden truss was replaced with a concrete one, whereas in Notre-Dame the original truss will be recreated. The need to select fire protection and reconstruction methods on a case-bycase basis and use comprehensive fire-resistance systems was indicated.
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Chuchaev, Alexander I. "Criminal and military-criminal legislation in the creative heritage of P.S. Romashkin". Gosudarstvo i pravo, n.º 5 (2023): 32. http://dx.doi.org/10.31857/s102694520025193-3.
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Pyotr Semyonovich Romashkin (1915 - 1975) – Corresponding Member of the USSR Academy of Sciences, Doctor of Law, Professor; in 1958 - 1964 he headed the Institute of State and Law of the USSR Academy of Sciences, after 1964 he headed the Sector of General Problems of Criminal Law of the Institute. Author of a number of works on Criminal and International Criminal Law. The article analyzes his monograph “The main principles of the criminal and military criminal legislation of Peter the Great” (Moscow, 1947) - the first and, unfortunately, the last in the Soviet and post-Soviet criminal law literature study of the legislation of the Peter the Great era. The general issues of the Criminal and Military Criminal Law of Peter the Great are considered, its difference from both the previous criminal legislation and the Cathedral Code of 1649, which operated along with the military Articles of 1715. The author’s views on the crime and punishment reflected in the imperial acts, his assessment of the scope of these Articles, types of punishments and, in particular, the death penalty are investigated. P.S. Romashkin expressed his own point of view on a number of issues, therefore, the work of pre-revolutionary criminologists on both Criminal and Military Criminal Law is widely used in the article.
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Dementyeva, V. V. "A Retrospect of Antiquity While Proclaiming Peter I the Father of His Homeland, Emperor, and Great". Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 165, n.º 1-2 (24 de octubre de 2023): 109–18. http://dx.doi.org/10.26907/2541-7738.2023.1-2.109-118.
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This article analyzes the references to Antiquity in “The Petition of the Senators to Tsar Peter I for the Adoption of the Title of Peter the Great, the Father of His Homeland and the Emperor of All Russians” (on October 21/22, 1721) and in “The Speech Written and Delivered by Peter I at the Old Trinity Cathedral of St. Petersburg after He Had Read Out the Peace Treaty with Sweden” (on October 22, 1721), when he adopted the above titles). The Latin spellings of these titles in the texts of the 1720s were examined (based on the published version of A.F. Sigismundi’s speech on signing the Treaty of Nystad). The retrospective look of the contemporaries of the studied events at the history of Antiquity was discussed: particular attention was paid to the historical ideas about the ancient Roman state expressed by P.N. Kriokshin, an associate of Peter I, along with his views on the Slavic–Russian history. The commitment to the values of ancient societies (heroic service to the Homeland, patriotism, valor, and courage) along with the political focus on the image of the Roman state strengthened the socioideological background of the Russian statehood. In was concluded that the great figures who shaped the Russian empire in the 18th century were concerned, consciously and purposefully, with providing additional stability to the whole system and thus relied on the past experience of Antiquity.
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Tsap, Mykolaj. "ARCHIPRIEST PETER TKACH IN THE HISTORY OF ZABOROL PARISH «CATHEDRAL OF THE BLESSED VIRGIN»". Volynskyi Blahovisnyk 5 (2017): 220–37. http://dx.doi.org/10.33209/2519-4348-2017-5-37.
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Cothren, Michael W. "Fragments of an Early Thirteenth-Century St. Peter Window from the Cathedral of Rouen". Gesta 37, n.º 2 (enero de 1998): 158–64. http://dx.doi.org/10.2307/767255.
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Anderson, Martin. "London, St Paul's Cathedral: Tallis Scholars' 40th Anniversary Concert: Jackson, Whitacre and Walker". Tempo 67, n.º 265 (julio de 2013): 77–78. http://dx.doi.org/10.1017/s004029821300051x.
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It seems improbable that the Tallis Scholars can have given their first concert 40 years ago: while the rest of us have crumbled, their conductor, Peter Phillips, hardly seems older now that he did when he founded the group. New music has been an increasingly important part of their repertoire over the decades, rubbing shoulders with the Renaissance stalwarts, and so it was gratifying that their anniversary concert should feature two world premières and one first London hearing. The venue on 7 March could hardly have been more imposing: the singers were stationed under the dome of St Paul's Cathedral, the audience radiating out from them towards three of the four points of the compass; and it seemed that most of the British musical establishment had come to pay homage and say thanks.
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Dovgan Nurse, Luba y Valentina Ljubić Tobisch. "Two leather-covered cases attributed to the Nuremberg goldsmith Peter Kuster, c. 1550". Portal, n.º 12 (27 de diciembre de 2021): 43–60. http://dx.doi.org/10.17018/portal.2021.3.
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Close-fitting cases (German term Futterale) for silverware of the Renaissance period have received much less attention than the artefacts they were designed to protect. These cases are significant in that, together with the silverware, they make an ensemble and provide insight into the historical practices of care and display of treasures. The ewer-and-basin set, dating to c. 1550 and attributed to the Nuremberg goldsmith Peter Kuster, from the Reliquary of the Cathedral of the Assumption of the Virgin Mary in Dubrovnik, Croatia, underwent technological and scientific investigation, and conservation treatment for an exhibition in 2019. The paper offers an overview of the definition of fitting cases, Futterale, the materials, and the techniques of making such cases, provides historic examples of cases for comparison, and discusses the issues surrounding their preservation. The construction details and condition of the cases by Peter Kuster are provided, followed by a summary of the conservation treatment carried out. The paper contributes to the understanding of Renaissance materials and techniques and the historical practices of care for valuable artefacts.
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Reich, Szabina. "Die archäologischen Ausgrabungen der Bischofskathedrale Hl. König Stephan in Székesfehérvár". Specimina Nova Pars Prima Sectio Medaevalis 10 (27 de abril de 2022): 171–98. http://dx.doi.org/10.15170/spmnnv.2019.10.09.
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Excavations had been going on within and near the cathedral of King Saint Stephen in Székésféhérvár. This is the place where the Saint Peter parish church might have stood in the Middle Ages. We know four building periods of it. An originally four lobed church had been extended to a singlé navé construction with a polygonal apsé and a chapel, which is a today’s southern tower. Then another chapel was built on the opposite side, and the former chapel became a sacristy. In the fourth period the building was reconstructed to a three-nave church with two eastern towers. The medieval building was destroyed in the Baroque era except for the two towers.
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Mato-Mora, Patricia. "A single ecstasy: Material intimacy in Miquel Barceló’s ceramics in the Cathedral of Palma de Majorca". Craft Research 14, n.º 1 (7 de marzo de 2023): 81–99. http://dx.doi.org/10.1386/crre_00095_1.
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An analysis of Miquel Barceló’s ceramic intervention in the Chapel of Saint Peter (renamed Chapel of the Holy Sacrament after the intervention), inside the Cathedral of Palma de Majorca (Spain), engenders a discussion about the relationship between the artist and his material. This analysis uses a Taoist lens to give a novel reading of the artwork, the artist’s practice, and of contemporary western notions about art, architectural space, materiality and the body. On the basis that, in Taoism, human organisms and ‘nature’ are understood to be a single integral unity, this conception is hereby extended to include matter, thus presenting a vigorous physical engagement with materiality as an ‘artful erotic contact’ between the human organism and a material.
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Zarzo, Manuel. "The Holy Chalice of the Last Supper Venerated in Valencia, Spain: Answering Historic Questions to Pilgrims as a Basis of Fostering Cultural Tourism". Heritage 6, n.º 11 (18 de noviembre de 2023): 7202–14. http://dx.doi.org/10.3390/heritage6110377.
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The Cathedral of Valencia has kept an important relic since 1437: the Holy Chalice of the Last Supper. It consists of an agate cup, a gold stem, and a gemstone foot. According to a pious tradition, this cup is the one used by Jesus of Nazareth to institute the Eucharist. Tourists visiting Valencia Cathedral often doubt its authenticity. There are certain queries that pilgrims wonder about, some of which have not been studied in depth. For example: What is known about the family who owned the chalice? Why would Jesus use a gemstone cup instead of one made of glass, silver, or gold? Aimed at clarifying these concerns, the research methodology was essentially centered on a review of the literature. The main conclusions are the following: (i) The Cenacle belonged to a rich disciple of Jesus, who would have lent him a valuable cup of blessing. Quite likely, it was the family of Saint Mark, who had a close link with Saint Peter. (ii) It is unlikely that Jesus used a cup made of glass because this material was relatively affordable. By contrast, gemstone vessels were highly appreciated. This case study highlights the importance of promoting historic and scientific studies about Christian artworks as a pre-requisite to foster heritage tourism.
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Gaidenko, P. I. "TRIAL OF METROPOLITAN PETER IN THE EYES OF CONTEMPORARIES AND SCRIBES OF THE XVI CENTURY". Juridical Journal of Samara University 6, n.º 3 (28 de septiembre de 2020): 19–27. http://dx.doi.org/10.18287/2542-047x-2020-6-3-19-27.
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The article presented to the attention of readers is devoted to the question of the attitude of the clergy and other contemporaries of the events of the XIVXVI centuries to the problem of material abuse of bishops. As an example, we consider a set of sources related to the history of the trial of Metropolitan Peter of Moscow, who was accused by the Tver Bishop Andrei of accepting fees for the services and ordinations performed. The main sources of news about those events are hagiographic news published by scribes of the XVI century. in the most important collections of the time in the Great Reading for Months and the Book of Degrees of Thus, these hagiographic texts contributed to the formation of ideas about the rights of the Metropolitan among readers on the example of the history of Peter the Great. Examination of the hagiographic text allows us to conclude that the circumstances of the court described in the life quite accurately record the socio-political situation in which the cathedral was assembled. These texts extremely adequately convey the procedural side of the proceedings. An analysis of the reports allows us to conclude that the accusations against Metropolitan Peter were not unfounded, and the attitude towards the bishop on the part of the Grand Duke and part of the higher clergy remained openly negative. The investigation was conducted by the patriarchal ambassador. There is every reason to believe that the case ended with the reconciliation of the parties. An inquiry into Metropolitan Peter showed that the position of the Metropolitan, supported by the Allies, was stable. Peter not only was able to turn the tide, but latermanaged to deal with his opponents. Obviously, the social status of the metropolitan was high and granted the Russian first hierarchs de facto jurisdiction over matters of material abuse.
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MAHRT, WILLIAM PETER. "Responsory prosae and the post-Christmas ‘Choir Solemnities’ at Salisbury Cathedral". Plainsong and Medieval Music 25, n.º 1 (15 de marzo de 2016): 27–36. http://dx.doi.org/10.1017/s0961137115000212.
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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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Corral Lafuente, José Luis. "Con esta magnificencia y magestad. Espectáculo, símbolos y arte en la coronación de los Reyes de Aragón". Artigrama, n.º 37 (30 de junio de 2023): 51–68. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379199.
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Resumen La corona ha sido el principal símbolo de la realeza. Los reyes de Aragón no se coronaron en los dos primeros siglos de existencia del reino, pero en 1204 la situación sufrió un giro decisivo. Pedro II recibió la corona en Roma, y desde entonces los reyes de Aragón, con la excepción de Jaime I, disfrutaron del privilegio de ser coronados en la ciudad de Zaragoza, y lo hicieron por sí mismos. El ritual de la coronación se convirtió en el acto de manifestación pública más importante y simbólico de la monarquía aragonesa medieval. Abstract The Crown is the most notorious symbol of the Monarchy. The Kings of Aragon was not crowned during the two first centuries of your History, but in 1204 the situation is changed. Peter II was crowned in Roma, and in this moment, except James I the Conqueror, they enjoyed the privilege of receive the Crown in Saragossa city for themselves. The coronation’s ritual became in the act of public manifestation more important and symbolic of the medieval Monarchy Aragonese. Keywords Crown of Aragon, Coronation of the kings of Aragon, Peter II, James I the Conqueror, La Seo Cathedral, Aljafería Palace, Saragossa.
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Druzdiev, Oleh. "Oriental plots in the history of the Saints Peter & Paul Garrison church (Jesuit church) in Lviv." Text and Image: Essential Problems in Art History, n.º 1 (2023): 100–112. http://dx.doi.org/10.17721/2519-4801.2023.1.07.
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The opening of the former Jesuit Cathedral of the Saint Apostles Peter and Paul in Lviv in December 2011, which got the status of the Garrison Church, actualized the issue of this research and the understanding of its historical and cultural heritage. The process of church restoration that started in 2012 and continues to this day has become the catalyst for these studies. To a large extent, significant attention to artistic and historical research on the exterior and interior of the temple has been drawn by the need for a professional restoration of the church’s ornaments. Taking into account the fact that the majority of the church’s ornaments were created mostly in the XVII-XVIII centuries, its research provides an opportunity to understand the artistic and religious culture of the region at that time in a better way. At the same time, such studies provide an opportunity to research interregional cultural interactions as well. One of the examples is the plots connected with the events and peoples that inhabited the Near and Far East. Eastern motives occupy a special place in the activity of the Society of Jesus, which was particularly successful in spreading the Word of God in the Orient starting from the XVII-XVIII centuries. According to the sources, Lviv has also played an important role in the «Eastern»” plans of the Jesuits. In a way, Lviv was a center from which Jesuits gradually expanded their structure to the East. In particular, some monks started their missions to the Ottoman Empire and neighboring lands from Lviv. Moreover, a significant number of different nations of the East among whom monks carried out their missionary work was located in the city. These events were reflected in the artistic ornaments of the church of the Saint Apostles Peter and Paul as well as in its activity. In spite of the fact that the Eastern motives could be studied as a separate research group, they comprised a logical part of the general church ornaments that were based on the idea of missionary work. Taking into account what was mentioned before, this article is an attempt to interpret the ornaments of the Garrison Church of Saint Apostles Peter and Paul (former Jesuit Cathedral) a significant part of which is dedicated to Eastern motives.
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Smertin, P. R. "COMPARISON OF CHILD MORTALITY RATES IN PERM IN THE 18TH CENTURY ACCORDING TO METRIC CHURCH BOOKS AND SKELETAL REMAINS DATA". Вестник Пермского университета. История, n.º 2 (61) (2023): 162–71. http://dx.doi.org/10.17072/2219-3111-2023-2-162-171.
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The article analyzes child mortality in Perm in the 18th century. The data of sex and age definitions of the skeletal remains obtained during excavations of the Peter and Paul Necropolis in 2021, as well as data from the church metric books of the Peter and Paul Cathedral (1792–1796) and some statistical data, were used. At the Peter and Paul necropolis, formed near the Peter and Paul Church, the first citizen of Perm were buried. This is especially relevant in the year of the celebration of the 300th anniversary of the city. Results were obtained on high child mortality – about 70% of the total group. The maximum mortality is recorded in infancy (up to 1 year), it also accounts for 70% of all children. Interestingly, the mortality rate of infancy in lacteous period (from 28 days to 1 year) is significantly higher than in newborns (natus, from birth to 28 days). The causes of child mortality could be different: infectious, gastrointestinal, colds, congenital anomalies, etc. When comparing data on mortality and fertility, it turned out that the born generation lost half of its representatives. The consequence of this is a low natural increase in the population of Perm, even with a high fertility of the population. High child mortality (especially in infancy) was characteristic of pre-industrial society. In Perm province, it has remained consistently high for several centuries, which provides important historical information about the socio-economic development of the country and the region, as well as the sanitary and hygienic condition of the population and the level of the development of medicine.
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Salimov, Alexey Maratovich. "Peter I and Zheltikov Monastery in Tver". Vestnik of Saint Petersburg State University of Culture, n.º 1 (54) (2023): 44–50. http://dx.doi.org/10.30725/2619-0303-2023-1-44-50.
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The Assumption Zheltikov Monastery in Tver is one of the oldest monasteries in the capital of the Upper Volga region. Founded at the end of the 14th century, already at the beginning of the 15th century it acquired the stone Assumption Cathedral, the original architecture of which became a bright page in the history of ancient Russian architecture of the 14–15th centuries. In the second half of the 17th century, the tradition of building stone constructions in the monastery was continued not without the participation of Tsar Alexei Mikhailovich, who treated Bishop Arseny, the founder of the Zheltikov monastery, with great reverence. These works were continued at the very beginning of the 18th century, when the monastery was surrounded by a high stone fence, and in the structure of its «front» eastern wall, a new Holy Gate with a gate temple in the name of St. Alexei the man of God appeared (until 1709). Near it, two-story stone chambers were built at the same time, which soon received the name «tsar’s palaces». The creation of the gate church with this dedication and the «tsarevich» chambers, according to sources of the second half of the 18th century, was due to the order of Peter I, which, according to researchers who wrote about this monastery since the last quarter of the 18th century, was caused by the fact that the tsar decided to make the Zheltikov monastery a kind of «country residence» for his son Tsarevich Alexei. The article attempts to determine when exactly Peter I could act as the customer of these structures, and who implemented the wishes of the monarch on the site.
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ANDRÉE, ALEXANDER. "PETER COMESTOR'S LECTURES ON THE GLOSSA “ORDINARIA” ON THE GOSPEL OF JOHN THE BIBLE AND THEOLOGY IN THE TWELFTH-CENTURY CLASSROOM". Traditio 71 (2016): 203–34. http://dx.doi.org/10.1017/tdo.2016.2.
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The traditional account of the development of theology in the twelfth and thirteenth centuries is that the emerging “academic” discipline of theology was separated from the Bible and its commentary, that the two existed on parallel but separate courses, and that the one developed in a “systematic” direction whereas the other continued to exist as a separate “practical” or “biblical-moral” school. Focusing largely on texts of an allegedly “theoretical” nature, this view misunderstands or, indeed, entirely overlooks the evidence issuing from lectures on the Bible — postills, glosses, and commentaries — notably the biblical Glossa “ordinaria.” A witness to an alternative understanding, Peter Comestor, master and chancellor of the cathedral school of Paris in the second half of the twelfth century, shows that theology was created as much from the continued study of the Bible as from any “systematic” treatise. Best known for his Historia scholastica, a combined explanation and rewrite of the Bible focusing on the historical and literal aspects of sacred history, Comestor used the Gloss as a textbook in his lectures on the Gospels both to elucidate matters of exegesis and to help him deduce doctrinal truth. Through a close reading of Comestor's lectures on the Gospel of John, this essay reevaluates the teaching of theology at the cathedral school of Paris in the twelfth century and argues that the Bible and its Gloss stood at the heart of this development.
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Of the Journal, Editorial board. "Certificate of the Holy Unity". Ukrainian Religious Studies, n.º 81-82 (13 de diciembre de 2016): 26–28. http://dx.doi.org/10.32420/2017.81-82.740.
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In the name of the triune God, we are gathered at the next Cathedral in Berenshit, in the church of St.. Mykodlaya, Mitropolit, and bishops of the Greek rite, proclaim to eternal memory: Seeing that the monotony of the Church of God in the gospel and the teaching of our Lord Jesus Christ is based on one Peter, as if on a stone, so that the Church of Christ would stand firmly under the rule and leadership of his one, so that in one body there was one head, and in one house only one master and the bearer of God's favor, placed over the people of God, to care for the order and goodness of all, and because this order, which began from the Apostolic times, continued in the Divine Church continuously . Therefore, all the Eastern Patriarchs in the affairs of faith and in the reception of the spiritual authority, as well as in the episcopal courts and responses, have always been related to the successor of St. Peter, the Holy Pope, as is evident from the Ecumenical Councils and the rules of the Holy Fathers. This is satisfactorily proved by other Slavic letters, which have already been translated into Greek from ancient times, as well as by the holy Fathers of the Eastern Churches. They all recognize this holy throne of Peter, his privilege and his authority over bishops of the whole world.
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Koerner, Joseph Leo. "On Peter Weibel". October, n.º 184 (2023): 147–50. http://dx.doi.org/10.1162/octo_a_00488.
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Abstract He was always the youngest in the group. In 1966, the core participants in what he—with Valie Export—would later dub “Viennese Actionism” applied for government funding to attend the Destruction in Art Symposium in London. The group sent him, just twenty-two years old, to the ministry to argue their case. He remained their go-to spokesperson. On June 7, 1968, at the Kunst und Revolution event in Lecture Hall 1 of the University of Vienna, it was he who introduced the wild proceedings with an “Inflammatory Speech,” his raised right asbestos-gloved hand in flames. Ending quickly in a cry of pain—kerosene on his naked forearm caught fire—his oration, titled (after Lenin's pamphlet) “What Is to Be Done?: Burning Questions of Our Movement,” gave way to the more scandalous, though perhaps less cunning, actions of his older comrades. Otto Muehl, a “former middle- school teacher,” as one “memory protocol” described him, screamed obscenities while whipping a bandaged man until he bled. Gunter Brus, after undressing onstage, cut himself and (again the protocol) “masturbated for about 20 minutes” before shitting and pissing in the audience's direction. Oswald Wiener, his speech drowned out onstage by grunting, was falsely heard to say that the shitting should move from the lecture hall to St. Stephen's Cathedral, the city's holy of holies. Meanwhile he, the event's “inflammatory” opening speaker, was the only actual student to address the Austrian Socialist Students’ Union (the hapless host of Vienna's infamous “hot quarter-hour”), and he had come well equipped. He brought with him a water bucket to extinguish his burning glove and wore safety goggles to protect his eyes against flames and, as things turned out, against blood, excrement, and urine. When he died this year, just four days short of his seventy-ninth birthday, Peter Weibel seemed perennially youthful. He had led the ZKM Center for Art and Media Karlsruhe for almost a quarter century, indefinitely postponing his retirement by mounting art exhibitions—sometimes as many as seven in one year—that reshaped the definition of art exhibitions. It was Weibel, earlier and more consistently than anyone, who gave museological form to our posthuman, postmedium, anthropocenic condition. Sprawling, experimental, and provisory, these exhibitions yielded mighty catalogues: about surveillance, futurity, and digital art, about forgotten contemporaries (like Vilém Flusser) and emergent stars (Weibel was early in celebrating William Kentridge and Olafur Eliasson). Of these many shows, the four co-curated with Bruno Latour, who passed away five months before Weibel, were the most significant. Weibel and Latour called them Gedankenausstellungen (“thought exhibitions”). With challenging titles like “Making Things Public,” “Reset Modernity,” and “Critical Zones” and conceptual in what they displayed and how, they blurred the lines between science and art, gallery space and laboratory, aesthetic object and political debate while remaining fun to visit and popularly appealing.
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Andreeva, Yu. "Iconostasis of the Petersburg Saint Peter and Paul Cathedral in the light of Dominico Trezzini’s religious life". Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 16, n.º 03 (2016): 91–100. http://dx.doi.org/10.14529/ssh160314.
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Davis, Michael T. "Review: Rochester Cathedral, 604-1540: An Architectural History by J. Philip McAleer; An Architectural History of Peterborough Cathedral by Lisa Reilly; Rievaulx Abbey by Peter Fergusson, Stuart Harrison". Journal of the Society of Architectural Historians 60, n.º 1 (1 de marzo de 2001): 87–93. http://dx.doi.org/10.2307/991684.
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Harutyunyan, Arsen. "The mirror-writing epigraphic cryptography of Tatev monastery and similar parallels". Cercetări Arheologice 30, n.º 1 (30 de junio de 2023): 333–44. http://dx.doi.org/10.46535/ca.30.1.17.
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Tatev monastery is one of the famous historical, religious-cultural centers of medieval Armenia, whose epigraphic inscriptions have great importance for the study of the history of South Caucasus. Numerous inscriptions are preserved on the walls of churches and memorial monuments of the monastery and many of them remain unpublished. A mirror-writing epigraphic cryptography is preserved on the exterior southern wall of St. Paul-Peter Cathedral of the monastery, whose decipherment has been the main occasion of this publication. The inscription reveals the names of bishops Anton, Stepanos and Father Kirakos – most likely visitor-donors who came to the Tatev monastery as pilgrims and made donations, for which their names were awarded to be mentioned on the walls of the church as the “Book of Life”. As a result of this discovery, the number of Armenian mirror-writing cryptographs (which are known from various Armenian monuments: Kurtan, Tanahat, Sevanavank, Litchk, Haghpat, Old Shinuhayr etc.) has been increased.
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Andreeva, Yu. "Painterly decoration’s design of the Petersburg Saint Peter and Paul Cathedral in the context of Dominico Trezzini’s faith". Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 16, n.º 4 (2016): 89–98. http://dx.doi.org/10.14529/ssh160413.
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Gribkova, A. I. "The Program of Monumental Painting in St. Savva’s Chapel of the Nativity Cathedral at the Savvino-Storozhevsky Monastery". Art & Culture Studies, n.º 2 (junio de 2023): 354–81. http://dx.doi.org/10.51678/2226-0072-2023-2-354-381.
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The article is devoted to the general analysis of the monumental painting program of 1649–1650 in St. Savva’s Chapel of the Nativity Cathedral at the Savvino-Storozhevsky Monastery near Zvenigorod. The article studies the murals and iconography of some compositions for the first time, considers the reasons for the appearance of different themes in the program, and reconstructs the conception of the whole program. Despite the original murals being covered with the late 19th century painting, it is highly probable that the existing layer closely follows the 17th century program based on earlier traditions. This is confirmed by the presence of the image of Saint Gury of Kazan, whose image of which has been known since the beginning of the 17th century, the vita cycle of Saint Savva, the structure and content of which are similar to the monuments of the second half of the 16th — middle of the 17th century, and also composition “The Appearance of the Virgin to Apostle Peter of the breaking of bread”, also known in monumental painting since the beginning of the 17th century.
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Delvingt, Anne. "Une oeuvre retrouvée de Hans van den Elburcht, franc-maître à Anvers en 1536". Oud Holland - Quarterly for Dutch Art History 115, n.º 3-4 (2001): 167–86. http://dx.doi.org/10.1163/187501701x00226.
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AbstractThe origins of the Martyrdom of Saint James the Less, an anonymous painting in the convent of the Sisters of Charity at Saint-Grhislain, have been traced. It was formerly one of the wings of a triptych that stood on the altar of the Fishmongers Guild in Antwerp Cathedral until 1798. The style and type of the figures in the Martyrdom of Saint James the Less are, in fact, analogous to those in the central panel of this triptych, the Miraculous Draught of Fishes (Antwerp Cathedral) as well as in its left wing, the Baptism of the Eunuch by Saint Philip, which was recognised in 1966 by Josua Bruyn in the Boijmans Van Beuningen Museum in Rotterdam. The subjects of the triptych's individual panels correspond with the dedication of the Fishmongers' Altar to Saints Peter, Philip and James the Less at the end of the sixteenth century. The Martyrdom of Saint James the Less is an extremely rare subject in Early Netherlandish painting, which serves as a decisive argument for identifying the panel in Saint-Ghislain as the right wing of the triptych. The artist, Hans van den Elburcht, employed the same engraving dated 1556 for the composition of the central panel as well as for two figures in the right wing, which thus provides a Terminus post quem of 1556 for the production of the triptych. A date of execution in the 1570s is most likely, since the style of the work is close to that of compositions by Maerten de Vos of the 1560s (cf. a series of the story of Rebecca in Rouen). Consequently, Van den Elburcht's triptych probably replaced an altarpiece that was destroyed during the Iconoclastic fury of 1566.
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Slavnitsky, Nikolay Ravilievich. "Ceremonies in the Peter and Paul Cathedral during the Celebration of the 200th Anniversary of St. Petersburg (May 1903)". Вестник Исторического общества Санкт-Петербургской Духовной Академии, n.º 3 (2021): 344–50. http://dx.doi.org/10.47132/2587-8425_2021_3_344.
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Zherdiev, Vitalii V. "A.YE. BEIDEMAN’S MURALS IN ST. ALEXANDER NEVSKY CATHEDRAL IN PARIS IN CONNECTION WITH THE CRIMEAN PERIOD OF THE ARTIST’S OEUVRE". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 41 (2021): 149–62. http://dx.doi.org/10.17223/22220836/41/12.
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The article is about the little-known murals in St. Alexander Nevsky Cathedral in Paris (1859– 1861, architect R.I. Kuzmin), painted by Alexander Yegorovich Beideman (1826–1869). The scientific novelty of the results obtained is in the fact that for the first time A. Beideman’s religious works from the Parisian cycle are introduced and placed into scientific circulation. This cycle is master’s most significant preserved religious work and unique in the Orthodox ecclesiastical art of Western Europe of the second half of the 19th century. Although such brilliant masters as E.S. Sorokin, P.S. Sorokin, M.N. Vasilyev and F.A. Bronnikov worked on the creation of the polychrome ensemble of the Parisian cathedral together with Beideman, his murals in Paris became one of the first in the academic period of Russian ecclesiastical art, in which the transition to the traditions of Byzantine iconography was manifested. Beideman painted eighteen images in the lower part of the temple and on the pillars. Images of Our Lady of Akhtyr with St. Mary Magdalene and St. John are in the niche to the left of the central apse; the Deesis with the Virgin and St. John the Baptist is in the niche to the right of the central apse. Images of Christ the Great Bishop, St. Jacob the Apostle, St. John Chrysostom, St. Basil the Great and St. Gregory the Theologian are in the central apse. Images of St. Mitrofan of Voronezh and St. Joseph the Songwriter are in the sacristy. The image of New Testament Trinity is in the conch. Images of Metropolitans of Moscow Peter, Alexius, Jonah, and Philip are on the pillars below the evangelists. The artist avoided a bright palette, working mainly in the ocher-silver gamma, which, along with the frontality and pronounced statics, gave a sense of “incorporeity” to the figures of the saints. The closeness to the traditional iconography was given by the monumental architectonics of the flowing robes and the almost iconographic austerity of the faces. But, nevertheless, there is a big difference in the style solution of Beideman’s paintings in the Parisian cathedral compare to his easel and monumental works of different years. Especially comparing to Beideman’s watercolor etudes for the murals in the Holy Cross Exaltation Church in Livadiya (architect I.A. Monighetti) and St. Olga church of in Mikhailovka near Strelna (architect D.I. Grimm). The author of the article comes to the conclusion, based on the field research materials, his own restoration and research experience and the comparison of Beideman’s surviving works, in particular, in Livadiya, that the painting in the Parisian cathedral could have been somewhat modified over time. But the artist’s conscious stylistic manner is also possible. The chronology of Beideman’s creative path, the exact period of his work in Paris, has been clarified in comparison with the period of his work in the Livadiya church in Crimea.
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Voronova, Ariadna. "Relief plates from the baptistery in Split: current issues in its study". St. Tikhons' University Review. Series V. Christian Art 53 (29 de marzo de 2024): 9–35. http://dx.doi.org/10.15382/sturv202453.9-35.
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The baptistery of the city of Split on the eastern coast of the Adriatic in the IX-XI centuries was built in the small temple of the Diocletian's palace, and in the XIII century a font of 12 marble slabs appeared in it, six of which are covered with carvings; the rest of the plates are the spolias of antique sarcophagi and their reliefs are cut out. As a result of many years of research of the monument, all scientists agree that the plates with carvings were taken from the altar barrier of either the Split cathedral of St. Domnius (the former mausoleum of Diocletian), or the church of St. Peter and Moses in Solin. Versions of the identification of the figures on the slab with the image of the ruler on the throne, the figure standing next to and the figure lying below make up two large groups: the sitting figure is either Christ or a some king. Most researchers are inclined to two options: Croatian king Peter Kreshimir IV (1058-1074) or king Dimitar Zvonimir (1076-1089). The details of the subsequent existence of the monument are very interesting: in the hands of the standing figure there was previously an object, most likely a scroll, subsequently removed, and the inscription on the upper field of the slab was erased. In addition, the historical circumstances of the epoch are analyzed, including the weakening of Byzantine influence in the region in the XI century with the strengthening of western influence, which led to liturgical changes reflected in the architecture. The stylistic features of the monument make it possible to attract a number of regional analogies.
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Goetghebeur, N. "PRELIMINARY STUDY AND APPROACH TO THE CLEANING OF ‘THE RAISING OF THE CROSS’ BY PETER PAUL RUBENS IN ANTWERP CATHEDRAL". Studies in Conservation 35, sup1 (septiembre de 1990): 1–5. http://dx.doi.org/10.1179/sic.1990.35.s1.001.
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Quattrocchi, Claudia. "“Pro Honore et Libertate Ecclesiae Invicta Fortitude Sustinuit”—The Oratory of St Thomas Becket in the Cathedral of Anagni". Arts 10, n.º 4 (12 de octubre de 2021): 69. http://dx.doi.org/10.3390/arts10040069.
Texto completoResumen
On the 9th of October, 1170 Pope Alexander III resided in Anagni, which had been the ancient residence of the court of the Popes for at least two centuries. He wrote to two influential local archbishops for help in pacifying King Henry II and Archbishop Thomas Becket, who had been in dispute for six years. Sensing Becket’s looming tragic fate, Alexander III began slowly to encircle the archbishop with rhetoric of the new martyr of Libertas Ecclesiae. When he had to flee from Rome besieged by factions led by Frederick I, the pope found refuge in Segni, where he canonised Thomas Becket on 21 February 1173. However, it was in faithful Anagni that he settled on and off from March 1173 through the following years (November 1176; December 1177–March 1178; September 1179). It was here that he decided to elaborate a powerful speech in images. In an oratory in the crypt of the grandiose cathedral, Alexander III had the last painful moments of the Archbishop’s death painted in a program imitating that of St. Peter’s in the Vatican. Becket thus became the new imitator of Christ, the new Peter, the new martyr on the altar of the Church of Rome.