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1
Murray, Philip. "Re St Michael le Belfrey, York". Ecclesiastical Law Journal 26, n.º 2 (mayo de 2024): 231–32. http://dx.doi.org/10.1017/s0956618x24000164.
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St Michael le Belfrey (‘the Belfrey’) is a 16th century parish church in the shadow of York Minster. It sits in the charismatic evangelical tradition of the Church of England. With a large, young and vibrant congregation, the Belfrey is a Resource Church and plays a significant role in the life of the Diocese of York, the Northern Province and, more broadly, the Church of England. Through a petition described as ‘of the highest quality’, it sought a faculty for a dramatic re-ordering of its interior, proposals that had been at least 14 years in the development.
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Stuart, Jack. "Re St Michael and All Angels, Bampton". Ecclesiastical Law Journal 26, n.º 2 (mayo de 2024): 230–31. http://dx.doi.org/10.1017/s0956618x24000152.
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This Grade 1-listed mediaeval church had a substantial Georgian reredos. It dominated the east end of the church, hiding three-quarters of the plain-glazed east window. In 2012 a faculty permitted its temporary removal to another location in the church while essential works were done to the chancel. Following this, the consequent increase in light coming from the windows was welcomed by petitioners, and fragments of medieval wall painting were discovered behind plasterwork which the reredos had previously protected. The petitioners now wished to make the temporary removal of the reredos permanent, relocating it to hang above the west door.
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Russell, Keisha T. "Riverside Church v City of St Michael". Oxford Journal of Law and Religion 6, n.º 1 (febrero de 2017): 197–99. http://dx.doi.org/10.1093/ojlr/rww069.
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Wanat, Benignus Józef. "Saint Joseph Patron of the city of Krakow". Folia Historica Cracoviensia 13 (23 de febrero de 2024): 153–60. http://dx.doi.org/10.15633/fhc.1460.
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The largest and oldest Carmelite sanctuary of St. Joseph was found, in prepartition Poland, in Krakow - Podzamcze in the no longer existing church of St. Michael the Archangel and St. Joseph4. The monastery was erected in 1611-1637 within the defensive walls of the city, with Bishop Piotr Tylicki’s approval and be nefactors’ support. On 26 October 1636 the bishop of Krakow, Jacob Zadzik, consecrated the church and the main altar under the title of St. Michael the Archangel and Joseph betrothed to the Blessed Mother.
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Thurlby, Malcolm. "The Romanesque Priory Church of St. Michael at Ewenny". Journal of the Society of Architectural Historians 47, n.º 3 (septiembre de 1988): 281–94. http://dx.doi.org/10.2307/990302.
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Gratiashvili, Diana y Natia Asatiani. "The Church of St. Michael of Tver in Tbilisi". Works of Georgian Technical University, n.º 2(516) (7 de agosto de 2020): 151–58. http://dx.doi.org/10.36073/1512-0996-2020-2-151-158.
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Pörnbacher, Hans. "Four Centuries of the Church of St. Michael in Munich." Philosophy and History 19, n.º 2 (1986): 180. http://dx.doi.org/10.5840/philhist1986192121.
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Colvin, Howard. "Inigo Jones and the Church of St Michael le Querne". London Journal 12, n.º 1 (junio de 1986): 36–39. http://dx.doi.org/10.1179/ldn.1986.12.1.36.
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Onufrienko, Maksim Olegovich. "St. George Church in Mlado Nagoričane: the artistic context of the frescoes". Studia Slavica et Balcanica Petropolitana 31, n.º 1 (2022): 171–85. http://dx.doi.org/10.21638/spbu19.2022.110.
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The frescoes of the St. George Church in Mlado Nagoričino (North Macedonia) have repeatedly attracted the scholars’ attention, but so far the circle of monuments close to these paintings has not been accurately identified. The article deals with attribution a number of preserved images to certain workshops whose works are known from other ensembles. There are three different styles in the painting, which can be attributed to three different painters (or a group of painters). Apparently, the same artists who painted the church of the Slimnitsa monastery worked in the naos. This conclusion is consistent with the observation of Macedonian researchers. The other two styles apparently belong to Greek painters who can be associated with the artist Michael of Linotopi. He worked in the first third of the 17th century and painted many churches in the Balkans. One of the closest analogs of the St. George Church painting in Mlado Nagoričino are the frescoes of the Dormition Church in Zervat (Albania) and the katholikon of the Makryaleksi monastery (Greece), where Michael worked. Both the similarity of the handwriting of the inscriptions and the proximity of the physiognomic features of the some saints’ faces pointed that way. However, the style of these frescoes does not exactly match the painting of St. George’s Church. Since the analogs given in the article are rather approximate, the frescoes of the St. George church in Mlado Nagoričino cannot be attributed to the activities of the Michael’s workshop with certainty. However, it can be argued that the painting in Mlado Nagoričino was done by painters who were part of the entourage of this artist.
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Héczey-Markó, Ágnes y Miklós Rácz. "Building archaeological research of the St. Michael Parish Church in Érd". Építés - Építészettudomány 41, n.º 3-4 (septiembre de 2013): 283–314. http://dx.doi.org/10.1556/eptud.41.2013.3-4.6.
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Alekseeva, Alina. "The Sisinnios' Legend in Codex Sturdzanus: the Text and the Language". Litera, n.º 11 (noviembre de 2023): 228–37. http://dx.doi.org/10.25136/2409-8698.2023.11.68979.
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The article presents the results of a study of two South Slavic redactions of the St. Sisinnios’ legend (the Prayer of the Archangel Michael and the Prayer of St. Sisinnios) in the manuscript known as the Codex Sturdzanus (Library of the Romanian Academy, Ms. rom. 447). The Prayer of the Archangel Michael and the Prayer of St. Sisinnios are considered in the context of the South Slavic and Greek tradition of Sisinnios’ legend. The using of linguistic and textual methods of the investigation made it possible to describe the redactions as stylistic. The complex of orthographic, phonetic and morphological features of the Prayer of the Archangel Michael and the Prayer of St. Sisinnios in the Codex Sturdzanus (reflexes *ȩ, *ě, *dj, transition *y " [i], spelling of syllabic consonants, declension of nouns and adjectives) allows to describe the language of the texts as the Middle Bulgarian redaction of the Church Slavonic language, used as a written language in the principalities of Wallachia, Moldavia and Transylvania.
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Głowacki, Wojciech M. "Modernity and Compromise: The Church of St. Michael the Archangel in Warsaw and its Designer Władysław Pieńkowski". Ikonotheka 28 (6 de agosto de 2019): 169–97. http://dx.doi.org/10.5604/01.3001.0013.3356.
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Despite the considerable influence he exerted on post-war church architecture in Poland, the designer Władysław Pieńkowski (1907–1991) is today an altogether forgotten figure. The current paper outlines his biography and his early oeuvre; this is because his experience in designing office blocks and industrial plants gained while working under the supervision of the most outstanding Polish architects of the mid-20th century, was to be of key importance to his later, independent designs for ecclesiastical buildings. The paper focuses on a particularly important work, one which in many ways constitutes a breakthrough in the architect’s career, namely the church of St. Michael the Archangel in the Mokotów district of Warsaw. This was the first entirely new church to be erected in the capital of Poland after the year 1945. Its construction depended on the dynamic changes in the balance of political forces. The church could be built owing to the support of the PAX Association circle, including the direct involvement of Bolesław Piasecki. In spite of their patronage, however, construction works were repeatedly halted and extended over several years, and the architectural design had to be reworked. The paper contains an analysis of three fundamental designs for the church, now held in the St. Michael the Archangel parish archive and in the architect’s records preserved by his heirs. The first design dates from the period of 1948/9–1951, the subsequent one from the year 1954, and the final one from 1956–1961. The evolution of the design moved from the initial continuation of forms typical of the pre-war Modernised Revivalism, through a peculiar reference to Socialist Realism, to rigorous Modernism. The church of St. Michael the Archangel became Pieńkowski’s testing ground; there, he tried out several solutions which he would consistently utilise in the subsequent years of his career, e.g. the large-scale application of prefabricated elements in both the construction and the decoration of the edifice. The construction of this church was concurrent with important events of a political (the Thaw) and religious nature (the Second Vatican Council). Tracing the history of the design for the Warsaw church and clarifying its connections with contemporaneous church architecture in Poland and in Western Europe made it possible to present the key problems faced by the Polish designers of ecclesiastical architecture in the first decades of the People’s Republic of Poland.
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Mustač, S. "Ambo from the Church of St Michael at Banjole near Peroj (Istria)". Hortus Artium Medievalium 15, n.º 2 (mayo de 2009): 417–31. http://dx.doi.org/10.1484/j.ham.3.74.
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Стасюк, И. В. "St. Paraskeve's (St. Michael's) church in Pyatnitsky monastery on the Ivangorod road: the outcomes of the 2018-2019 archaeological studies". Architectural archeology, n.º 2 (20 de diciembre de 2020): 215–26. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-327-5.215-226.
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Пятницкий монастырь располагался в конце XVI - XVII в. на дороге между крепостями Ям и Ивангород. Каменный монастырский храм, выстроенный между 1577 и 1581 гг., был заброшен в XVII в., в 1780 г. восстановлен и освящен в честь Архистратига Михаила. Функционировал в качестве приходского до 1938 г., разрушен в ходе боевых действий и немецкой оккупации в 1941 г. В 2018-2019 гг. раскопками исследованы фундаменты сохранившейся северной части храма. Южная часть полностью уничтожена карьером. Реконструирована строительная история храма в конце XVI - начале XX в. Раскрыты очертания древнего каменного трехапсидного четырех-столпного храма, фундаменты которого сложены из плиты на растворе. Этот храм последней трети XVI в. предположительно построен псковскими мастерами. In late 16th and 17th centuries, Pyatnitsky (St. Paraskeve's) monastery was located on the road between fortresses Yam and Ivangorod. The stone monastery church was built between 1577 and 1581, then abandoned in the 17th century and restored and reconsecrated to St. Archangel Michael in 1780. Until 1938, it was a parish church, then was destroyed during the war and the German occupation in 1941. In 2018 and 2019, the fragments of the surviving northern wall of the church were excavated and studied. The southern part of the church has been obliterated and gave way to a sand pit. After the excavation, it has become possible to reconstruct the building history of the church from late 16th to early 20th century. Outlines of the old stone three-apse and four-column church have been traced, with its surviving fragments made of plinthiform bricks bound together by mortar. This church must have been build by a Pskov team of masons in the last decades of the 16th century.
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Vapheiades, Konstantinos. "The wall-paintings of the Protaton Church revisited". Zograf, n.º 43 (2019): 113–28. http://dx.doi.org/10.2298/zog1943113v.
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During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ?Eutychios? or ?Eutychiou?, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas? artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviska Church, as a key to interpreting and solving the problem of ?Michael Astrapas?.
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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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Muçaj, Skënder, Suela Xhyheri, Irklid Ristani y Aleksey M. Pentkovskiy. "Medieval Churches in Shushica Valley (South Albania) and the Slavonic Bishopric of St. Clement of Ohrid". Slovene 3, n.º 1 (2014): 5–42. http://dx.doi.org/10.31168/2305-6754.2014.3.1.1.
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There were numerous Slavic settlements in South Albania (including the valley of Shushica River) at the end of the 1st millennium. In the second half of the 9th c. a significant part of this region was conquered by the 1st Bulgarian Kingdom, and after 870 there were established ecclesiastical dioceses which became part of the church organization of the Kingdom. Slavonic ecclesiastical schools were established in that region as well, after 886 in the context of the so-called “Slavonic project” of the Bulgarian prince, Boris. St. Clement took an active part in this project. It was South Albania where the first Slavonic bishopric in Southeast Europe was founded, in 893, when St. Clement was appointed bishop. His bishopric was organized according ethnic principle, so that St. Clement was called “the bishop of Slavonic people.” The center of Clement’s bishopric was in Velica, which is related to the modern settlement Velçë in the Shushica valley. There are ruins of a cross-in-square church with a narthex in the Asomat region, which is located near Velica. The church was built at the end of the 9th‒beginning of the 10th cc. and dedicated to the Archangel Michael. The plan of this church is identical with that of the so-called “pronaos” of the church built by St. Clement in his Ohrid monastery. In St. Clement’s bishopric Church Slavonic was used as a liturgical language. For that purpose, a set of Byzantine liturgical books was translated from Greek into Church Slavonic, and Clement took an active part in this process. Liturgical pecularities of these books partially observed in Greek manuscripts of South Italian provenance testify to the hypothesis that Greek sources of the earliest Church Slavonic translations belonged to liturgical tradition of Epirus, similar to those of South Italy. This also proves the location of St. Clement’s bishopric in the valley of the Shushica River.
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Cvetkovski, Saso. "The royal doors from the Church of St. Nicholas in the village Prisovjani". Zbornik radova Vizantoloskog instituta, n.º 44 (2007): 567–73. http://dx.doi.org/10.2298/zrvi0744567c.
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In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum in Belgrade) from St. Panteleimon in Nerezi, and the those from the church of St. Nicholas at Korenica. The Royal Doors from Prisovjani bear two key features from the above mentioned works, the carving and the painting. The carving is distinct by the concept of the tablets, and the motifs: the interlacing ornament, known as 'Solomon's seal', the running meander, and the ornament resembling a maggoty effect. The style of the icon painting, and the manner in which the depiction of Archangel Michael and the Holy Virgin were achieved had led previous scholars to believe that these works were accomplished under the influence of the Cretan painting of this period. The Royal Doors from Prisovjani are dated to the mid 16th century, the period of the Ohrid Archbishop Prochor, a period of great prosperity in all arts moreover since the archbishop himself was one of the great patrons.
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Schatkin Hettrick, Jane. "Johann Michael Haydn’s Missa Sancti Hieronymi: An Unusual Eighteenth-Century Tribute to Saint Jerome". Clotho 3, n.º 2 (24 de diciembre de 2021): 129–44. http://dx.doi.org/10.4312/clotho.3.2.129-144.
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Johann Michael Haydn (1737–1806), court musician to the prince-archbishop of Salzburg, composed the Missa Sancti Hieronymi in 1777, apparently intended to mark the name-day of his employer: 30 September, the feast-day of St. Jerome. Because of its wind-band scoring, this Mass is unique, not only among Haydn’s Masses, but also in the Mass repertoire of Salzburg, and apparently in that of all late eighteenth-century Austria. The present article discusses the environment in which Haydn functioned and its effect on the practice of church music in Salzburg and generally in Catholic Austria. Haydn’s employer, Archbishop Colloredo, was a proponent of Enlightenment thinking. He expressed in his Hirtenbrief of 1782 ideas opposed to the kind of sacred music then prevalent in Austria, in particular, the orchestral Mass. Reflective of the new Gottesdienstordnung promulgated by Emperor Joseph II, the proposed changes include the introduction of congregational hymns in the vernacular and severe reduction in numbers of liturgies and the amount of music allowed in them. Colloredo finds support for his ideas in the writings of St. Jerome and other church fathers. Given Haydn’s strong Catholic faith and dedication as a composer of sacred music, the article suggests that although he wrote the Missa as a dutiful servant of his employer, he meant it above all as a tribute to St. Jerome.
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Jakubek-Raczkowska, Monika y Juliusz Raczkowski. "The So-called Copernicus’ Chapel: a Jubilee Creation in the Gothic St John’s Cathedral in Toruń". Ikonotheka, n.º 31 (20 de septiembre de 2022): 83–111. http://dx.doi.org/10.31338/2657-6015ik.31.4.
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The article is devoted to the history of transformation and re-arrangement of the first from the West chapel on the South side of the Gothic parish church of the Old Town in Toruń, at present the Toruń Cathedral of St John the Baptist and St John the Evangelist. The former merchants’ chapel dedicated to St Nicholas over its history had changed its furnishing and patrocinium twice (St Michael the Archangel/ The Guardian Angels), which had been dictated by religious needs. In the 19th century it had also assumed the function of baptismal chapel and in 1973 – the Copernicus Jubilee Year – gained an entirely new arrangement to suit the memoria of the astronomer, who was born in this town. From than on it is universally referred to “The Copernicus Chapel”. The Authors analyse the historic grounds for that commemoration (the Copernicus memorabilia collected in that interior), the principles of its new arrangement with the use of Medieval elements of the church furnishing, the elements of historic and emotional narrative as well as the contemporary implications of that creation.
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Grozdanov, Cvetan. "The painting of the northern wall of the narthex of the Church of the Virgin Peribleptos (st. Kliment) in Ohrid". Zograf, n.º 36 (2012): 109–14. http://dx.doi.org/10.2298/zog1236109g.
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The author examines the figures and scenes painted on the northern wall of the narthex of the Church of the Virgin Peribleptos in Ohrid. He describes and interprets Nebuchadnezzar?s dream, the figures of the archangels Michael and Gabriel as guardians of the entrance to the church, and the choir of the saint anargyres (Panteleimon, Cosmas and Damian). He then proceeds to discuss the empty field above the northern do or of the narthex, the arcosolium and the tomb of Ostoja Rajakovic. Finally, he refers to the penetration of a new passage on the eastern wall of the narthex, which resulted to the destruction of some figures from the earliest layer of frescoes in the church.
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Gyetvainé Balogh, Ágnes, János Krähling y Ákos Zsembery. "Research and restoration of the St. Michael Roman Catholic parish church in Érd-Ófalu". Építés - Építészettudomány 39, n.º 1-2 (marzo de 2011): 5–42. http://dx.doi.org/10.1556/eptud.39.2011.1-2.1.
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Armuth, Miklós, Dezső Hegyi y András Árpád Sipos. "Structural assessment and restore of the St. Michael Roman Catholic church in Érd-Ófalu". Építés - Építészettudomány 39, n.º 1-2 (marzo de 2011): 43–62. http://dx.doi.org/10.1556/eptud.39.2011.1-2.2.
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Roman, Frankiv y Didula Yaroslav. "HISTORICAL AND CARTOGRAPHIC MATTERS FOR LOCALIZATION OF A SOME OF NON-EXISTENT CHURCHES IN PRZEMYSL". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, n.º 1 (15 de junio de 2021): 123–30. http://dx.doi.org/10.23939/sa2021.01.123.
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As a result of the analysis of descriptive, iconographic and cartographic material, the location of several non-existent temples of the Eastern Christian tradition in Przemyśl was determined and clarified. According to research, St. Trinity Church was located in a rectangle close to the square, now occupied by a residential building on Y. Slovatsky, 13 street (the so-called "rabbi's house"). Based on descriptions and cartographic materials, it is established that the locating of St. Michael Church on Pidzamche should consider significant changes in relief, which are associated with natural and anthropological factors. The most probable location of the building can be considered in the contemporary slope between the present highway №28 and Senkevycha Street in the place of its deviation to the right. Thus, we can assume that the perspective of the street before this deviation once rested on the entrance to the missing temple. With the involvement of archaeological research, descriptive and illustrative interpretations of the so-called "obelisk of Jagiello", it was determined that the location of the ancient church of St. Nikolas on Pidzamcha can be the area of houses №11 and №13 on Mateyka Street with probable variations, including a part of the present street.
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Yureva, Tatyana V. "Iconostases of Russian emigration: icon painter V. A. Tsevchinsky". World of Russian-speaking countries 1, n.º 11 (2022): 98–111. http://dx.doi.org/10.20323/2658-7866-2022-1-11-98-111.
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The article is the first attempt to present the work of an artist of the Russian emigration, a member and secretary of the “Icon” society in Paris, and the creator of his own iconographic school, V. A. Tsevchinsky, who participated in the revival of Russian Orthodox culture in emigration through his icon-painting activities abroad. The study revealed a number of iconographic monuments that belonged to the iconographer's oeuvre. Despite the active creative, pedagogical and social activity, carried out by V. A. Tsevchinsky, his artistic heritage was little studied, which allowed the author of this article to partially fill this gap. The article discusses both the artist's iconostasis complexes and his individual icons, as well as the temple murals. These are the iconostasis and exterior icon of the Church of St. Nicholas the Wonderworker in Boulogne-Billancourt (Paris), the icon of St. Andrew the First Called from the iconostasis of St. Seraphim of Sarov (Paris), exterior paintings of the Church of the Archangel Michael in Cannes, and certain icons from private collections presented in publications and at exhibitions.
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Maré, Estelle A. "Creation and Re-Creation: the Origins and Preservation of the Shinto Shrines At Ise, Japan, and the Abbey Church of St. Michael At Hildesheim, Germany". Religion and Theology 11, n.º 2 (2004): 161–80. http://dx.doi.org/10.1163/157430104x00078.
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AbstractIn this article Ise Jingu, Japan, and the church of St Michael, Germany, are juxtaposed. At first glance they do not seem to have much in common, except that they exist as a testimony to the intentions of the original builders who established their distinctive architectural traditions and, physically, both are recent reconstructions. The reasons for their reconstruction are different because, whereas the Ise precincts are renewed as it were in obedience to a sacred injunction at a place where war never occurred, the renewal of the Hildesheim church to its original design is predominantly the result of circumstance and the vicissitudes of devastation, plunder and war.
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Gabelic, Smiljka. "Relief panels on a three-light window from Lesnovo. Proposing an interpretation of the semiotics of carved motifs". Zograf, n.º 41 (2017): 157–68. http://dx.doi.org/10.2298/zog1741157g.
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The paper explores the semiotic meaning of relief panels from a three-light window on the northern facade of the naos of the Church of Archangel Michael and St. Gavrilo of Lesnovo at the Lesnovo Monastery (1340/1341). Iconographically derived from tombstones and objects of everyday use, their geometrical and zoomorphic decoration seems to suggest that the ktetor and his family believed in the protective power of the symbols and signs carved on them.
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Różański, Artur, Tomasz Jurek, Piotr Marciniak, Patrycja Łobodzińska y Ulrich Schaaf. "Wooden sacral architecture in Greater Poland. An interdisciplinary case study of the church in Domachowo". Archaeologia Historica Polona 28 (30 de diciembre de 2020): 175–97. http://dx.doi.org/10.12775/ahp.2020.007.
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Sacred wooden architecture in Poland is a huge and still unrecognised research problem. It covers a number of issues of interdisciplinary character: from the properties of building materials and carpentry techniques, through constructionand architectural-spatial solutions, to cultural and natural conditions. Hence, the best way to study this problem is interdisciplinary research. The necessity of cooperation of representatives of various scientific disciplines became the basis for creating a team to study the wooden church of St Michael the Archangel in Domachowo, so far dated to 1568. As researchers representing various disciplines (including archaeology, history, art history, history of architecture, architecture, architectural conservation), we cite sources and research that allow us to formulate a thesis that the past of the Domachowo church dates back to the 14th century. Moreover, we present the research and methodological problems inscribed in the aforementioned church building, understood as a whole. Such a multifaceted approach allows us to redefine the current knowledge about the church in Domachowo.
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Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia". Zograf, n.º 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.
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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.
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Adamczewski, Grzegorz y Piotr Woyciechowski. "Degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw". MATEC Web of Conferences 284 (2019): 07001. http://dx.doi.org/10.1051/matecconf/201928407001.
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The paper presents the case study of the degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw. The background of the contemporary precast non-standard prefabrication was presented with the examples of polish recent applications. The GPR (ground penetrating radar) method was used in determining the location of reinforcement in the precast elements in the degraded façade. The conceptions of repair were analyzed and the reasons of the destructions of the precast elements.
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Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb". Ars Adriatica, n.º 2 (1 de enero de 2012): 167. http://dx.doi.org/10.15291/ars.447.
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In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
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Johnson, Richard F. "Archangel in the Margins: St. Michael in the Homilies of Cambridge, Corpus Christi College 41". Traditio 53 (1998): 63–91. http://dx.doi.org/10.1017/s0362152900012083.
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In the preface to his edition of the ninth-century Book of Cerne (Cambridge, University Library, MS L1. 1.10), A. B. Kuypers notes “two great currents of influence, two distinct spirits, Irish and Roman” at work in the composition of the prayers in this private devotional book. Moreover, Kuypers asserts that “these influences are traceable through the whole range of the strictly devotional literature of the period.” Since it is generally acknowledged that the two great forces shaping the early Anglo-Saxon church were the Roman missionaries in the south and Irish monks in the north, it is reasonable to suspect that the Anglo-Saxon devotional practices to St. Michael the Archangel were also influenced by both traditions.
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LICATA, Marta, Paola BADINO y Silvia IORIO. "Tomb number 2 of the Church of St. Michael in Mornago (Varese, Italy). Anthropological and archaeological study of medieval funeral remains". STUDIA ANTIQUA ET ARCHAEOLOGICA 22, n.º 2 (2016): 211–18. http://dx.doi.org/10.47743/saa-2016-22-2-7.
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The current paper aims to present the archaeological and anthropological results of the investigation conducted on a medieval burial which presents several features that recall the Longobard culture. After the archaeological evaluations on the architectural morphology of the tomb and on the grave goods, we proceeded with the anthropological investigations on human and animal bone remains. These analyses allowed us to formulate a hypothesis related to this particular funeral ritual from ancient Longobard tradition. The tomb number 2 of St. Michael church in Mornago represents a rare evidence of inhumation with bird in Northern Italy.
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Rufova, Elena Stepanovna. "Archive Fund of the Bibliographer M.Z. Vinokouroff in the Alaska State Library (USA)". Общество: философия, история, культура, n.º 9 (25 de septiembre de 2020): 100–103. http://dx.doi.org/10.24158/fik.2020.9.16.
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This paper presents the study of the information potential of documents from the personal fund of Michael Z. Vinokouroff, stored in the Alaska Histori-cal Library (USA). Their source analysis will deter-mine the directions of their further scientific use. Numerous documents, diaries, letters, books, pho-tographs of the archive fund are the objects of spe-cial attention of researchers of the Russian Ortho-dox Church, “Russian America”, historians, bibliog-raphers, linguists, literary scholars. The main direc-tions of the effective scientific use of the documents from the personal archive of Michael Z. Vinokouroff. In addition to the unpublished diaries and notes of the bibliophile, the collection contains letters from St. Innokenty (Veniaminov), as well as documents reflecting the political and literary life of Yakutia in the first third of the 20th century.
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Markauskaitė, Neringa. "Akmenynės bažnyčia: šaltinių ir ikonografijos tyrimai". LMA Vrublevskių bibliotekos darbai 11 (2022): 76–87. http://dx.doi.org/10.54506/lmavb.2022.11.8.
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Akmenynė, now a village in the Šalčininkai district, was known at first just as a privately-owned land, and later as an estate called Kamionka, a Polish name deriving from the name of the river Kamena. Based on iconographic materials and other relevant documents kept in the Wroblewski Library of the Lithuanian Academy of Sciences, the present article aims to discuss the architecture of the wooden church built in 1928–1929 and its interior equipment, as well as a wooden manor that had existed in the 17th century – the early 19th century and a wooden church that had stood on its estate. In the mid-17th century, the Akmenynė estate consisted of a wooden house and farm buildings. In the 18th century, the walls of the main room of the representational house were upholstered with fabric and paper and decorated with paintings. In the second half of the 17th century, there had already been built the wooden church equipped with liturgical vessels and other attributes. It had two paintings depicting the Holy Virgin Mary and St. Bishop Stanislaus, with three more pictures, those of the Virgin Mary, Our Lord Jesus, and St. Antony of Padua. One of the authors (or the only author) of the Project of the present Church of St. Terese of the Holy Infant Jesus could have been the manager and work supervisor of the construction on this church, Anton Filipowicz-Dubowik. Most of its equipment and inventory was made and acquired in the end of the third decade and in the fourth decade of the 20th century. The painting of St. Terese of the Holy Infant Jesus is different in composition from other pictures, which were painted based on the first portrait images of the saint. Such items as the holy water font created by the stonecutter J. Szemetowicz based on a drawing by an unknown artist and the sacristy cabinet acquired by the efforts of the painter Piotr Żyngiel testify to the collaboration between the parish priest of the Akmenynė church and painters who studied at the Faculty of Art of the Vilnius Stephen Batory University. Most of the liturgical vessels were produced by Michael Newiadomski’s Vilnius workshop of liturgical supplies, and one of the reliquaries, by the Charewicz factory of liturgical vessels. It may be assumed that an unknown author who created the linocut The Stations of the Cross, as well as craftsmen of a few Vilnius workshops who produced liturgical vessels and other supplies could have used projects and drawings of Gracian Achrem-Achremowicz. Keywords: Akmenynė church on the manor estate in the 17th – early 19th century; Church of St. Terese of the Holy Infant Jesus in the early 20th century; architecture; inventory; creators.
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Стасюк, И. В., А. Н. Белобородов y Вениамин Семёнов. "Pyatnitsky Monastery on the Ivangorod Road: to the History of a Forgotten Monument of the 16 century". Археология и история Пскова и Псковской земли, n.º 35(65) (9 de noviembre de 2021): 447–67. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-347-3.447-467.
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Монастырь св. Параскевы Пятницы и св. чудотворцев Космы и Дамиана и располагался в конце XVI-XVII в. на дороге, соединявшей крепости Ям и Ивангород. Основан между 1577 и 1581 г., тогда же был выстроен каменный Пятницкий храм. К концу XVII в. монастырский комплекс был заброшен. В середине XVIII в. храм восстановлен в качестве приходского и освящен в честь архангела Михаила. В начале XX в. к нему пристроена колокольня. Храм полностью разрушен в начале Великой Отечественной войны. Сохранившиеся фундаменты северной части храма с колокольней исследованы раскопками в 2018-2019 гг. В статье приводятся сведения из истории монастыря и храма, публикуются результаты раскопок. Храм трех-апсидный, четырехстолпный, построен из известняка. Предположительно, относится к псковской архитектурной школе. The monastery of St. Paraskeva and St. Miracle workers Kosma and Damian was located at the end of the 16 - 17 centuries on the road connecting the fortresses of Yam and Ivangorod. It was founded between 1577-1581 and at the same time the stone Pyatnitsky Church was built. By the end of the 17 century, the monastery complex was abandoned. In the middle of the 18 century. the church was restored as a parish one and consecrated in honor of the Archangel Michael. At the beginning of the 20 century, a bell tower was added to it. The church was completely destroyed at the beginning of the Great Patriotic War. The preserved foundations of the Northern part of the church with the bell tower were investigated by archaeological excavations in 2018-2019. The article provides information from the history of the monastery and the church and presents the excavation results. The church a is three-apse, four-column one, built of limestone. Presumably, it can belong to Pskov architectural school.
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Frend, William H. C. "Martyrdom in East and West: The Saga of St George of Nobatia and England". Studies in Church History 30 (1993): 47–56. http://dx.doi.org/10.1017/s0424208400011591.
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Martyrs were the heroes of the Early Church. For a long period after the reign of Constantine until Benedictine monasticism took over their mantle, their lives and exploits provided a focus for the idealism of Christians in Western Europe. They represented the victory of human steadfastness and loyalty in defence of the faith triumphing over irreligious tyranny and the powers of evil. In the East, however, where Constantine had emphasized as early as 324 his complete rejection of the persecutions of his pagan predecessors, it was not long before memories of the past were transformed to meet other pressing needs of the day. Threatened first by Germanic and Slav invaders and then by the armies of Islam, Byzantine cities sought the protection of martyrs and the heavenly hierarchy that led from them through the Archangel Michael to the Virgin herself. In Nobatia, the northernmost of the three Nubian kingdoms that straddled the Nile valley between Aswan and a point south of Khartoum, the military martyrs, George, Mercurius, Theodore, and Demetrius seconded the endeavours of Michael and the Virgin to preserve the kingdoms and their Christian religion.
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Bozhko, Archimandrite Mitrophan (Oleksii). "Veneration of the Archangel Michael in pre-Mongolian Time in Kyiv in the Context of the Idea of Kyiv as New Jerusalem". Kyiv Historical Studies 16, n.º 1 (2023): 137–43. http://dx.doi.org/10.28925/2524-0757.2023.116.
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The article examines the veneration of the Archangel Michael in Kyiv in the context of the idea of the capital of Rus' as New Jerusalem. This concept was influenced by the adoption of Christianity and was reflected in a number of written and architectural monuments. In them, the people of Rus' recognized themselves in a new way in world history and organized their living space accordingly. The author tries to show that the emergence of the Archangel Michael’s cult was one of the elements supporting this idea. His veneration was not only princely and military, which was typical for the Christian ecumene, but had its own local characteristics. In the people’s mind, St Michael fought with the devil and helped them to get rid of his authority during their Baptism. These ideas were reflected in the building of churches dedicated to the archangel: one — near the place where the idol of Perun stood, and the second — outside of Kyiv, where the idol was washed ashore and finally destroyed. The episodes associated with the victory over paganism with St Michael’s help had their parallels in biblical and church history. Folk tradition, literary works, frescoes in St Sophia Cathedral and the specifics of the dedication of the churches recorded them. All this gave rise to an analogy between Rus' and Israel, Kyiv and Jerusalem.
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Byng, Gabriel. "The Body behind the Altar: The Transgression of Space and the Transformation of the Body in the Life and Revelations of Agnes Blannbekin". Journal of Medieval Religious Cultures 49, n.º 2 (julio de 2023): 168–94. http://dx.doi.org/10.5325/jmedirelicult.49.2.0168.
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ABSTRACT Agnes Blannbekin’s description of her mystical experience on Easter morning, 1293, is a rare medieval account not only of the affective consequences of a spatial transgression in a church building but also of its direct implication in a spiritual revelation. According to her Life and Revelations, she heard a command to conceal herself behind an altar in the church of St. Michael, Vienna, where she would feel the pain of the Crucifixion. Her anguish at being so out of place in the church drove her to pray for her revelation to end and to be given the strength to leave. She provides, thus, a rare first-person account of how the gendered regulation of church space, so often in evidence in sources written by men, was manifested in an embodied, affective experience. The incident develops themes that extend across the Life, especially to other Easter-time revelations, and demonstrates the close attention Blannbekin often gave to architectural organization and ornamentation. This article describes how her account drew together associations that stretched across liturgical time, architectural setting, and literary precedent in order to evoke the profundity, and significance, of her bodily identification with the Passion.
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Korunovski, Sasho. "A contribution to the study of architecture of the monastery church of St. Archangel Michael in Prilep". Zograf, n.º 35 (2011): 111–18. http://dx.doi.org/10.2298/zog1135111k.
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STRONG, ROWAN. "‘A Church for the Poor’: High- Church Slum Ministry in Anderston, Glasgow, 1845–51". Journal of Ecclesiastical History 50, n.º 2 (abril de 1999): 279–302. http://dx.doi.org/10.1017/s0022046999001670.
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In December 1845 Bishop Michael Russell of Glasgow and Galloway wrote to a keen young Episcopalian layman, Alexander James Donald D'Orsey, a teacher at the High School in Glasgow, suggesting ordination. Conscious of the growing numbers of immigrant Episcopalians in the western suburbs of Glasgow, the bishop's intention was to stimulate a new congregation for ‘the wants of the poorer class there’. Evidently D'Orsey was already known to the bishop for he mentions him as pleading ‘with your usual eloquence’ the cause of the Episcopalian Church Society, which would raise part of the £80 stipend. Russell envisaged that D'Orsey would work in this new congregation for a year or two until something more worthy of the young man's talents came up. D'Orsey wrote stating that the proposal was attractive, not least because it was a congregation which would primarily be comprised of the ‘humbler classes’. He would continue in his present work and undertake the congregational duties part-time. His present income made it preferable to refuse the stipend, suggesting that it should go to augment the livings of poorer clergy. As a new priest D'Orsey went on to create the congregation that eventually became St John's, Anderston, and to become embroiled with Russell's successor, Bishop Walter Trower, over ritualism in the parish. The deposit of D'Orsey's correspondence with these two bishops in the National Library of Scotland provides the opportunity for a localised insight into the emergence of Episcopalian ministry to the poor in nineteenth-century Scotland's most industrialised city, and to the connection of such ministry with ritualism.
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Rodionov, Oleg. "Michael Psellos’ Theologica I.30 and the Byzantine Interpretations of Scala Paradisi XXVII/2.13". Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 66, n.º 1 (30 de junio de 2021): 147–64. http://dx.doi.org/10.24193/subbto.2021.1.07.
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"The article examines the exegesis of Michael Psellos on the most mysterious of the “difficult places” of the Ladder by John of Sinai — Step XXVІІ/2.13. This interpretation is one of the so-called Theologica treatises (Theol. I.30). It differs significantly from the rest of the Byzantine explanations of this “difficult place”. Michael Psellos decisively rejects the Christological interpretation of the “vision” and the questions of St. John. He also develops the doctrine of the accessibility to a human in present life of the vision of God in “symbols” and “forms” only. Higher contemplations are linked to the degree of detachment of the soul from the body. Unlike Michael Psellos, other interpreters, firstly, pay more attention to the context in which the chapter of the Ladder in question is located, secondly, they mostly prefer a Christological interpretation of St. John’s questions to the unknown interlocutor, thirdly, they ask themselves who this interlocutor was, an angel or Christ Himself. One of the anonymous Byzantine commentaries convincingly defends the point of view according to which John Climacus talked with Christ. This paper analyses all the extensive interpretations of the difficult passage, and on the basis of the handwritten tradition, draws the conclusion that the exegesis of Michael Psellos had much circulation in Byzantium along with other conceptions of the mysterious chapter. In addition, there has been noted the reception of Psellos’s interpretation in the first Slavic edition of the Ladder in 1647. Appendices I and II contain the edition of the Greek text of an anonymous Scholium and a fragment from the commentary by Elias of Crete respectively. Keywords: Michael Psellos, Theologica, John Climacus, Ladder of Divine Ascent, Photius of Constantinople, Elias of Crete, byzantine commentaries, Church Slavonic translation. "
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Riazanova, Nataliia y Oleh Rybchynskyi. "MASONRY OBJECTS OF CULTURAL HERITAGE MADE FROM THE NATURAL STONE OF THE LEFT BANK OF TRANSNISTRIA: CONDITION AND PROBLEMS OF RESTORATION". Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, n.º 2022 (2022): 110–21. http://dx.doi.org/10.23939/fortifications2022.16.110.
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The article considers historical industrial, sacred and residential buildings and structures made of natural stone, located on the left bank of the Dniester within the Eastern Podillya. The paper fixates the technical condition, characterizes the features of the architectural appearance and design solutions of the masonry of the preserved objects. Among the objects of industrial architecture are considered wineries (Kamyanka, Vladimirovka, Yantarne), breweries (Kamyanka), cheese production (Kamyanka) and sugar (Rybnitsa) factories, mills (flour mill - in Popenki, water - in Bilochy, in Strointsy) and other. Untouched areas of grape terraces in the ruins of Kamianka have a complex of defects: potholes in the masonry (leads to loss of load-bearing functions), contamination of stone by decomposition products of organic and mineral composition, as well as biochemical damage (leads to internal stone destruction). Sacred objects are the oldest surviving architectural objects in the Transnistrian region of the Republic of Moldova, made of stone from the middle of the 18thcentury to the beginning of the 19th century. Some of them are in ruins (the synagogue of the village of Rashkiv, the Church of the Intercession in the village of Rashkiv, the church of Kamyanka), some have been rebuilt (the church of St. Demetrius of Thessaloniki, the church of St. Michael of Khrustov, the church of Paraskeva of Serbia). Zozulyany), part lost (Church of the Assumption of the Mother of God in Kamianka). Structurally, all temples have a wall structure on strip rubble limestone foundations. The ceilings could be simple - on wooden beams fixed in the field of load-bearing walls, and could be a dome (Paraskeva Serbian church in the village of Valya-Adynke), cross (Church of the Intercession, Rashkiv village, Rashkiv synagogue, Kam church) For the analysis of construction technologies, samples of mortar were taken from 8 historical objects within the modern Kamianka and Rybnytsia districts of Transnistria (the best preserved region of Transnistria, RM), which They were built in several stages (from the middle of the 18th century to the beginning of the 20th century) to preserve the holistic perception of the historical architectural image of the settlements of the Transnistrian region of the Republic of Moldova.
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Tomas, Ivana. "Sv. Mihajlo; Ston; arhitektura; skulptura; zidne slike; 10. stoljeće; 11. stoljeće; Mihajlo Višević; Stefan Vojislav". Ars Adriatica, n.º 6 (1 de enero de 2016): 41. http://dx.doi.org/10.15291/ars.176.
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St Michael’s church in Ston is an important monument of medieval architectural heritage within a wider area of Dubrovnik and the only positively attested monument of the so-called southern Dalmatian single-nave dome type in the area of historical Zahumlje. The church stands on the top of the Gradac hill or St Michael’s Mount (107 m.a.s.l.), at the location of an earlier fortification. Based on an analysis of St Michael’s architecture, as well as its stone furnishing, the author has argued that the church is pre-Romaneseque in origin. It has also been suggested that the belfry (the structure to the west) was built together with the church, since the concept of the ground plan (the width-length ratio, the slightly protruding apse), its small dimensions, as well as its vertical stratigraphy (the belfry and the dome) indicate that it was constructed as a ruler’s chapel. It is most probable that the church was dedicated to Archangel Michael from the very beginning, as the cult of the heavenly host-leader as the patron saint of rulers and their military campaigns was widespread among the upper classes in the early Middle Ages. The time of construction should most probably be connected with the first historically attested and significant ruler of Ston – Duke Mihajlo Višević (before 910 – after 928), who raised Ston to an administrative and ecclesiastical centre of this Sclavinia. An analysis of the younger layer of sculpture in St Michael’s (the monumental window frames and a fragment with human face), as well as its murals, has suggested that the ruler’s chapel was furnished more richly around the mid-11th century. Considering the historical sources on Ston in this period, it has been suggested that its renovation took place at the initiative of Stefan Vojislav (before 1018 – 1043/1050), founder of the Vojislavljević dynasty. This hypothesis is supported by the fact that Vojislav, having defeated Byzantium and its allies (among them the distinguished Duke Ljutovit of Zahumlje) conquered the seat of Zahumlje’s rulers. It may be presumed that he spent some time there as well, since the Byzantine writer Kekaumenos mentions that Vojislav was a toparch in Ston and that he captured the strategos of Dubrovnik. Thus, the conquest of Ston, as well as the glorious victory over both Byzantium and Ljutovit leading the allied army, imposes itself as the probable reason why Stefan Vojislav renovated the church in Ston, namely in order to celebrate his military triumph in the chapel of the defeated ruler of Zahumlje. The reconstruction most probably took place between 1042/43 and 1050, after Vojislav’s victory and before his death.
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Vyroubal, Vlasta y Petar Sekulić. "A gaming die in the hand of an unfortunate child". Vjesnik Arheološkog muzeja u Zagrebu 54, n.º 1 (2021): 471–78. http://dx.doi.org/10.52064/vamz.54.1.25.
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The revision of the archaeological excavations of the Benedictine Abbey of St Michael the Archangel, in Rudina (2018), covered most of the rectangular area in front of the southern annexe of the abbey church. Thirty graves were found in the excavated area, most of which can be dated to the second half of the 15th century and the beginning of the 16th. Remains of a subadult with head injuries indicative of interpersonal violence (who had a bone die in his right hand) were found in grave 43. This grave dates back to the second half of the 15th century and the beginning of the 16th.
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Tkachuk, Ruslan. "THE THEOLOGICAL VIEW OF THEODORE SKUMYNOVYCH ON THE REASONS OF DECAY OF THE ORTHODOX EAST IN THE WORK "PRZYCZYNY PORZUCENIA DISUNIEY PRZEZACNEMU NARODOWI RUSKIEMU PODANE" (1643)". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n.º 31 (2022): 85–91. http://dx.doi.org/10.17721/1728-2659.2022.31.17.
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In the article it is researched the polemical work of former Father Superior of St. Michael cloister in Kyiv Theodore Skumynovych "Przyczyny porzucenia Disuniey przezacnemu narodowi ruskiemu podane" (1643); it is disclosed the view of the writer on the reasons of decay of the orthodox East, stated the used stylistic devices in book. In his work Theodore Skumynovych substantiated his thought that separation of the East church from Rome caused the decay of the countries, in which one took up the principal positions. Idealizing the age of unity of church, the writer contrastingly opposed the glorious Christian past of Syria and it's tragic present. Criticizing the Greek clergy for rejection to dialog of consolidation with Rome, the polemicist narrated about the horrible tragedy of Catholics, which happened in Constantinople in 1182 year. Theodore Skumynovych turned his eyes also on church's life of Egypt, Libya, Numidia, Germany, France, Hungary, Italy. The writer rated Ukraine to the same category of countries as England, Denmark, Sweden, to which Lord revealed His mercy and long suffering, because believed in their conversion to Catholicism. Explaining the reasons of spiritual regress of the countries of the Eastern Church, the polemicist concerned the tragic milestone of history of Ancient Rus. As the decay of Byzantine empire, the author analyzed the military and political troubles of Rus in the context of catholic conception of history, in which prosperity of the nations depended on the obedience to the authority of Pope. The flourishing of Ancient Rus, which took place at the times of the Kyiv prince Volodymyr and Yaroslav the wise, Theodore Skumynovych attributed with following of the Kyiv metropolitanate the lead of the Church of Rome. On the contrary, the spread of Michael Cerularius's schism in Rus provoked God's anger, which exhibited in fratricidal war, the occupation of its land by the Golden Horde and the Duchy of Lithuania.
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Natalia, Logvyn. "CONSTRUCTIVE PECULIARITIES OF FOUNDATIONS IN KYYIVAN MONUMENTS OF THE X-TH – THE XII-TH CENTURIES". Current problems of architecture and urban planning, n.º 59 (1 de marzo de 2021): 348–59. http://dx.doi.org/10.32347/2077-3455.2021.59.348-359.
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Majority of Old Rus` monuments are known to us by their excavated foundations. The character of foundation construction and layout of plan allows to reconstruct lost architectural forms of the monuments.
The layout of building plan was executed by the help of rope and pickets installed at building site where tranches for wall foundation were dug.
The earliest known masonry monuments of the X-th century had their wall foundation made of rubble on clay mortar. Another foundation type was used in Kyyivan monuments of the X-th – the XII-th centuries – the Tithe Church and palaces near to it, St. Sophia Cathedral, the Golden Gate and the Church of Klov monastery.
The wall foundations of the Tithe Church were constructed of rubble on lime-and-ceramic mortar, with wooden substructures arranged at their footing. Wooden substructures consisted of half-meter long pickets driven into soil and 4-5 rows of timber laid in parallel direction with wall foundation, and a layer of mortared crushed rubble put over it. The height of the foundations was 1.1 to 1.5 m, their width was about 1.5 m.
Wall foundation with complicated wooden substructure were also used in St.Sophia Cathedral in Novgorod and St.Michael Church in Pereyaslav.
Horizontal timbers at the footing of wall foundations were also used in many Old Rus` monuments, the practice was lasted till the end of the XIX-th century.
The other building peculiarity of ancient Kyyivan monuments was the separate foundations in a single building. E.g. St. Michael Church of Vydubytsky monastery has its narthex and apses not bonded with wall foundation to the main body of the monument. Because of the fact some scholars have concluded that narthex have been a later addition. In fact the ancient builders wisely designed foundations of the edifice and left the two units different in mass unbonded to allow for different settlement and avoid destruction of building fabric.
The same design of wall foundations of different parts of a building was used in the Tithe Church, St. Sophia Cathedral and some other Kyyivan monuments. Therefore outer galleries unbonded in foundation and brickwork with the building’s main body could have only light timber roof of the abovementioned monuments.
Skillful and experienced ancient Kyyivan builders perfectly knew soil bearing capacities and used wooden substructures in wall foundation to avoid problems of differential settlement and destruction of edifices.
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Parker, David. ""Stand Therefore!". Bishop Michael Bolton Furse, the Diocese of St. Albans, and the Church Schools Controversy, 1919-1939". History of Education Quarterly 39, n.º 2 (1999): 161. http://dx.doi.org/10.2307/370037.
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Schürr, Diether. "Wolfdietrichs Wurm". Amsterdamer Beiträge zur älteren Germanistik 83, n.º 3 (5 de febrero de 2024): 333–42. http://dx.doi.org/10.1163/18756719-12340304.
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Abstract The MHG epic ‘Wolfdietrich’ and the ON ‘Thidreks saga’ contain an unlucky fight against a dragon: Wolfdietrich or Thidrek af Bern helps a lion against it, but the dragon takes the lion in its mouth and the knight in its tail and drags them to its cave. This very characteristic situation was depicted in medieval church art, at least three times: 1. on floor-tiles found in the monastery of Pilis (Hungary), including the sword broken into three pieces and three dragon cubs (13th century or roughly around 1300); 2. in the cloister of St. Michael at Hildesheim (Lower Saxony), together with a second dragon (1230/50); 3. on the richly decorated ‘Schottenportal’ of St. James at Regensburg (Bavaria), left side (second half of the 13th century). The last depiction is therefore older than the different versions of the MHG epic and the compilation of the ON saga, probably attesting that the unlucky dragon fight was already a part of a pre-literary ‘Wolfdietrich’.
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Illés, Horváth. "Volt egyszer egy Szent Zsigmond-kolostor". PONTES 4 (20 de octubre de 2021): 265–301. http://dx.doi.org/10.15170/pontes.2021.04.01.13.
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In 1433, Sigismund of Luxemburg, King of Hungary founded a new monastery for the Order of St. Paul the First Hermit. The monastery was consecrated to the title of the king’s dynastic saint: St Sigismund, the Burgundian king. The newly founded monastery became filia of the Monastery of St Michael of Toronyalja. After the death of King Sigismund (1437) the church depopulated soon. Although John Hunyadi attempted to populate the monastery with Carmelites, but the monks did not arrive. By the 16th century, the monastery was ruined, the only monument of it was a mill near to Verőce. According to the most recent literature and a so-called diploma of Agaune, the location of the monastery marked in the centres of the settlements of Kisoroszi or Verőce, however the ruin of it have not been identified yet. Thus, the present study aims to analyse the precedes of the foundation, and seeks to answer the following question: what role played the monastery of St Sigismund in the reorganisation process of the churches of Visegrád? At the same time, the paper analyses the sources of the history of the monastery and its accessories as well as to focus on other possible area of location, Hévkúterdeje, which neighbouring the Monasteries of Nosztra and Toronyalja.