Bibliographies thématiques / Vincent (Cathedral)

Littérature scientifique sur le sujet « Vincent (Cathedral) »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 26 juillet 2024

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Articles de revues sur le sujet "Vincent (Cathedral)"

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Hapak, Emil. « Circumstances, Events, and Consequences of the Relocation of the Relics of Blessed Vincent Kadlubek to Sandomierz Cathedral in 1845 ». Studia Sandomierskie. Teologia – Filozofia – Historia 29 (1 mars 2023) : 5–22. http://dx.doi.org/10.15633/sts.2901.

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The article describes the journey of the relics of Blessed Vincent Kadlubek’s to Sandomierz Cathedral in 1845. The introduction discusses the origins of the cult of Blessed Vincent in this cathedral, the religiosity of Sandomierz residents of the first half of the 19th century, the efforts of Bishop Joseph Goldtmann to bring the relics to Sandomierz, as well as the process of obtaining them from the Cistercian monastery in Jedrzejow. The further part of the study describes their introduction to the Sandomierz Cathedral, reconstructing the course of the procession from the Reformate monastery church to the cathedral and the celebrations that followed. The last part of the article discusses the repercussions from the Russian authorities that followed these events as well as the positive consequences.
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Trichereau, Barbara, et Claudine Loisel. « The nineteenth-century restoration processes of Louis Germain Vincent-Larcher at the Cathedral of Troyes ». Glass Technology : European Journal of Glass Science and Technology Part A 58, no 6 (1 décembre 2017) : 189–98. http://dx.doi.org/10.13036/17533546.58.6.101.

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Jamil, Abdul. « PENGELOLAAN DANA SOSIAL KEAGAMAAN GEREJA (PAROKI) KATEDRAL JAKARTA DALAM PEMBERDAYAAN UMAT KATOLIK ». Harmoni 11, no 1 (31 mars 2012) : 44–55. http://dx.doi.org/10.32488/harmoni.v11i1.230.

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Religious institutions have given much contribution to the society through fund management and social asset. One of the religious institutions is the Church (PAROKI) cathedral in Jakarta. Through the research with a qualitative approach, it is revealed this institution has implemented a system and mechanism for social religious funding management effectively and efficiently, with healthy, transparent and accountable management system. The distribution of collected funds, for the social activities carried out by the church, was done through the Social Section of the Paroki (SSP) or Social-Economic Development (PSE) in the form of charitable/ consumptive aid, and the empowerment of education institutions under the Vincent association. The empowerment through the educational programs are considered successful, because it accomplishes the indicators of empowerment, while another program is merely a stimulant because it was charitable / consumptive.
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Zieliński, Jan. « Bitwa pod Zurychem i pod Bernem. Szwajcarski epizod Aleksandra Wata. Dyptyk ». Colloquia Litteraria 12, no 1 (18 novembre 2012) : 69. http://dx.doi.org/10.21697/cl.2012.1.5.

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The Battle of Zurich and Berne. Swiss episode of Aleksander Wat. DiptychAleksander Wat’s participation in the international congress of Pen Clubs in Zurich in June 1947, was for him an opportunity not only to reflect on his continuing role in journalism and cultural life in post-war Poland (among others indirectly influenced the decision to leave Poland permanently in 1963), but also to see the Cathedral of St. Vincent of Zaragoza in Bern and its famous stained glass window, depicting the mystical mill. A similar theme – the mill appears in the poem Condemned which the author interprets in multiple contexts: historical, biblical (the book of Samuel), literary (Gałczyński, Schulz, Dürrenmatt), painting (including Breughel, Schiele), film (Kondratiuk), and others. This interpretation also leads to a broader view of the importance of the theme (and symbol), which is in literature and art a mill in general.
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Rovenko, Elena V. « Music is an Architecture Revived : a Gothic Cathedral as a Model for a Perfect Musical Composition as Seen by Vincent D’Indy ». Contemporary Musicology, no 3 (2021) : 43–72. http://dx.doi.org/10.56620/2587-9731-2021-3-043-072.

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Vincent d’Indy developed his own understanding of the ideal algorithm of constructing musical forms. In support of his concept, he took a general artistic perspective. His aim, apparently, was to confirm the special status of the suggested compositional strategies as universal for different kinds of art. These strategies are grounded in such categories as rhythm, order, proportionality, and symmetry inherent to any kind of spatial/temporal art with architecture and music representing the extremes of the spatial/temporal continuum. D’Indy established the correlations between the spatial/temporal arts by embracing the ideas of Hegel, Ruskin, and Lévesque. To explore these ideas, the article resorts to the cultural and historical analysis. D’Indy argues that the “cyclic principle” is the most mature historically and the most perfect constructively. The principle applied exclusively to multimovement compositions has its basis in the translational symmetry of the initial pattern-cell together with its variant renewal. The “cyclic principle” finds its supreme realization in the “cyclic sonata” and the Gothic cathedral. The article is the first attempt to analyse how the “cyclic principle” is used per se, while its particular implementation in music has repeatedly been discussed. The latter was initiated by d’Indy himself in his Cours de Composition Musicale. A step-by-step method of putting the cyclic principle into practice, regardless of the artistic material, is derived by applying the comparative analysis, which helps to develop universal models for working with repetitive patterns in spatial and temporal arts. The analysis revealed the following: first, a “cyclic element” is represented by a syntactically articulated structure which may function as an initial compositional unit (from musical cells to sculptural details); second, the elaboration on the artistic material in music and architecture is done through rhythmic transformations of patterns resulting in the new internal structure with the core preserved. The latter ensures the implementation of the aesthetic maxim “unity in diversity”, seen by d’Indy as crucial in constructing the artistic whole.
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Lamine, Sihem. « Colonial Zaytuna : The Making of a Minaret in French-Occupied Tunisia ». Muqarnas Online 38, no 1 (6 décembre 2021) : 185–221. http://dx.doi.org/10.1163/22118993-00381p07.

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Abstract In March 1892, eleven years after the establishment of the French protectorate in Tunisia, a congregation of ulemas, religious scholars, and students, as well as representatives of the waqf administration (Jamʿiyyat al-Awqāf) gathered in the ṣaḥn of the Zaytuna Mosque to lay the cornerstone of a new minaret. The pre-exiting tower, whose latest major renovations dated from the seventeenth-century Ottoman Muradid times, was deemed hazardous; it was therefore entirely demolished and replaced by a large-scale replica of the nearby Hafsid Kasbah Mosque of Tunis. The new minaret of the Zaytuna Mosque rose in tandem with the Saint Vincent de Paul Cathedral of Tunis, and simultaneously with the nascent French neighborhoods of Tunis outside and along the medina walls. This article explores the intricate and fascinating context of the construction of a monumental minaret in a city that was gradually severing ties with its Ottoman past and surrendering to a newly established colonial rule. It questions the role and aspirations of the French administration in the minaret project, the reasons that led to the revival of the Almohad architectural style in the late nineteenth-century Maghrib, and the legacy left by the re-appropriation of this style in North Africa.
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Sebregondi, Giulia Ceriani, et Richard Schofield. « First Principles : Gabriele Stornaloco and Milan Cathedral ». Architectural History 59 (2016) : 63–122. http://dx.doi.org/10.1017/arh.2016.3.

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AbstractThe construction from 1386 of Milan Cathedral, the largest Gothic church ever constructed in Italy, was one of the most important episodes in the history of Italian and European architecture. The documentation of the lateTrecentoand earlyQuattrocentodiscussions over how to build the Cathedral is extraordinarily rich and extensive, and permits a consideration of the project from many points of view including the relationship between medieval architectural theory and an actual project. At the same time, any enquiry has to contend with the copious modern literature and the conclusions that have been reached hitherto – often erroneously in our view – about many of the most salient points. We thus re-examine published and unpublished documentation and the existing literature, analysing especially the format of the building's elevation, the proposals by Gabriele Stornaloco and Jean Mignot, and the drawings attributed to Antonio di Vincenzo. We also reconsider the notions ofarsandscientiawhich have previously been misinterpreted in discussions of the cathedral documentation.
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Broeyer, F. G. M. « De Irenische Perkins-Vertaling Van De Arminiaan Everard Booth (1577-1610) 1 ». Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 71, no 2 (1991) : 177–209. http://dx.doi.org/10.1163/002820391x00195.

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AbstractBooth's Translation of an Irenical Perkins-Book In 1604 the Utrecht minister Everard Booth (1577-1610) published a translation of William Perkins' 'A Reformed Catholike'. Because of this translation, biographical dictionaries and other literature say that he must have agreed more or less with the predestinarian views of Franciscus Gomarus. In the conflict between Franciscus Gomarus and Jacobus Arminius, Perkins played an important part. He owes this to Arminius, who wrote a book against him and utterly disliked his ideas on predestination, the certainty of faith and final perseverance. The problem is that Booth attended the Conventus Praeparatorius (1607), a meeting meant for the preparation of a national synod. Here he agreed with Arminius on the question of whether the Belgic confession ought to be revised or not. In 1610, the year of his death, Booth's position raises even less doubt. He proved himself to be an Arminian. So his translation of Perkins might point to a change in his outlook or to a moderate stand. However, there is a better solution to the riddle of how a potential Arminian could like Perkins. Perkins' 'A Reformed Catholike' (1597) is an item in the syllabus of irenical writings, released by the French diplomat Jean Hotman in 1607 and extended later on. Utrecht was a former cathedral city which still had a high percentage of Roman Catholic inhabitants. Presumably Booth's attention was drawn to 'A Reformed Catholike' because of its irenical character. He may have considered the book as a means to bring his Catholic fellow citizens to other thoughts. In the same year, 1604, a second Dutchman, Vincent Meusevoet, translated 'A Reformed Catholike' too. He published it together with a translation of a highly polemical book written by Perkins, 'A Warning against the Idolatrie of the Last Times'. Booth did not do things in this way. Incidentally, he took a Latin edition of Perkins' book as his source, not the original English work, as Meusevoet did. 'A Reformed Catholike' is, indeed an irenical treatise. Perkins started his chapters with a discourse on the issues agreed on among Catholics and Protestants. Especially illustrative is the sixteenth chapter dealing with the faith. In the first part of this chapter, devoted to the common elements, he discussed his favourite theme for bruised consciences, namely that a small portion of faith, a faith as a grain of mustard seed, is sufficient in the eyes of God for salvation. So Roman Catholics who desired to believe could assume that they would be children of God, according to Perkins. As a matter of course, nobody was entitled to be satisfied with a small sparkle of faith: man had to aim at an increasing faith. Yet the 'infolded faith' really had a great importance according to Perkins. He showed himself open to the Roman Catholics on a central point in his theological thinking. Booth must have felt attracted to thoughts like those mentioned in 'A Reformed Catholike'. He was an irenical theologian. In the Dutch predestinarian conflict, the irenicists often turned out to be Arminians later on. Notwithstanding his English example Booth's irenical feelings placed him alongside the Arminians with their less unquestioning ideas. One indication of Booth's gifts as an irenicist is what became of the Utrecht Reformed community after his arrival (1602). For many years it had been in a state of turmoil. There were many people who steadfastly refused to go to church in Utrecht. They blamed the Consistory because it danced to the piping of the magistrate. After his arrival the situation improved. During his ministry (1602-1610) the Utrecht church enjoyed a period of peace. This may be mainly due to his influence. Booth was a pupil of the Leiden professor Franciscus Junius, the author of the 'Eirenicum de Pace Ecclesiae Catholicae'. Junius tried to mediate between the religious parties in Utrecht from 1593 onwards. Everard Booth followed in his footsteps.
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Слюнькова, Инесса Николаевна. « The Church of the Ascension in Livadia and Byzantine Architectural Style. Imperial Commission and Project Execution ». Вестник церковного искусства и археологии, no 2(3) (15 août 2020) : 78–110. http://dx.doi.org/10.31802/bcaa.2020.3.2.006.

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Поднимается проблема изученности наследия русской церковной архитектуры, которая напрямую связана с требованиями идентичности и практикой воссоздания утраченных памятников. Работа является первым историко-архитектурным исследованием Вознесенской церкви в Ливадии (1869-1876, разобрана в 1929, воссоздание начато в 2016). Обозначены черты, характерные для императорского искусства, присущие храмам Ливадии, архитектуре Владимирского собора в Херсонесе. Вознесенская церковь рассматривается в контексте становления византийского стиля в русской архитектуре эпохи историзма. Раскрывается история и символика названия Ливадия, методы и характер обращения архитекторов и заказчиков к традиции древних византийских и греческих храмов. Показаны основные этапы составления проекта и ход строительства Вознесенской церкви, приводятся данные об освящении храма и учреждении церковного причта. Публикуются проекты архитекторов И. А. Монигетти и А. Г. Венсана. Выдвигается гипотеза о создании Вознесенской церкви в Ливадии с опорой на образец кафоликона монастыря Осиос Лукас и памятники Афона. В основу изысканий положены вновь выявленные архивные материалы, проектные чертежи, рисунки, старые фотографии. In the article the author rises the problem of Russian church architectural heritage studies. This problem is directly linked to the practice and requirements of lost monuments’ identity restoration. This paper is the first historical and architectural study of the Church of the Ascension in Livadia (1869-1876, deconstructed in 1929, restoration began in 2016). The author highlights the characteristic features of the Imperial art common for Livadia churches and the architecture of Saint Vladimir Cathedral in Chersonese. The Church of the Ascension is analyzed in the context of the formation of Byzantine style in Russian architecture of the ageofhistoricism. The article explicates the history and the symbolism of Livadia name as well as the methods and the character of architects and commissioners’ use of Byzantine and Greek churches tradition. The author shows the main stages of project development and construction of the Church of the Ascension, brings data on the dedication of the church and on the church pricht establishing. The article features Monighetti’s and Vincent’s published projects. The author hypothesizes that the construction of the Church of the Ascension in Livadia was inspired by the catholicon of Hosios Loukas monastery and Athos monuments. The study is based on the newly discovered archive materials, project drafts, pictures, old photographs.
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Freedman, Richard. « The Moderne Motet Anthologies : Four-Voice Motets from the Motteti del Fiore Series, and : The Moderne Motet Anthologies : Five- and More-Voice Motets from the Motteti del Fiore Series, and : Motetti del Laberinto Libro primo a cinque Voci. .. (Venice, Girolamo Scotto, 1554), and : Sacrae Cantiones Vulgo Motetta. .. (Venice, Scotto, 1568), and : Caesaris Tudini Canonici & ; Musici Cathedralis Ecclesiae Adriensis Mottetorum Quinque Vocibus Liber Primus (Venice : Vincenti, 1588) (review) ». Notes 57, no 3 (2001) : 724–28. http://dx.doi.org/10.1353/not.2001.0019.

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Thèses sur le sujet "Vincent (Cathedral)"

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DELL'ASTA, LUCIA. « I CAPITOLI DI S.VINCENZO E S.ALESSANDRO DI BERGAMO TRA XII E XIII SECOLO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6229.

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Oggetto della ricerca sono i capitoli di S. Vincenzo e S. Alessandro di Bergamo, quelle istituzioni, cioè, che proprio nel corso del periodo preso in esame (1146-1216) ottennero di essere entrambe riconosciute capitoli della cattedrale. Dopo una panoramica sullo status quaestionis e sulle fonti disponibili, l’indagine si muove su due piani distinti ma tra loro connessi: innanzitutto, esaminando la struttura e l’organizzazione dei due collegi, si procede a un’analisi di tipo “istituzionale” degli stessi. Da questo punto di vista la ricerca mostra nel complesso come i due collegi abbiano condiviso la responsabilità di governo della diocesi non solo dopo, ma anche prima dell’accordo con cui, nel 1189, si riconobbero reciprocamente come parti dell’unica cattedrale bergamasca. Inoltre, attraverso uno studio prosopografico si ottengono informazioni su provenienza sociale, carriera e profilo culturale dei canonici. Elementi utili a ricostruire la posizione dei capitoli nella città vengono pure dall’analisi dei loro compiti in ambito di cura animarum, dalla valutazione del ruolo della basilica di S. Alessandro come custode delle reliquie del santo eponimo dell’episcopato, e infine da alcuni cenni sulla lotta per la ecclesiastica libertas che oppose Chiesa e comune ai primi del Duecento.
The research concerns the chapters of S. Vincenzo and S. Alessandro (Bergamo). During the period under study (1146-1216), both the institutions obtained the right to be considered cathedral in the city. After an overview of the status quaestionis and of the available sources, the study discusses first the institutional aspects, such as the structure and organization of the two chapters. From that point of view, it seems clear that the two institutions shared some important duties not only after but also before being both acknowledged as cathedral (1189). Then, a prosopographical investigation offers many information about the social origins, studies and careers of the canons. Some attention is focused also on the commitment of the chapters to the cura animarum and on the fact that the relics of the main patron saint of the city (s. Alexander) were buried in the church of S. Alessandro. All that, along with the consideration of the antagonism that, at the beginning of the twelfth century, took place between Church and city about the problem of ecclesiastica libertas, shows the actual position of the cathedral chapters in the city.
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DELL'ASTA, LUCIA. « I CAPITOLI DI S.VINCENZO E S.ALESSANDRO DI BERGAMO TRA XII E XIII SECOLO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6229.

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Oggetto della ricerca sono i capitoli di S. Vincenzo e S. Alessandro di Bergamo, quelle istituzioni, cioè, che proprio nel corso del periodo preso in esame (1146-1216) ottennero di essere entrambe riconosciute capitoli della cattedrale. Dopo una panoramica sullo status quaestionis e sulle fonti disponibili, l’indagine si muove su due piani distinti ma tra loro connessi: innanzitutto, esaminando la struttura e l’organizzazione dei due collegi, si procede a un’analisi di tipo “istituzionale” degli stessi. Da questo punto di vista la ricerca mostra nel complesso come i due collegi abbiano condiviso la responsabilità di governo della diocesi non solo dopo, ma anche prima dell’accordo con cui, nel 1189, si riconobbero reciprocamente come parti dell’unica cattedrale bergamasca. Inoltre, attraverso uno studio prosopografico si ottengono informazioni su provenienza sociale, carriera e profilo culturale dei canonici. Elementi utili a ricostruire la posizione dei capitoli nella città vengono pure dall’analisi dei loro compiti in ambito di cura animarum, dalla valutazione del ruolo della basilica di S. Alessandro come custode delle reliquie del santo eponimo dell’episcopato, e infine da alcuni cenni sulla lotta per la ecclesiastica libertas che oppose Chiesa e comune ai primi del Duecento.
The research concerns the chapters of S. Vincenzo and S. Alessandro (Bergamo). During the period under study (1146-1216), both the institutions obtained the right to be considered cathedral in the city. After an overview of the status quaestionis and of the available sources, the study discusses first the institutional aspects, such as the structure and organization of the two chapters. From that point of view, it seems clear that the two institutions shared some important duties not only after but also before being both acknowledged as cathedral (1189). Then, a prosopographical investigation offers many information about the social origins, studies and careers of the canons. Some attention is focused also on the commitment of the chapters to the cura animarum and on the fact that the relics of the main patron saint of the city (s. Alexander) were buried in the church of S. Alessandro. All that, along with the consideration of the antagonism that, at the beginning of the twelfth century, took place between Church and city about the problem of ecclesiastica libertas, shows the actual position of the cathedral chapters in the city.
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Livres sur le sujet "Vincent (Cathedral)"

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Cutajar, Dominic. Malta : Six modern artists : Josef Kalleya, Vincent Apap, Emvin Cremona, Esprit Barthet, Antoine Camilleri, Frank Portelli. Malta : Malta University Services, 1991.

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Dawson, Aeneas McDonell 1810-1894. St. Vincent of Paul [microform] : A Lecture Delivered by the Rev. Aen. McD. Dawson, Before the St. Vincent de Paul Society of the Cathedral Parish of Ottawa. Creative Media Partners, LLC, 2021.

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Levine, Sue A. The Northern Foreportal Column Figures of Chartres Cathedral : Style and Dating and Reflections of Vincent of Beauvais Speculum Doctrinale (Kultstatt). Peter Lang Pub Inc, 1985.

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Vincent, William. A Sermon Preached in the Cathedral Church of St. Paul, London : On Thursday, June the 10th, 1784. by William Vincent, to Which Is Annexed, an Account of the Society for Promoting Christian Knowledge. Gale Ecco, Print Editions, 2018.

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Leffingwell, Edward. An Objet d'Art Book : Monet Cathedrals (An Objet D'art Book). Sterling/Joost Elffers, 2007.

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Sherr, Richard. Cesare Tudino : Caesaris Tudini Canonici, & Musici Cathedralis Ecclesiae Adriensis Mottetorum Quinque Vocibus Liber Primus (Venice : Vincenti, 1588) (Sixteenth-Century Motet). Routledge, 1997.

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Leffingwell, Edward. An Objet d'Art Book : Van Gogh In Bloom (An Objet D'art Book). Sterling/Joost Elffers, 2007.

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Chapitres de livres sur le sujet "Vincent (Cathedral)"

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Rodrigues, Jorge [Manuel de Oliveira]. « The Portuguese Cathedrals and the Birth of a Kingdom : Braga, Oporto, Coimbra, and the Historical Arrival at Lisbon - Capital City and Shrine of St Vincent ». Dans Romanesque Cathedrals in Mediterranean Europe, 169–83. Turnhout : Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109571.

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