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Artykuły w czasopismach na temat „Coronation of the Virgin”

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Autor: Grafiati

Data publikacji: 26 lipca 2024

Data aktualizacji: 26 lipca 2024

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1

Rothenberg, David J. "The Most Prudent Virgin and the Wise King:Isaac's Virgo prudentissima Compositions in the Imperial Ideology of Maximilian I". Journal of Musicology 28, nr 1 (1.01.2011): 34–80. http://dx.doi.org/10.1525/jm.2011.28.1.34.

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Isaac quoted the chant Virgo prudentissima (Most Prudent Virgin), Magnificat antiphon for the Feast of the Assumption, in four compositions. Three of them can be shown to have connections to the Hofkapelle court chapel) of Emperor Maximilian I, Isaac's employer starting in 1496. They are: (1) the six-voice ceremonial motet Virgo prudentissima, composed in 1507 while Isaac was in Constance for the imperial Reichstag that Maximilian had convened in order to plan his coronation as Emperor; (2) the six-voice Missa Virgo prudentissima, which has sometimes been thought to be an earlier work but probably dates from around the same time; and (3) Gaudeamus omnes, the Assumption Introit in volume 2 of the Choralis Constantinus, which quotes Virgo prudentissima as a secondary cantus firmus. All three of these works appropriate the liturgy and theology of the Assumption of the Virgin so that Maximilian's ascent to the Imperial throne and coronation as Emperor might be aligned symbolically with the Virgin Mary's Assumption into heaven and Coronation therein as Queen. The symbolism of Isaac's compositions helped Maximilian, who crafted his public image very carefully by commissioning numerous large-scale propagandistic textual and visual works, to portray himself as a noble and enlightened ruler seeking protection for his imperial crown and empire from the Virgin Mary. Isaac's musical imagery also aligns very closely with the visual iconography of Albrecht Dürer's painting Festival of the Rose Garlands.

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Salvador González, José María. "The Iconography of the Coronation of the Virgin in Late Medieval Italian Painting". Eikon / Imago 2, nr 1 (14.06.2013): 1–48. http://dx.doi.org/10.5209/eiko.73366.

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This paper aims to highlight the artistic and conceptual relevance acquired by the iconographic theme of The Coronation of the Virgin in Italy during the Late Middle Ages. To achieve this goal we analyzed twenty-seven Trecento and Quattrocento paintings, with the purpose of discovering in them the more or less innovative compositional formulas proposed by these artists, as well as the possible literary sources that inspired them. From the formal perspective we have discovered three different iconographic types, which complement themselves mutually, as progressively complex variations of a similar basic structure. From the conceptual perspective we could also specify that these three different iconographic types of The Coronation of the Virgin in Italy are inspired directly in specific comments by some Church Fathers and medieval theologians.

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Shapovalova, Elena V. "THE “CORONATION OF ESTHER” IN THE INTERIOR OF THE REIMS CATHEDRAL: THE MARIOLOGICAL CYCLE OF TAPESTRIES IN THE RELIGIOUS AND POLITICAL CONTEXT OF THE 16TH CENTURY". Studia Religiosa Rossica: Russian Journal of Religion, nr 3 (2023): 125–38. http://dx.doi.org/10.28995/2658-4158-2023-3-125-138.

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The article analyzes the peculiarities of the iconography of the “Coronation of Esther” in the cycle of the “Life of the Virgin Mary”, created for the Reims Cathedral at the beginning of the 16th century. While the composition of the tapestries is obviously influenced by such an important textual source as Biblia Pauperum, the master depicts the scene in his own way, finding himself closer to the interpretation of Bible moralisée. The polemic with Protestants increased attention to the image of the Virgin Mary in Catholic art. At the same time, French foreign policy and relations of Paris and Saint-Siège may have been a factor in the additional visualization of the monarch’s status as “the most Christian king,” which led to an increased politicization of French art and an emphasis on the coronation theme.

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Salvador-González, José María. "The Iconographic Type of the Coronation of the Virgin in the Renaissance Italian Painting in the Light of the Medieval Theology". Religions 13, nr 12 (24.11.2022): 1145. http://dx.doi.org/10.3390/rel13121145.

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This article highlights the artistic and conceptual relevance of the iconographic type of the Coronation of Mary in Italy during the Late Middle Ages and Early Modernity. We have analyzed 14 Italian Renaissance paintings, aiming to discover the possible doctrinal sources that inspire them. From a conceptual perspective, we have specified that the iconography of The Coronation of the Virgin in Italy is directly inspired by the comments of some Church Fathers and medieval theologians and hymnographers. From the formal perspective, we discover that three different iconographyc types complement each other as progressively more complex variants of a similar basic structure.

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Bent, George R. "A Patron for Lorenzo Monaco's Uffizi Coronation of the Virgin". Art Bulletin 82, nr 2 (czerwiec 2000): 348. http://dx.doi.org/10.2307/3051381.

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Salvador González, José María. ""Sicut lilium inter spinas". Floral Metaphors in Late Medieval Marian Iconography from Patristic and Theological Sources". Eikon / Imago 3, nr 2 (20.09.2014): 1–32. http://dx.doi.org/10.5209/eiko.73394.

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This paper proposes an interpretation of the flowers and other plant motifs present in some late medieval images of four Marian themes: the Virgin Enthroned with Child, the Virgin of Humility, the Sacra Conversazione and the Coronation of the Virgin. By supplementing certain unjustified conventions that, without any argument, see these flowers as natural symbols of Mary’s love or virginity, our iconographic proposal is based on multiple evidence by prestigious Church Fathers and medieval theologians. By commenting some significant passages of the Old Testament, all of them praise the Mother of the Savior in terms of flowers and plants as metaphors for her holiness and virtue. Thus, on the basis of a solid patristic and theological tradition, this paper attempts to interpret these botanic elements as symbolic figures of purity, humility, charity, sublimity of virtue and absolute holiness of Mary and, as the essential core, her perpetual virginity and virginal divine motherhood.

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7

Faulkner, Ashley. "The Coronation of the Virgin: Alice Meynell’s Typological Critique of Modern Bodies". Cahiers victoriens et édouardiens, nr 74 Automne (14.11.2011): 75–88. http://dx.doi.org/10.4000/cve.1048.

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Hodne, Lasse. "The Bride and Groom of the “Canticum novum”". Acta ad archaeologiam et artium historiam pertinentia 21 (21.09.2017): 139–52. http://dx.doi.org/10.5617/acta.5534.

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The article concentrates on the “Coronation of the Virgin” in medieval art. This image is based on the Bride and Groom theme from the Canticles. However, whereas this text from the Old Testament was examined already by the Church Fathers in their exegetical writings, a “canonical” representation of it was coined only in the 12th century. This “late introduction” reflects deeply rooted changes in religious life which profoundly changed church history. The turtle dove whichsings in the Canticles is, according to Saint Bernard of Clairvaux, not only a symbol of faithfulness but also of chastity. This chastity must, in turn, be connected with the chastity of the clergy and the development of the idea of celibacy precisely in this period. Hence, the “Coronation”, besides being a symbol of the Church, is also an expression of a precise conception of the Church, namely a body constituted of men who maintain their virginity as brides awaiting the arrival of the Groom.

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Nastalska-Wiśnicka, Joanna. "Staropolskie piśmiennictwo sanktuaryjne jako źródło do badań nad kultem maryjnym na ziemiach Rzeczypospolitej". Textus et Studia, nr 4(4) (9.05.2017): 47–70. http://dx.doi.org/10.15633/tes.01403.

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The article features the wealth of forms and contents of prints conventionally called “sanctuary prints”. These include compendia which are the guides to sacred places of the Polish Republic, peregrination literature, occasional prints (e.g. published on the occasion of the coronation of a miraculous image), homiletic forms (texts of sermons preached during the Marian holidays, image translation or coronation), the stories of sacred places and legends related to them, collections of miracles and graces, prayer books and texts of songs intended for the pilgrims. Interpretation possibilities of this type of texts were indicated. The presence of the Virgin Mary in a notional sphere of elites and masses identified clearly and permanently her place in Polish religiosity and the Marian cult has found particular expression in growing from the half of the 16th century, the adoration of the Marian images. Important from this perspective studies tend to portray multiple cultural phenomena available through the external manifestations of worship presented in the source material.

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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part I)". Ethnologia Actualis 16, nr 1 (1.06.2016): 8–29. http://dx.doi.org/10.1515/eas-2016-0001.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. The scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as Assumption of Virgin Mary up to celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that the ornaments of the church evoke Tlalocan, paradise of ancient deity of rain known as Tlaloc. Following this interpretation this study explore a relation between Virgin Mary and ancient Nahua deity of Earth and fertility called Tonatzin in order to show profound syncretic bonds which exist between Cristian and Mesoamerican traditions.

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11

Rubin, P. "Hierarchies of Vision: Fra Angelico's Coronation of the Virgin from San Domenico, Fiesole". Oxford Art Journal 27, nr 2 (1.01.2004): 137–53. http://dx.doi.org/10.1093/oaj/27.2.137.

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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part II)". Ethnologia Actualis 16, nr 2 (1.12.2016): 14–32. http://dx.doi.org/10.1515/eas-2017-0002.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the ornaments of the church evoke Tlalocan, paradise of the ancient deity of rain known as Tlaloc. Following this interpretation this study explores the relation between the Virgin Mary and the ancient Nahua deity of Earth and fertility called Tonatzin in order to show the profound syncretic bonds which exist between Christian and Mesoamerican traditions.

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Breen, Dan. "Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing". Renaissance and Reformation 42, nr 2 (24.10.2019): 218–20. http://dx.doi.org/10.7202/1065144ar.

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Ichikawa, Kayoko. "Guido da Siena’s Coronation of the Virgin: Thirteenth-Century Marian Devotion between East and West". IKON 10 (styczeń 2017): 83–96. http://dx.doi.org/10.1484/j.ikon.4.2017008.

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Moraes, Lenise Glaucia de Souza. "A COROAÇÃO COMO PONTE SAGRADA ENTRE A VIRGEM MARIA E AS RAINHAS EUROPEIA, AFRICANA E CONGA "The coronation as sacred bridge between the virgin Mary and the european, african and congo reigns"". PARALELLUS Revista de Estudos de Religião - UNICAP 5, nr 10 (30.12.2014): 313. http://dx.doi.org/10.25247/paralellus.2014.v5n10.p313-328.

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A partir da descrição do percurso histórico de consolidação do cristianismo em Portugal e do contato político, econômico e cultural dessa nação com povos africanos via expansão ultramarina e colonização, esse trabalho pretende descrever um paralelismo entre a divindade e a realeza europeia e africana pela comparação entre as coroações de rainha conga no Reinado de Nossa Senhora do Rosário, descrita em diversos trabalhos acadêmicos, e da Virgem Maria na Igreja Católica de Nossa Senhora de Fátima no bairro Tupi em Belo Horizonte, observada por essa pesquisa, por suas características e coincidências rituais e uso de objetos. Por essas relações, visa-se verificar como as trocas geradas entre o cristianismo e o banto, principalmente, e as reinterpretações de uma cultura por outra produziram uma terceira cultura religiosa, que se faz presente nas irmandades negras e festas de Congado em todo o Brasil, assim como uma terceira figura reinante, que conjuga o divino, o ancestral e o monarca.Palavras-chave: Congado. Performance. Banto. Igreja Nossa Senhora de Fátima. Transculturalidade.AbstractFrom the description of the historical course of consolidation of Christianity in Portugal and the political, economic and cultural contact this nation with African people through overseas expansion and colonization. This paper aims to describe a parallel between the deity and the European and African royalty by comparing coronation of queen conga of Our Lady of the Rosary, described in many academic papers and the coronation of Virgin Mary in the catholic church of Our Lady of Fatima in Tupi neighborhood of Belo Horizonte, observed in this research, because its characteristics and rituals coincidences and use of objects. For these relationships this paper aims to see how the exchange generated between Christianity and Bantu, mainly, and reinterpretations of one culture by another produced a third religious culture that is present in the black sororities and Congo throughout Brazil as well as a third reigning figure, which combines the divine, the ancestor and the monarch.Keywords: Congo. Performance. Bantu. Igreja Nossa Senhora de Fátima. Transculturality.

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Feingold, Ruth P. "Every Little Girl Can Grow up to Be Queen: The Coronation and the Virgin in the Garden". Literature & History 22, nr 2 (wrzesień 2013): 73–90. http://dx.doi.org/10.7227/lh.22.2.5.

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Rosenthal, Joel T. ":Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing". Sixteenth Century Journal 51, nr 3 (1.09.2020): 897–99. http://dx.doi.org/10.1086/scj5103146.

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Breen, Dan. "Grindlay, Lilla. Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing". Renaissance and Reformation 42, nr 2 (28.08.2019): 218–20. http://dx.doi.org/10.33137/rr.v42i2.33014.

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Waller, Gary. "Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing by Lilla Grindlay". Religion & Literature 51, nr 2 (2019): 115–17. http://dx.doi.org/10.1353/rel.2019.0042.

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Villers, Caroline, i Astrid Lehner. "Observations on the Coronation of the Virgin Attributed to Guido Da Siena in the Courtauld Institute Gallery, London". Zeitschrift für Kunstgeschichte 65, nr 3 (2002): 289. http://dx.doi.org/10.2307/4150705.

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Morrissey, Mary. "Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing. By Lilla Grindlay". Journal of Theological Studies 70, nr 2 (5.06.2019): 896–97. http://dx.doi.org/10.1093/jts/flz052.

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Rousseau, Claudia. "Love, Triumph, Immortality: The Mythic and Pictorial Tradition of the Corona Borealis’". Culture and Cosmos 23, nr 02 (październik 2019): 75–90. http://dx.doi.org/10.46472/cc.0223.0211.

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The Corona Borealis or Northern Crown is a bright constellation that shines conspicuously in the early summer sky. Among the oldest recognized constellations visible in the northern hemisphere, its distinctive configuration is easily discernible. Once a group of nine stars, it was the only stellar ring visible to early Greek astronomers who named it Στεϕανοσ, the Wreath. It was later distinguished as πρωτοσ and Βορεοσ (first and northern) and ascribed a positive astrological influence. The constellation was associated with the myth of Bacchus and Ariadne as early as the third Century BCE. In this myth, the Crown was most often identified as Ariadne's wedding crown which Bacchus hurled into the sky at her death as a memorial of his undying love for her. Although there are variations in the telling of the myth in ancient texts, the constellation was firmly identified with the triumph of Ariadne, and her transformation into a goddess. The pictorial tradition was adapted in images of the Virgin Mary with a starry crown, as well as those representing her Coronation by Christ.

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Delledonne, Chiara, Michela Albano, Tommaso Rovetta, Gianmarco Borghi, Mario Gentile, Anna Denia Marvelli, Piero Mezzabotta i in. "Rediscovering the Painting Technique of the 15th Century Panel Painting Depicting the Coronation of the Virgin by Michele di Matteo". Heritage 7, nr 1 (10.01.2024): 324–37. http://dx.doi.org/10.3390/heritage7010016.

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The study concerned a diagnostic spectroscopic campaign carried out on the panel painting depicting the Coronation of the Virgin (first half of the 15th century) by the late-Gothic Italian painter Michele di Matteo. The main aims were the identification of the original painting materials and the characterization of the painter’s artistic technique. A combined approach based on non- and micro-invasive techniques was employed. Visible and ultraviolet-induced fluorescence photography was used to select the areas of interest for spectroscopic analyses; X-ray radiography assessed the state of conservation of the support, while X-ray fluorescence and external reflection Fourier transform infrared spectroscopies allowed the chemical identification of pigments, binders, and varnishes. Attenuated total reflection infrared spectroscopy, optical microscopy, and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy were used to visualize and characterize the materials in the pictorial layers. The results highlighted the presence of pigments, possibly applied with an egg binder, consistent with the period of the production of the painting, as well as modern pigments used during subsequent restorations: an imprimitura with lead white and a gypsum-based ground layer. Concerning the gilding, the guazzo technique was confirmed by identifying a red bolo substrate and gold leaf.

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Samoilescu, Dorina Claudia, Octavian G. Duliu, Maria M. Manea, Daniela Stan i Bogdan Constantinescu. "A comparative study of two icons representing the “Coronation of the Virgin by the Holy Trinity”: Walachia, 18th century and Transylvania, 19th century". Journal of Cultural Heritage 27 (październik 2017): 175–80. http://dx.doi.org/10.1016/j.culher.2017.04.001.

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Mazurczak, Urszula. "Czas i przestrzeń w badaniach sztuki oraz twórczości literackiej ks. profesora Janusza St. Pasierba". Artifex Novus, nr 3 (1.10.2019): 2–19. http://dx.doi.org/10.21697/an.7058.

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SUMMARY The Author separated the visualized time and the time when the painting was created. Both are rooted in the point of history which was important for the artist, in the time of creating the work of art as well as in the internal structure of the painting which is expressed through the theme and the presented figures. The researcher who was deeply influenced by history, browsed it deeply in order to find every “now”, adding it to the timeline of the artist’s life, or to the history he was a part of. The timeline, history, constitutes a basis of the knowledge about the artist’s workshop and it is the basis for the historical-comparative method. The Priest Professor Pasierb knew hermeneutics with the hermeneutic circle of Hans Gadamer and Paul Ricoeur. In his exploration of the temporal structure of his works of art he indicates to the reader the circular structure of the composition, which is typical for the scenes of the greatest masters of the Baroque, e.g. The Coronation of Mary, The Adoration of the Shepherds. The structure of time is particularly important in the portraits of Herman Han in the painting of 17th century. The analysis of the paintings of the master of Gdańsk Herman Han, especially of his painting The Coronation of the Virgin Mary in the main altar in Pelplin is an introduction for discovering the circular structures of time and space. It shows the Author’s concepts as close to the traditional Antique concepts of time: as the two opposites: Chronos – the inevitable time which consumes everything on its way and Kairos, the fugacious moment which can, however, be stopped by wisdom, beauty, the ability of predicting. The sensitivity to time, the Kairos, was expressed by the priest Professor Pasierb who was impressed by a Greek vase painted by Makron (Paris, Louvre) “long-haired boy with a hoop and with a dog, quickly running round an attic goblet, looking back where they are calling you, come back, you didn’t listen, today it is too late, twenty-five centuries passed. The painter Makron whom you passed by so quickly, managed to write kalos – Beautiful”. The basic method used for the analysis of time and space in the painting is the hermeneutic method of Paul Ricoeur and Hans Georg Gadamer.

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Nica, Liliana, Viorica Vasilache, Ana Drob, Silvea Pruteanu i Ion Sandu. "Preservation and Restoration of an Old Wooden Icon with Complex Carved Ornaments, in a Conservation State of Precollapse". Applied Sciences 12, nr 10 (18.05.2022): 5073. http://dx.doi.org/10.3390/app12105073.

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Wooden icons used in liturgical activities suffer a series of evolutionary deteriorations and degradations over time, due to improper storage and use conditions. The deterioration of the physical state of the structural-functional elements and degradation of the chemical nature of the components often lead old easel paintings to precarious preservation (almost close to pre-collapse), impossible to use or display as an artifact. In this study was included an old oil-painted icon on a carved linden wood support with fine gilded ornaments, which frames a central icon (“Coronation of Virgin Mary”) and a complex Menaion icon system with iconographic scenes. It was made by an anonymous author and dates back to the late 18th and early 19th centuries. As the icon has a special beauty and an ornamental and iconographic complexity, having a great heritage value, it required the elaboration of an optimal preservation–restoration protocol for the museum exhibition. Initially, the nature of the pictorial materials was determined, and their preservation state was evaluated using the OM, SEM-EDX, micro-FTIR methods, and CIE L*a*b* colorimetry and visible and UV reflectography were used in the evaluation of the wash test and in compatibility studies. Based on the data obtained, the optimal materials and procedures for structural reintegration were selected (including support fillings and filling of gaps), then chromatic reintegration and gilding, followed by final revarnishing, with or without patination additives.

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Buda, Attila, i Anna Tüskés. "Horatius, Ovidius és Vergilius művei a fóti Károlyi-kastély egykori és a keszthelyi Festetics-kastély ma is látogatható Helikon könyvtárában". Magyar Könyvszemle 133, nr 2 (7.11.2017): 174–96. http://dx.doi.org/10.17167/mksz.2017.2.174-196.

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The aim of the study is the analysis of the presence of the three classic Latin author’s works in two aristocratic libraries of the 18th–19th centuries. The motivations of reading and collecting books are similar and more catalogues make possible the comparison of the two collections. The members of the Károlyi family were significant in distributing education and culture in the 17th-18th centuries. Two remaining manuscript catalogues (1830, 1843) shows that the Fót library was a live collection throughout its existence. It was constantly growing and diminishing, it served to entertain and inform its owners. Therefore seeking philological or bibliophile aspects in its composition is not worthwhile. Concerning the items of the manuscript catalogues: the subsequent researcher can more or less identify the individual works based on the fragmented descriptions but doesn’t hold the copy that served as a base for the previous categorisation. The two library catalogues can surely be linked to István Károlyi who studied in the Piarist high school in Vienna, later in Pest. The first catalogue contains one edition of Horace and two of Virgil, the second attests eight Horace, three Ovid and seven Virgil. The Keszthely Library is a baronial library like the one in Fót. For the Festetics family, who moved to Keszthely in the second half or the 1740s, books were important. The Hungarian National Archives conserves twelve library catalogues of the Festetics estates in one and a half century, between 1746 and 1894. On the basis of these twelve catalogues, five Horatius, twelve Ovidius- and five Vergilius-editions can be identified from the 16th–18th-centuries. The currant collection contains also several 19th-century editions. In the Helikon Library of the Festetics Castle there is an unpublished two sheet print in Hungarian and German, titled ‘The adaptation of Virgil’s known poems for the Hungarian coronation”. The distich believed to be written by Virgil, the starting point of the pamphlet published in Pest in the printing house of Mátyás Trattner in 1792, on the coronation of Ferenc I. The version of the poem adapted for the coronation is as follows: “Rain by night: We are crowning our King in the morning: / With Nature shares thus our beloved Ferenc”. And in German: “Des Nachts ein Regen: des Morgens fröhliche Krönung: / So theilt Theurer FRANZ mit dir die Zeit – die Natur ein.” At the bottom of the sheet this note can be read: “NB. That all happened like so, can those present in Buda and Pest attest.” As a work of propaganda it is intended to bolster the image of the king himself. The epigram ascribed to Vergil by the so-called Vita Vergilii by Donatus was frequently used in the Middle Ages. The hexameter furnishes the standard example for 'spectaculum' in the Latin grammar manuals. It was imitated for example in the Silva by the Milanese doctor and humanist Bernardino Rincio which narrates the splendid festival of the reign of Francis I, the Bastille festival of 1518. “Luce pluit tota, redeunt spectacular nocte, Imperium iunctum cum Iove Rex habeas.” “It has rained throughout the day, the spectacles return with the night, may you O King have your empire joined with Jupiter.”

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Griffante, Andrea. "Catholicism, Mary, and history : the coronation of the Holy Virgin of the Gate of Dawn in Vilnius (1927) as a performance of Polish remembering and Lithuanian forgetting processes". Deeds and Days 61 (2014): 9–36. http://dx.doi.org/10.7220/2335-8769.61.1.

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Annarilli, Sofia, Antonella Casoli, Claudia Colantonio, Luca Lanteri, Angela Marseglia, Claudia Pelosi i Sabrina Sottile. "A Multi-Instrument Analysis of the Late 16th Canvas Painting, “Coronation of the Virgin with the Saints Ambrose and Jerome”, Attributed to the Tuscany-Umbria Area to Support the Possibility of Bio-Cleaning Using a Bacteria-Based System". Heritage 5, nr 4 (30.09.2022): 2904–21. http://dx.doi.org/10.3390/heritage5040150.

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(1) Background. The aim of this work is to combine non-invasive imaging with chemical characterization analyses to study original and restoration materials of a late 16th-century painting on a canvas representing the “Coronation of the Virgin with the Saints Ambrose and Jerome”, preserved in the Diocesan archive of Orte, a town in the district of Viterbo (Italy). The diagnostic campaign was addressed to support the restoration activities and the choice of the most suitable cleaning operations. (2) Methods. Both traditional analytical techniques and innovative multispectral imaging were applied to solve the diagnostic issues and best address the restoration of the painting. Specifically, hypercolorimetric multispectral imaging (HMI), X-ray fluorescence spectroscopy (XRF), Fourier transform infrared spectroscopy (FT-IR), optical microscopy, and gas chromatography coupled with mass spectrometry (GC-MS) were combined to obtain information on the general conservation state of the artwork and the characterization of pigments, organic binders, and superimposed materials, these last being particularly important to identify ancient and not-documented restoration intervention, enabling the correct choice of the most suitable and effective cleaning intervention. (3) Results. Multispectral data allowed us to differentiate and map original materials through infrared and ultraviolet false color images and spectral reflectance-based similarity maps, suggesting pigment attribution and focusing point analysis for characterization. This approach was particularly successful to identify and locate the presence of unaltered smalt blue in the first painting coat, which had been covered with other pigments, and to suggest the use of organic dye in mixtures with cinnabar and ochres. Spectroscopic and chromatographic techniques enabled us to identify the painting palette and confirm the use of oil-based binder for the pigments and characterize the altered top layers, made with a natural resin and an animal glue. (4) Conclusions. The characterization of the artwork’s materials was essential to select the most suitable methods and materials for the bio-cleaning, based on bacteria, experimented with during the restoration activities.

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Golubeva, Irina. "Coronation of the Virgin by Jacopo Torriti in the apse of Santa-Maria Maggiore (1292–1296). To the question of commissioners and artists in Rome at the end of the 13th century". St.Tikhons' University Review. Series V. Christian Art 43 (30.09.2021): 9–25. http://dx.doi.org/10.15382/sturv202143.9-25.

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Bates, Stephen. "Lilla Grindlay, Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing, Notre Dame, Indiana: University of Notre Dame Press, 2018, pp. xi + 297, £35.00, ISBN: 9780268104108". British Catholic History 34, nr 04 (październik 2019): 658–60. http://dx.doi.org/10.1017/bch.2019.32.

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Pickett, Holly Crawford. "Queen of Heaven: The Assumption and Coronation of the Virgin in Early Modern English Writing. Lilla Grindlay. ReFormations: Medieval and Early Modern. Notre Dame, IN: University of Notre Dame Press, 2018. xii + 298 pp. $45." Renaissance Quarterly 74, nr 3 (2021): 1058–59. http://dx.doi.org/10.1017/rqx.2021.187.

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Parfenova, Elena. "Theoretical Discourse: Craft or Art in Florentine Painting of the First Half of the 14th Century. An Analysis of Two Artwork Pieces by Giotto Bondone and Bernardo Daddi on Iconographic Theme of the Coronation of Virgin Mary". St.Tikhons' University Review. Series V. Christian Art 25 (31.03.2017): 32–48. http://dx.doi.org/10.15382/sturv201725.32-48.

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Knyazev, Pavel. "The Images of Power in the Public Space of Early Restoration England". ISTORIYA 13, nr 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840019015-5.

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The article deals with the main features of the public representation of the power images during the early Stuart Restoration. The problem is studied on the material of the solemn entry of the English King Charles II into London on the eve of his coronation, April 22, 1661. Prior to this event, four triumphal arches were built in the city center, using the main symbols and allegories associated with the restoration of the monarchy. Based on a wide range of sources (official descriptions of celebrations, engravings, poetic works and diaries), the authors study the characteristic features of the power images of the early Restoration. Firstly, an important role in the construction of these images was played by the use of the heritage of the Antiquity, mainly of the works of Virgil. England was represented as the new Rome, and Charles II was seen as the new Augustus. Secondly, like the early Stuarts, Charles II sought to present his rule as a new “Golden Age” — the era of prosperity and abundance. The latter, according to the architects of the arches, came to replace the chaos, desolation and discord of the civil wars and of the Interregnum. The symbolism of the arches helps us understand, how the legacy of that period was refracted in official rhetoric and in the minds of the Englishmen of the Restoration era. Finally, the images on the triumphal arches reflected the plans and aspirations of the new government, being a kind of “manifesto” of the new monarchy.

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Deguy, Michel. "Coronation". Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, nr 1 (20.07.2021): 5–6. http://dx.doi.org/10.36253/aisthesis-12834.

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Lesser, R. "Coronation". Literary Imagination 9, nr 1 (1.01.2007): 65–66. http://dx.doi.org/10.1093/litimag/imm007.

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Fisković, Igor. "Lopudski oltari Miha Pracata". Ars Adriatica, nr 2 (1.01.2012): 177. http://dx.doi.org/10.15291/ars.448.

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Three cinquecento polychrome wood-carved altars have been preserved on the island of Lopud near Dubrovnik, the most monumental of which is situated in the parish church of Our Lady of Šunj. Its retable was constructed to resemble a classical aedicule, with an intricately carved frame and a central figural depiction of the Assumption of the Virgin, complemented by a complex iconographic programme in the symmetrically arranged adjoining scenes. Filling the small cassettes of the predella are reliefs of the Annunciation and Christ as the Man of Sorrows, together with perspectively rendered narrative scenes of the Last Supper and the Washing of the Feet, while in the pediment is a frontal depiction of the Coronation of the Virgin by the Holy Trinity. In the narrow side wings between the columns and pilasters are four bas-reliefs of local patron saints depicted half-turned towards the central image, and thus achieving an overall plastic harmony for a demanding content. In terms of space, the main scene is well-developed through a pronounced sculptural modelling of the figures of the eleven apostles in the round, the most prominent of which is that of St Peter, placed in the foreground and turned to face the nave of the church, while the others are consumed by the miraculous assumption of the Virgin into heaven. She is followed high up by a pair of small angels and several tiny symbolical cherubim heads, all of which helps to achieve an extremely convincing religious scene. Its attractiveness is significantly heightened by the all’antica realism and pedantic Roman-inspired modelling which highlight the skill of a highly trained and talented master wood carver, which leaves no doubt that this is a special work of art, and indeed, the most beautiful carved wood retable in the east Adriatic which has survived to date. In this first complete study of the altar, the author traces historical records in which it is mentioned without the exact year of its creation, origin or carver being cited. He dispels the tradition that the altar was brought from England, supposedly from the Chapel of Henry VIII, and explains this tradition as having been based on the discovery of an alabaster altar, a typical product of late Gothic workshops at Nottingham, several examples of which exist in Dalmatia. From the seventeenth-century records, on the other hand, we learn that the altar in the church of the „Madonna del Sugni” (a vernacular Italo-Croatian transformation of the word Assunta) was dedicated in 1572. An examination of comparative material establishes that the altar’s compositional scheme draws upon altarpieces painted by Alvise Vivarini around 1480, while its morphological features find their closest parallel in the activities and mannerisms of the Venetian workshop of Paolo Campsa, who worked from the 1490s to the early 1550s, and who sold his works in the wide area under the government of La Serenissima. The Republic of Venice profited a great deal from this export, while its urban centre’s innumerable wooden altars disappeared following subsequent changes of fashion. A group of securely attributed works shows that Paolo Campsa frequently borrowed formulas and idioms from Venetian painters of the older generation; analogies with two of Vivarini’s altar paintings confirm that he repeated this technique on the Lopud altar, even though altars as complex as this are not found in the surviving oeuvre of this artist. An overview of the extremely numerous works attributed to this fecund wood carver has not led to a secure attribution of this scenically developed altar to his hand. However, an analytical observation points to significant similarities with individual figures considered by scholars of Renaissance wooden sculpture to be products of his workshop - more a factory, in fact - or of his circle which, without a doubt, Paolo stamped with his mark. Apart from the assumption that there are master wood carvers who have not been identified, or formally and clearly differentiated, who followed his teachings and mannerisms, this paper opens the possibility of locating more exactly the place of the altar’s creation. Since Campsa’s workshop was active even after his death, it can be assumed that the altar was made in the 1560s or 1570s, and that it was transported and assembled on the island of Lopud for its dedication of 1572. Furthermore, the author observes the meaning of the subsequent addition of the background, which was painted once the altar reached its destination; it shows a summarized depiction of the scenery of Lopud and a tiny settlement with a precisely and proportionately drawn sailing ship docked at the island’s bay. The background reveals that the nature of the work was votive and, by identifying the layers of local historical circumstance and by combining them with the relevant written sources, it can be connected to the activities of the distinguished ship owner Miho Pracat, the richest citizen of the Republic of Dubrovnik during the cinquecento. Two more wooden sculptures can be added to Miho Pracat’s donation to his home island: the figures of St Catherine and St Roch which were also made in Venice and which had originally belonged to a small altar of his family in the local church of St Francis, known from archival records. This altar was composed of an older polychrome triptych, now unfortunately lost, and which, together with a pair of side statues, formed a piece resembling a number of altarpieces from Paolo Campsa’s workshop. Thus, the analysis of these works of art reveals key components of visual culture, and a peculiar mosaic of sixteenth-century artistic production in a peripheral community of the small island of Lopud under the government of the Republic of Dubrovnik.

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Srinivasan, Doris Meth. "Self-Coronation". Archives of Asian Art 72, nr 1 (1.04.2022): 55–74. http://dx.doi.org/10.1215/00666637-9577696.

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Abstract Mathura's Hindu art opens with two deities performing a gesture I have named “the self-coronation gesture”; it has no antecedents in Indian art or texts. Śiva and the Warrior Goddess (possibly developing into Mahisāsuramardinī) bestow upon themselves an honorific crowning object, the floral garland. Wherefrom came this particular gesture? The paper assigns the gesture's origin to the Greek Olympian. From this source a progression is traced eastward, to ancient Bactria, then Gandhāra, finally to Mathura during the Kushan Age. The progression reveals an evolutionary iconographic process going from Western heroes, especially Heracles, to Eastern heroes, especially Vīras, from solid crowns to pliant wreaths, from one hand to two arms needed to make the gesture. The meaning also evolves: the gesture no longer has the Olympian connotation but continues to suggest a sublime triumph. Reading the way my original nomenclature had been applied by others, the paper comments on their feasibility, especially a problematic Kushan/post-Kushan interpretation of Mahisāsuramardinī executing the gesture. Iconographic gaps remain. Needed is further input from the Northwest on the gesture, the source of the Warrior Goddess, and the degree of intermingling between local, Northern cults with early Hinduism.

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Deguy, Michel. "Coronation / Coronação". Sigila N°45, nr 1 (2020): 102. http://dx.doi.org/10.3917/sigila.045.0102.

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Pet’ko, Lyudmila. "The Coronation of Anne Boleyn as Queen of England and the British Coronation Ceremony". Intellectual Archive 12, nr 4 (9.12.2023): 77–117. http://dx.doi.org/10.32370/ia_2023_12_8.

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This year marks the 500th anniversary of the coronation of Anne Boleyn as Queen of England, on 1 June 1533. The paper devoted to the coronation of Anne Boleyn as Queen of England. She was the Queen of England from 1533 to 1536 and the second wife of King Henry VIII. Anne Boleyn would come to be one of the stalwarts of the historical drama. Anne Boleyn was one of the most powerful women in the world in the 16th century. She was that rare phenomenon, a self-made woman. The author presents the event of Tudor history: Anne Boleyn’s coronation procession, Anne Boleyn’s coronation, the crown of St. Edward, with which Anne was crowned, the Imperial Crown and the Tudor Crown. The British coronation ceremony at Westminster Abbey is a time-honored tradition that has been taking place for over a thousand years. The coronation is steeped in pageantry, religious significance, and symbolism, with many ancient traditions being observed during the ceremony. This paper is explored some of these traditions and their significance. Remembered The Canterbury Tales by Geoffrey Chaucer, Henry VIII by Shakespear, coronation music by Thomas Tallis and Handel, Anne Boleyn’s coronation ballad The White Falkon.

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Bielak, Włodzimierz. "Ecclesiastical and theological aspects of the coronation acts of the Polish kings in the Middle Ages. An outline". Archiwa, Biblioteki i Muzea Kościelne 114 (21.12.2020): 47–53. http://dx.doi.org/10.31743/abmk.11770.

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The coronation ceremonial of the Polish kings reflects the medieval union of the Church and state. The coronation was, therefore, not only a state ceremony but also an ecclesiastical one. It was performed by the archbishop in the cathedral in the presence of the assembled Church and through the coronation the new ruler was involved in the mission of the Church. It should also be noted that the formulary used during the coronation was built on theological foundations. Thanks to the coronation, which made the king God’s anointed, the ruler gained a special position in the state and the Church.

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Ewart, Gavin. "The Premature Coronation". Grand Street 8, nr 1 (1988): 131. http://dx.doi.org/10.2307/25007176.

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Sheffy, Rakefet, Richard Harker, Cheleen Mahar, Chris Wilkes i Pierre Bourdieu. "Rites of Coronation". Poetics Today 12, nr 4 (1991): 801. http://dx.doi.org/10.2307/1772718.

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Örnebring, Henrik. "Revisiting the Coronation". Nordicom Review 25, nr 1-2 (1.08.2004): 175–95. http://dx.doi.org/10.1515/nor-2017-0280.

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Watt, Graeme. "The Coronation Oath". Ecclesiastical Law Journal 19, nr 3 (31.08.2017): 325–41. http://dx.doi.org/10.1017/s0956618x17000497.

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The oath taken by British sovereigns at their coronations is laid down by a statute dating from 1688. Any oath taken other than in accordance with the correct statutory form is contrary to law. Taking the authorised form of the oath is a condition on which the crown is held by any individual. The oath taken by the present sovereign omitted the promise to govern according to the statutes agreed upon in Parliament. Any variance from the statutory form is problematic but the clause omitted is the clause that most clearly expresses the central concern of the Williamite settlement. The deficiencies in the oath taken, while reasonably apparent, do not appear to have been judicially recognised hitherto. The legal basis of the present oath has been raised in the political sphere but potential difficulties have been set aside on grounds of expediency. Given the unlawfulness of the oath taken, there is a political and constitutional imperative in establishing that deficiencies in the oath do not fatally taint the reign which follows. This article will advance two possible legal means of reconciling an improper oath with a perfectly valid reign.

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Bursell, Rupert. "The Coronation Oath". Ecclesiastical Law Journal 25, nr 2 (28.04.2023): 156–70. http://dx.doi.org/10.1017/s0956618x23000017.

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Over the past thirty years questions have been raised, and still remain, as to the proper scope of the sovereign's title, Defender of the Faith, in a multi-faith society. Such questions are not only politically important but are legally important, especially as they raise questions affecting the Church of England. Those questions need to be addressed before any suggested changes are actually implemented. These questions are different from those that arise in relation to the Coronation Oath Act 1688, but nonetheless are important. In spite of the uncompromising wording of that Act, changes to the oath taken by new sovereigns have historically taken place at subsequent coronations. This has led to both denials and affirmations of the legality of such changes. As similar changes are likely to take place in the future, it is important to consider whether the courts (civil or ecclesiastical) have jurisdiction to entertain challenges to the legality of the coronation itself, to the oath and to the actions of the relevant participants.

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Sauerberg, Marie Louise. "The Coronation Chair – revisited". Studies in Conservation 50, nr 3 (wrzesień 2005): 230–33. http://dx.doi.org/10.1179/sic.2005.50.3.230.

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WIEBE, HEATHER. "‘Now and England’: Britten's Gloriana and the ‘New Elizabethans’". Cambridge Opera Journal 17, nr 2 (lipiec 2005): 141–72. http://dx.doi.org/10.1017/s0954586705001977.

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During the Coronation of Elizabeth II in 1953, Elizabethan culture was insistently invoked as a source of solidarity and renewal. Through the trope of ‘New Elizabethanism’ members of the press and public reimagined Britain's future on the foundations of a most productive period in its past. This article traces forms of ‘New Elizabethanism’ and other complex negotiations between modernity and the past in the music presented for the Coronation. Its central focus is the debate surrounding Britten's Gloriana, an opera based on the life of Elizabeth I, commissioned for the Coronation Gala by the Arts Council. The opera and the debate it inspired reveal both the stakes placed in the Elizabethan period and a marked anxiety about the status of the past in the remaking of the present – an anxiety that arguably plagued the Coronation as a whole.

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Titarenko, E. M. "Reign and ritual: crowning of the tsaraesthetics in the interpretation of N.F. Fyodorov". Solov’evskie issledovaniya, nr 2 (30.06.2020): 178–90. http://dx.doi.org/10.17588/2076-9210.2020.2.178-190.

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The article is dedicated to the semiosis of the tsar’s crowning ritual in Nikolay Fyodorovich Fyodorov’s «Philosophy of the Common Task». This problem has never been an object of a special research but it helps to get closer to the understanding of ontology of Fyodorov’s aesthetic supramoralism project. His philosophical works «Monarchy», «Aesthetic Supramoralism», «Easter in the Kremlin with Coronation», «About the Kremlin Walls Paintings», «About the Monument to Alexander III…», «For the Forthcoming Coronation» are analyzed in the article. The interpretation particularities of the coronation ritual semiotic system in the context of supramoralism aesthetics are defined. The projective connection of the coronation with governmental social ideal is shown in the article, this ideal was formed in Fyodorov’s Christian universalism. The comparison is made between Fyodorov’s project of the tsar’s crowning ritual and coronation in the Russian Empire ceremonial culture. Fyodorov’s understanding ofthe emperor’s regalia symbolism and meaning of the ancient Byzantianacacius ritual inclusion are disclosed in the article. The analysis of time and space images in Fyodorov’s interpretation allowed seeing liturgic basis of his project aesthetics. The importance of the explanatory and projective ecphrasis is demonstrated in the process of Fyodorov’s interpretation of the monumental visual art that express aesthetic and didactic meaning of the crowning ritual.

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Полехов, Сергей. "Как короновать великого князя? Из истории „коронационной бури“ (1429–1430) и инсигний, предназначавшихся для Витовта". Istorijos šaltinių tyrimai T. 7 (28.10.2021): 9–74. http://dx.doi.org/10.33918/10.33918/20290705-07001.

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How is a Grand Duke Crowned as King? From the History of the “Coronation Storm” (1429–1430) and the Insignia Intended for Vytautas Abstract. The article presents the analysis of a significant aspect regarding problems with the coronation of Grand Duke Vytautas and his wife Uliana – data from the story behind the rulers’ crowns that has hitherto practically not been noticed is being brought into academic circulation. A number of important historical sources are brought under analysis: inscriptions from the book of expenses of the city of Nuremberg, a description of the Teutonic Order’s legation under the Vogt of Stuhm Klaus von Redwitz to meet with the German Roman king Sigismund of Luxemburg (in 1429), and a previously unknown document regarding the coronation that has survived in manuscript form at the Bavarian State Library (BSB, Clm 22372), which once belonged to Sigismund’s advocate, the Bishop of Augsburg Peter von Schaumberg. Keywords: Vytautas, Sigismund of Luxemburg, coronation, royal jewels.

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