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Tykhyi, Bohdan. "DEFENSIVE CHURCH OF SAINT NICHOLAS AND THE MONASTERY OF BERNARDINS IN BEREZHANY". Current Issues in Research, Conservation and Restoration of Historic Fortifications 2020, n.º 13 (2020): 143–56. http://dx.doi.org/10.23939/fortifications2020.13.143.
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The article is devoted to the history of the monastery of the Order of Bernardines in Berezhany in Ternopil region. The analysis of the architectural features of the complex is main purpose of the work. The monastery is located in the northwest corner of the city. The territory of the was surrounded by defensive bastion fortifications. The monastery fortifications were a part of the city defensive lines. The mountain, on which the monastery located, is called - "St. Nicholas Mountain". On the place of the present monastery was a boyar's manor in the XIV century, and then the orthodox church of St. Nicholas.The construction of a defensive complex of monastic buildings began in 1630. The Bernardine complex includes - the Catholic Church of St. Nicholas, the house of the monastery cells, defensive walls and ramparts. The complex occupied the highest position in the north-western wing of the city's defense system. It was an important strategic point that controlled the Lviv-Berezhany road. The construction of all the objects of the monastery lasted 112 years until 1742.In 1809–1812, the Austrian authorities liquidated the city's powerful defenses. In particular, the ramparts and bastions that were on the territory of the monastery were eliminated. Today there is only a fragment of a defensive wall and a moat on the southern slope of the mountain, which separated the territory of the monastery from the urban areas of the New Town. The fortifications of the monastery are shown on the map of 1720 by Major Johann von Fürstenhof. The bastion belt of the monastery had underground structures. In 2010, murals were found in the interior of the church. According to the author, the carved stone decoration of the church (columns, capitals) was made by the sculptor Johann Pfister (in 1630–1642). The altars, with carved figures of saints, were probably made by the artist Georg Ioan Pinzel from Buchach. The architecture of the monastery's defensive structures needs further research. In the temple there are several valuable icons of the prophetic series of iconostasis. These are works originating from the famous Krasnopushchany iconostasis by Gnat Stobynsky and Fr. Theodosius of Sichynskyi. This iconostasis was donated in 1912 by Metropolitan Andrei Sheptytskyi. Restoration work on the monastery began in 2007 after a visit by President Victor Yushchenko. First of all, the roof of the temple was repaired. Work is underway to restore and recreate the interior of the temple. Archaeological research of lost fortifications needs special attention.
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Botica, Dubravka. "Pročelja crkava u Međimurju u razdoblju baroka. Prilog poznavanju tipologije sakralne arhitekture kontinentalne Hrvatske". Radovi Instituta za povijest umjetnosti, n.º 47 (março de 2024): 29–42. http://dx.doi.org/10.31664/ripu.2023.47.03.
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An overview of the façades of Međimurje churches built during the Baroque period reveals a typological affinity with comparable regions in continental Croatia – Hrvatsko Zagorje, Varaždin County, and Križevci-Koprivnica County – as well as some characteristic peculiarities. Most have a bell tower in front of the façade, following a traditional form since the Middle Ages, including churches in Sveti Martin na Muri, Selnica, Prelog, Gornji Mihaljevec, Sveti Križ, Cirkovljan, Donji Kraljevec, Dekanovec, Mursko Središće, Podturen, Sveta Marija, Ivanovec, Sveti Juraj u Trnju, Belica, Nedelišće, Kotoriba, and Razkrižje. The oldest among these are the churches of St Martin in Sveti Martin na Muri and St Mark in Selnica, with bell towers in front of the façade supported by buttresses, along with the likewise older parish church in Prelog. The bell tower of the church in Kotoriba stands out with its curved sides as a high-Baroque design. Apart from being positioned in front of the façade, the bell tower is sometimes located next to it, as observed in the parish church in Goričan and the Franciscan church in Čakovec, where the bell tower’s position follows the tradition of spatial organization in Franciscan building complexes. A third variant within this group is the bell tower’s placement next to the sanctuary, as yet another example of continued tradition, seen in churches in Donji Vidovec, Lopatinec (Sveti Juraj na Bregu), and Štrigova. These examples of adding a Baroque bell tower to the Gothic sanctuary emphasizes continuity and long duration, important features of re-Catholicization in regions with widespread Protestantism. Stylistically more pronounced is the type of façade with an integrated bell tower, prevalent in 18th-century architecture across Central Europe and exemplified by churches in Legrad, Novo Selo Rok, and Kapelščak. The most complex in terms of design are church façades with two bell towers, such as St Jerome in Štrigova and St Rochus in Draškovec. The Pauline church in Štrigova shows numerous parallels with the Maria Trost church in Graz, executed by the Stengg construction workshop – including its prominent position in the landscape, the wide façade with bell towers on the sides, the curved contour of the central gable, and the originally rich architectural articulation. The church in Draškovec is an exquisite combination of late Baroque style in its interior design and emphasized Classicism in the design of the façade and the bell tower. In addition to numerous common features, such as the typology and adoption of certain traditional solutions, the peculiarity of this group of churches in relation to other regions of continental Croatia is the appearance of dynamically shaped façades and bell towers. Churches in Lopatinec and, to a lesser extent, in Legrad have façades along the curve of the ground plan, while the bell tower of the church in Kotoriba has an accentuated dynamic plan, with recessed sides and prominent corners with pilasters. These examples demonstrate the adoption of influences from neighbouring Styria, especially the sacral architecture of Graz’s architect Johann Georg Stengg. Another specificity of the corpus of Međimurje churches is the number of churches designed in the Classicist style, with high-quality achievements in a combination with late Baroque, reflecting the proximity and connectedness of Međimurje to the Hungarian artistic circles. The analysis of bell tower and façade designs in this corpus has shown that within the typological groups present across the area, along with the general features of Baroque architecture, one also finds very specific solutions that corresponded to the needs of the environment. In other words, the adoption of models and their adaptation to the local context is an example of cultural transfer expressing the local character, in which the commissioning environment has left its visible mark.
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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse". Muzikologija, n.º 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.
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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.
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Hogan, Micah. "A Marked Absence: Pneumatic Abandonment as Desert Hermeneutic". Religions 14, n.º 5 (10 de maio de 2023): 642. http://dx.doi.org/10.3390/rel14050642.
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This paper examines the ways in which the Letters of Ammonas, John Cassian’s Conference IV, and the corpus of Macarius-Symeon appropriate and develop the motif of divine abandonment found in St. Antony and shifts it into a distinctly pneumatological key through Scriptural exegesis. Correcting a misconception popularized by Vladimir Lossky, this paper argues for a normative experience of divine abandonment in the Eastern Christian tradition via sustained engagement with the experience of those practitioners of desert spirituality. Engaging with the hermeneutics of Hans Georg Gadamer and following the previously established trajectories of Douglas Burton-Christie, I argue that the desert fathers, despite initial hesitation and eventual qualification, accepted the reality of pneumatic abandonment due to the interlocking pressures of Scripture and monastic experience. The paper concludes with some implications for contemporary pneumatological discussions by drawing critical parallels between the pneumatological tradition of the desert and the contemporary pneumatic doctrine of Ephraim Radner. Radner is affirmed in his insistence on individual pneumatic abandonment but is critically questioned regarding his articulation of the pneumatic abandonment of the Church through the vantage of Macarius-Symeon’s stabilized pneumatology.
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Jávor, Anna. "Johann Lucas Kracker: új kutatási eredmények". Művészettörténeti Értesítő 70, n.º 1 (17 de março de 2022): 5–46. http://dx.doi.org/10.1556/080.2021.00001.
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The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.
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Mogarichev, Yuriy, e Alena Ergina. "The Temple of the “Three Horsemen” (Eski-Kermen, South-West Crimea): On Issues of Chronology and Interpretation of Paintings". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, n.º 6 (dezembro de 2022): 30–45. http://dx.doi.org/10.15688/jvolsu4.2022.6.3.
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Introduction. The Church of the “Three Horsemen” is located on the southeast edge of Eski-Kermen hill fort (Southwest Crimea). Its name comes from the fresco with the images of three saints riding on the horses. Methods. Historians of the end of the 18th – beginning of the 20th centuries rarely mentioned this site. Modern scholars have discussed two issues: 1) whether the church with fresco was the original one or it was preceded by an earlier (early medieval) cave religious building; 2) the image depicts only St. George, presented in three scenes; St. Demetrius, St. Theodore, and St. George; or this image amplified with figures of local historical persons. Analysis. Nikolay Repnikov proved the chronological identity of fresco and the church. As regards the differences in the quality of handling walls, the author concludes that this is the result of the preparation of the rock base on plaster application and later paintings. The inscription under the picture of saints confirms this statement. All the translation variants confirm the simultaneity of paintings and cutting. Therefore, the fresco and the church were definitely created at the same time, probably in the second part of the 13th century. The analysis of paintings on the fresco shows that we have an image of St. Demetrius, St. Theodore (Stratelates or Tiron), and St. George. The images of these three saints, in contrast to “triple St. George” are common on the other sites of Crimea. Results. All the attempts to “find” in the Three Horsemen martyrium the “earlier church” are baseless. The church was carved and painted in the second part of the 13th century. The fresco depicts St. Demetrius, St. Theodore (Stratelates or Tiron), and St. George. Authors’ contribution. Yuriy Mogarichev prepared sections on historiography and features of the considered monument. Alena Ergina investigated art history aspects.
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Puhmajer, Petar, e Ana Škevin Mikulandra. "Crkva sv. Jurja na Bregu u Lopatincu: razvoj sklopa i podrijetlo stilskog rješenja". Peristil 57 (2015): 65–80. http://dx.doi.org/10.17685/peristil.57.6.
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Surdokaitė-Vitienė, Gabija, e Adomas Vitas. "The Building and Renovation History of Vilnius and Kaunas Churches: Dendrochronological Dating and Historical Sources". Art History & Criticism 13, n.º 1 (1 de dezembro de 2017): 18–28. http://dx.doi.org/10.1515/mik-2017-0002.
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Summary We present the application of dendrochronological dating of the renovation and construction works of churches in the Kaunas and Vilnius regions of Lithuania. The model for the estimation of the missing rings of Scots pine was used in Lithuania for the first time. We have assessed 18 timber cross-sections from nine churches, which were used for the constructions from the second half of the 17th to 19th c. The oldest wood samples were dated from St. Michael’s Church in Vilnius (1668±4) and St. George, the Martyr, (Bernardine) Church in Kaunas (1693±3). The aim of this study was to compare the results of the investigation of timber samples from 9 churches with archival sources and literature data and to reveal the renovation history of the buildings. The study of written historical sources has revealed a lack of recorded building and reconstruction phases of the churches. This fact was later confirmed by the results of dendrochronological dating. The dating of the timber revealed undocumented reconstruction dates in Zapyškis church (1791±3), St. George, the Martyr, (Bernardine) Church in Kaunas (1711±4), St. Anne Church in Skaruliai (1693±3) and Vilnius Cathedral (1814±4).
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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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Cuthbertson, G. C. "The St Andrew's Scottish Church mission in Cape Town, 1838-1878". New Contree 9 (11 de julho de 2024): 7. http://dx.doi.org/10.4102/nc.v9i0.810.
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When slaves at the Cape were emancipated at the end of 1838, St Andrew's Presbyterian (Scottish) Church became the first church in Cape Town to open its membership to Blacks. This accounts for the fact that ex-slave converts joined St Andrew's and not other churches. The St Andrew's Mission became an important 'westernizing agency' under the Rev. George Morgan and the Rev. G. W. Stegmann. It performed not only a religious function, but also became an educational and welfare organisation for ex-slaves during the 1840s. A clash between Morgan and Stegmann resulted in a split in the Mission and the establishment of an independent Coloured congregation at St Stephen's Church. Later, in 1878, dissension between the White congregation and the mission congregation at St Andrew's Church caused the closure of the continuing St Andrew's Mission. The mission to the Blacks was taken over by the newly formed Cape Presbytery in 1893.
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Tinikashvili, David. "Saint George the Hagiorite and the Roman Church". Kadmos 5 (2013): 28–43. http://dx.doi.org/10.32859/kadmos/5/28-43.
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The article focuses on the liberal attitude of a Georgian Orthodox saint toward the Roman Catholic Church after Great schism in 1054. The views in favour of Roman Catholics were expressed by George the Hagiorite in a speech delivered by him before the Byzantine Emperor Constantine Doukas in 1065. He declared that “no heresy has ever been introduced" into the Roman Church. It is also well-known that St. George has translated the Athanasius’ Creed of Faith which clearly contains a filioque clause. No comment had been made to inform readers that the filioque was unacceptable for the Eastern Orthodox Church. Saint George had a loyal attitude towards Roman Catholic practice as well.
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Mitrovic, Katarina. "Detestabile scelus Perastinorum - the psychological and social background of the murder of Pompejus de Pasqualibus, the abbot of the St George Abbey near Perast". Prilozi za knjizevnost, jezik, istoriju i folklor, n.º 81 (2015): 19–33. http://dx.doi.org/10.2298/pkjif1581019m.
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The St George Abbey was founded on an island near Perast by the Benedictine Monastic Order by the beginning of the 11th century. From the mid-13th century, the community of Kotor had the right of patronage over the abbey, which allowed the patriciate of Kotor to elect abbots as well as have a say in numerous monastery affairs, including propriety rights. Therefore, on November the 2nd 1530, Minor Council of Kotor named Pompejus de Pasqualibus, a nobleman from Kotor, the abbot of the St George Abbey. After the official consent from Rome and Venice, father Pompejus took over the abbey. Soon after, a gruesome crime took place on the island, a crime unseen in the history of the Kotor church. On the Feast of the Invention of the Holy Cross, May 3rd 1535, a group of Perast locals, armed with sticks and daggers, broke into the abbey and killed abbot Pasqualibus at the altar as he was saying Pater Noster. Nikola Krosic, the chaplain of the St George Abbey, and a few others tried to stop the murderers, but to no avail. The killers went on to humiliate the body of the deceased by throwing it out of the church and dumping it into a nearby pit, which added to the resentment, especially among the patriciates of Kotor. Three days later, on the Feast of the Ascension, the bishop of Kotor, Luka Bizanti, publicly excommunicated the killers and their men in the cathedral, while Pope Paul III forbade all service at the church where the crime had been committed. The interdict wasn?t recalled until 1546. In the decree of excommunication, Bishop Luka Bizanti emphasized the fact that father Pompejus hadn?t said or done anything to provoke the killers. What are the reasons of such an outpour of mass anger among dozens of Perast locals? Around that time, for several decades, Perast, a village founded on St George?s fief, started to improve its economy as a result of the expansion of ship-building and trading. More and more inhabitants of Perast started to sail and take part in the trade, especially on the rye and salt market. They had the support of the Venetian authorities, which caused envy among the inhabitants of Kotor, who considered Perast a part of their district. The tendency to achieve a full emancipation from the community of Kotor included church interests as well. After a gradual weakening of church life on the island, the St George church took on the role of a parish church under the patronage of Kotor. Perast locals were evidently dissatisfied with the idea of their parish priest being a noble Pasqualibus of Kotor, whose descent and position were representative of everything they despised and fought against. The motive of the murder was a trivial one - father Pompejus refused to hold service at the St Church on the Feast of the Holy Cross, which deeply insulted the people of Perast. The exceedingly long process of turning the Benedictine abbey into a parish church and a sepulchral chapel of Perast reached its peak on November the 17th1634 with the edict of the Venetian Senate taking the right of patronage away from the community of Kotor. From then on, ius patronatus belonged to the Venetian Senate, while the choice of the abbot, the parish priest of Perast in fact, was left to the locals.
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Popovic, Marko. "Problems in the study of the medieval heritage in the Lim valley". Starinar, n.º 55 (2005): 181–95. http://dx.doi.org/10.2298/sta0555181p.
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Discussing the results of archaeological investigation at two important medieval sites - remains of the monastery of St George at Mazici near Priboj and of the church at Drenova near Prijepolje - the author puts forward his critical observations that make significant revisions to the conclusions suggested by excavators. The remains of a monastery at Mazici have long ago been identified with the monastery of St George in the zupa (district) of Dabar known from early 13th-century records. In the 1310s a monastery of St George is referred to in association with the toponym of Orahovica. After a long gap, the monastery is referred to again several times in the 1600s until its final destruction in 1743, as St George?s at Orahovica or simply Mazic(i). The report following systematic archaeological excavations suggests the unacceptable and unfounded conclusion, with dating and interpretation that the monastery church was built in the 13th century, received additions in the 14th, and was renovated in the 16th-17th centuries when there was a hospital attached to it. Careful analysis of the structural remains and the site?s stratigraphy clearly shows that the monastery was built on the site of a medieval cemetery of a 14th-15th-century date, which means that the church and its buildings cannot be older than the 16th century. The author also argues against the assumed presence of a monastic hospital, the assumption being based upon metal artifacts misinterpreted as "medical instruments" (parchment edge trimmer, compasses, fork!!!). The author?s inference is that the ruins at Mazici are not the remains of the monastery of St George, which should be searched for elsewhere, but possibly the legacy of a 14th-century monastic establishment which was moved there from an as yet unknown location most likely about the middle of the 16th century. The site at Drenova, with remains of a church destroyed by land slide, has been known since the late 19th century when a stone block was found there bearing the opening part of an inscription: "+ Te Criste auctore pontifex...", long believed to date from the 9th-10th century. Following the excavations, but based on this dating the church remains were interpreted as pre- Romanesque, and the interpretation entailed some major historical conclusions. From a more recent and careful analysis, the inscription has been correctly dated to the 6th century. With this dating as his starting-point, the author examines the fieldwork results and suggests that the block is an early-Byzantine spolium probably from the late-antique site of Kolovrat near Prijepolje, reused in the medieval period as a tombstone in the churchyard, where such examples are not lonely. It follows that the inscribed block is not directly relatable to the church remains and that it cannot be used as dating evidence. On the other hand, the church remains show features of the Romanesque-Gothic style of architecture typical of the Pomorje, the Serbian Adriatic coast. According to close analogies found for some elements of its stone decoration, the date of the church could not precede the middle of the 13th century. The question remains open as to who had the church built and what its original function was, that is whether a monastic community center round it. Its founder may be sought for among members of the ruling Nemanjic house, but a church dignitary cannot be ruled out. Anumber of complex issues raised by this site are yet to be resolved, but the study should be relieved of earlier misconceptions. Fresh information about this ruined medieval church should be provided by revision excavations in the future.
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Klug Om, Aaron. "Address given at the Service of Thanksgiving for the life of George Porter OM FRS". Notes and Records of the Royal Society of London 57, n.º 2 (22 de maio de 2003): 261–64. http://dx.doi.org/10.1098/rsnr.2003.0210.
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Licheli, Vakhtang, Giorgi Gagoshidze e Merab Kasradze. "Preliminary Report on Archaeological Excavations in Sophtades, Cyprus: Pre-Byzantine Pottery". Ancient Civilizations from Scythia to Siberia 27, n.º 2 (15 de dezembro de 2021): 328–36. http://dx.doi.org/10.1163/15700577-12341396.
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Abstract The article is devoted to the materials found during the excavations of St. George Church located in the southern part of Cyprus, near the village of Softades. In the cultural layers inside of this church, pottery belonging to the Roman period, Iron Age and Late Bronze Age has been discovered. It is discussed in this article.
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Cigaridas, Eftimios. "Ikone i freske zografa Antonija iz Kostura (1550-1560)". Zograf, n.º 42 (2018): 139–53. http://dx.doi.org/10.2298/zog1842139c.
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The paper publishes an icon of the Virgin Hodegetria, a Royal Door, and two parts of an epistyle with the Deesis scene. This group of works, which once decorated the iconostasis in the Church of Saint George Mouzeviki (c. 1550-1560) in Kastoria, belongs to the creative opus of the painter Anthony (zographos Antonios), known for his work at Mount Athos (1537-1552). The paper also argues that the frescoes in the Church of St. George, preserved in fragments and in a poor state of repair, can also be attributed to the same artist.
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Braziūnienė, Alma. "Panoraminis Vilniaus planas (1581) ir jo sekiniai LMA Vrublevskių bibliotekoje / Panoramic Plan of Vilnius (1581) and its Derivatives in the Wroblewski Library of the Lithuanian Academy of Sciences". LMA Vrublevskių bibliotekos darbai 12 (2023): 150–58. http://dx.doi.org/10.54506/lmavb.2023.12.8.
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The renowned panoramic plan of Vilnius, Vilna Litvaniae metropolis, was for the first time printed in Cologne in 1581. It appeared in the third volume of Civitates orbis terrarum, an atlas of the world’s most important cities, the publication of which was initiated in 1572 by Georg Braun (1541–1622), Cologne church dean, geographer and publisher, and Franz Hogenberg (1535–1590), Flemish cartographer and engraver. The six-volume atlas was first released in Latin (1572–1617/1618), then in German (1574–1618), and finally in French (1579–1618). City images featured in this very popular atlas also were published as separate prints. The copper plates for these images were sold by Hogenberg’s heirs to the Amsterdam atlas publisher Johannes Janssonius (1588–1664), who published his own atlas in 1657. Later purchased by other cartographic publishers of Amsterdam, the plates kept being republished until completely worn out in the mid-18th century. The panoramic plan from this atlas is the earliest image of Vilnius that has reached us today. It features mid-16th-century Vilnius shown as if from a bird’s eye view – such was the tradition of depicting cities at that time. Researchers agree that this Vilnius image is not historically accurate and contains numerous errors. The creators of the plan are believed to have based their city image on an earlier work, probably by Italian cartographers, adding to it various travellers’ depictions of the then capital of the Grand Duchy. The Rare Books Department of the Wroblewski Library of the Lithuanian Academy of Sciences holds three copies of Vilna Litvaniae metropolis. They were all printed in the times of Braun and Hodenberg using the same copper plates. The earliest of them is the copy with the second part of the text in German. According to the bibliography Koeman’s Atlantes Neerlandici, it may have been printed in 1582. Previously, this copy was in possession of Petras Klimas (1891–1969), Lithuanian statesman and bibliophile. It was received by the library currently known as the Wroblewski Library of the Lithuanian Academy of Sciences together with Petras Klimas’ archive (F 191) from the former Kaunas State University in 1950. The other two copies have no provenance marks. They presumably used to belong to the Wroblewski State Library, which was active in Vilnius in the interwar period. The second copy was published between 1588 and 1593; the third, between 1616 and 1623, both have Latin text. The Wroblewski Library of the Lithuanian Academy of Sciences holds several later derivatives of this panoramic plan of Vilnius. A several-times-reduced (16×24) panoramic plan was engraved by Georg Christoph Kilian (1709–1781) circa 1740 and published by the Bodenehrs, Augsburg engravers and publishers. A lithographic image of Vilnius in an even smaller format (17.5×13.5) was included in the history of Vilnius published by Józef Ignacy Kraszewski (1812–1887) in 1840. It was created in Vilnius at the lithographic firm of Józef Ozębłowski (Oziębłowski, 1805–1878), which existed in 1833–1863. Three other plans of Vilnius deriving from the Vilnius image in the Braun-Hogenberg atlas were lithographed in the late 19th – early 20th century. One of them was redrawn at a smallish lithographic company belonging to the Vilnius City Board and active from 1877 to approximately 1915. Unlike the other derivatives, it contains not only objects copied from earlier Vilnius city images, but also new ones: the Rasos Cemetery, the Green Bridge, the Franciscan monastery, etc. – its creators attempted to bring it closer to their time. The two other Vilnius images are identical to the plan in the Braun-Hogenberg atlas. One of them was printed in Vilnius at the lithographic firm of Notel Matz, which existed from 1873 to 1938, the other, at A.Transhel’s printing house in St. Petersburg, which was active in the second half of the 19th century – the early 20th century. These plans were lithographed in the late 19th – early 20th century. They have so far been little studied and still await attention from researchers. Keywords: Braun-Hogenberg atlas; panoramic plan; Vilnius; copper engravings; lithography; Georg Bodenehr; Vilnius City Board lithography; Notel Matz; A.Transhel’s printing company.
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de Obaldía, Vanessa R. "The Preservation of Galata’s St. George Explored through Ottoman Documents". Annali Sezione Orientale 80, n.º 1-2 (19 de junho de 2020): 52–79. http://dx.doi.org/10.1163/24685631-12340093.
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Abstract In the predominantly Christian district of Galata, churches were vulnerable to the frequent conflagrations which spread through the wooden buildings that predominated the urban landscape. The Latin Catholic Church of St. George was a victim to three fires during the seventeenth century and one in the early eighteenth century. This study aims to explore this history of the church, the preservation of its properties and of its historical claim to the land in the light of Ottoman documents. The status of the church building and land according to Ottoman law in addition to the processes for the acquisition and preservation of its properties carried out within the Ottoman legal framework will be analysed. The different types of Ottoman documents used in the process for the repair or reconstruction of church properties damaged in the fires from the initial petition presented at the Sublime Porte to the post-construction survey will be touched upon.
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Niculae (Pintilie), Ioana. "Calea Moșilor – Un potențial traseu turistic". Argument. Spațiul construit. Concept și expresie, n.º 10 (2018): 175–84. http://dx.doi.org/10.54508/argument.10.05.
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Calea Moșilor, also known as the Road of the Outside Fair, – was and should once again become a significant route in the Historic Center of Bucharest. Its cultural value, set clear by buildings with an enormous historical significance (such as New St. George`s Church, the Saints` Church, Răzvan Church and Old St. George`s Church), is obvious. The traditional commercial route that tied the buildings that still exist, even though they are severely damaged, had the main function of accommodation (inns) for merchants and traders that came to the Obor Market. Identifying historically valuable elements and development opportunities in this traditional route could be possible with the involvement of the political element which is responsible for managing the salvaging buildings that hold historical significance for the community. For this specific area whose main route is Calea Moșilor, the major intervention should concern its inclusion in the tourist route of the city by developing noise-reducing functions that complement residual spaces from the existing building inventory, thus rejuvenating its past accommodation purpose and bringing back to life a specific local atmosphere and its continuity throughout the city
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Mironowicz, Antoni. "Святитель Георгий (Конисский) 20.11.1717 ― 13.02.1795". Fontes Slaviae Orthodoxae 1, n.º 1 (12 de fevereiro de 2019): 129–49. http://dx.doi.org/10.31648/fso.3048.
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The article is dedicated to the 300th anniversary of St. Georgy Konisky Bishop of the Russian Orthodox Church, Archbishop of Mogilev, Mstislavl and Orsh. Philosopher, teacher, theologian and public figure of the Commonwealth, and then the Russian Empire.
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Filipovic, Ivana, e Bojana Stevanovic. "Fragments of holy warrior cycles in the Parekklesia of the Mileseva Monastery". Zograf, n.º 46 (2022): 57–72. http://dx.doi.org/10.2298/zog2246057f.
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King Vladislav?s foundation, the Mileseva Monastery with its Church of the Ascension, was built in the thirteenth century near Prijepolje. The architecture and wall paintings of the church have already been exhaustively researched. However, the fragments of frescoes in the katholikon?s side parekklesia have remained unexplored, and the remnants of the scenes unidentified. Both lateral structures are dedicated to warrior saints - St. George and St. Demetrios. The imagery of these parekklesia included some images from the vitae of these megalomartyrs. The paper describes and identifies their remnants, comparing them with similar representations in the programs of other foundations.
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Cvetkovski, Saso. "Notes from the church of the Virgin at the island of Mali grad". Zograf, n.º 34 (2010): 111–24. http://dx.doi.org/10.2298/zog1034111c.
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In this text the unknown parts of the wall paintings from the Church of the Virgin at the island of Mali Grad (The Great Prespa Lake) are analyzed: the figure of a monk praying to St. Paraskeve, on the southern wall of the nave, as well as the painting on the southern fa?ade with the depictions of St. George on horseback, the Virgin as Empress enthroned, and the bust of two saints, St. Paraskeve and St. Nicholas. The monk is identified with the hegoumenos Jona, mentioned in the donor?s inscription dating from 1369.
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Halvorsen, J. Sergius. "Preaching the Impossible in the Face of the Unthinkable: Nonviolence, Love, and Thanksgiving in a Coptic Easter Sermon". Religions 15, n.º 4 (3 de abril de 2024): 455. http://dx.doi.org/10.3390/rel15040455.
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This essay examines the Holy Monday sermon by Boules George, a senior priest at St. Mark Church in Cairo, that was preached the day after the Palm Sunday suicide bomb attacks against St. George Coptic Orthodox Church in Tanta and St. Mark Coptic Orthodox Cathedral in Alexandria in Egypt in 2017, which left forty-four people dead and more than one hundred injured. The sermon addressed Coptic Orthodox Christians in Cairo as well as the wider Coptic Orthodox community in Egypt and throughout the world through a live video broadcast. The sermon is remarkable for presenting a radical call to nonviolence and Christian love. Notably, the preacher speaks to “those who are killing us”, and says “thank you” for the opportunity to die as Christ died, for “this is the greatest honor that we could have”. This essay analyzes the sermon in light of the work of Walter Brueggemann and Alexander Schmemann, and argues that the sermon is an example of daring speech that offers divine empowerment to the suffering and the fearful.
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Immelman, Elbie. "Die St. John-Anglikaanse kerk, Victoria-Wes". New Contree 1 (15 de julho de 2024): 2. http://dx.doi.org/10.4102/nc.v1i0.867.
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Robert Gray was commissioned in 1847 to come to South Africa as the first Anglican bishop of Cape Town. His wife Sophia, a talented architect and artist, assisted him in his work and accompanied him on most of his journeys into the interior. Wherever he established congregations she designed the churches, some of which are still to be seen at George, Knysna, Claremont (Cape), Caledon, Fraserburg, Riversdale, Worcester, Clanwilliam and Victoria West. During their last trip into the interior in 1869 Bishop Gray, his wife and Harold Welby, the resident magistrate, chose the site for the St. John's Anglican church at Victoria West and Sophia Gray designed it. The foundation stone was laid on 27 December 1869 by John Adams but the church was completed only in 1874. The stained glass windows, especially the three above the altar depicting the crucifixion and the resurrection, form a striking feature of this church.
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Żaba, Antonina, e Michał Marchacz. "Historical climate of the historic church of St. George at Ostropa". E3S Web of Conferences 49 (2018): 00138. http://dx.doi.org/10.1051/e3sconf/20184900138.
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The paper presents investigation studies on the historic climate of the interior of St. George’s Church at Ostropa. The church lies on the Wooden Architecture Trail of the Silesian Province within the Gliwice Loop. The building consists of a brick part (presbytery and sacristy) and a wooden part (nave, porch and tower). The shape and size of the church were formed at the end of the 17th century. Most of the decor and furnishings come from that period. Since 2008, the church has been subjected to a wide range of renovation and conservation works. The manager of the object and the conservation office have been entrusted to give special care to the polychromes in the wooden nave, brick presbytery and the main altar. Wooden elements belong to a group of organic hygroscopic materials. They are exposed to the risk of internal damage due to changes in temperature and humidity. The reduction of damage risk involves limiting the scope and dynamics of temperature or humidity changes as compared to the so-called historic climate. The parameters of the historical climate of the object were determined based on the measurement of temperature and humidity inside the investigated object.
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Platt, Warren C. "The African Orthodox Church: An Analysis of Its First Decade". Church History 58, n.º 4 (dezembro de 1989): 474–88. http://dx.doi.org/10.2307/3168210.
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The African Orthodox church, an expression of religious autonomy among black Americans, had its genesis in the work and thought of George Alexander McGuire, a native of Antigua, whose religious journey and changing ecclesiastical affiliation paralleled his deepening interest in and commitment to the cause of Afro-American nationalism and racial consciousness. Born in 1866 to an Anglican father and a Moravian mother, George Alexander McGuire was educated at Mico College for Teachers in Antigua and the Nisky Theological Seminary, a Moravian institution in St. Thomas, Virgin Islands (then the Danish West Indies). In 1893 McGuire, having served a pastorate at a Moravian church in the Virgin Islands, migrated to the United States, where he became an Episcopalian. In 1897 he was ordained a priest in that church and, in the succeeding decade, served several parishes, including St. Thomas Church in Philadelphia, which was founded by Absalom Jones. His abilities and skills were recognized, and in 1905 he became the archdeacon for Colored Work in the Episcopal Diocese of Arkansas. Here he became involved with various plans—none of which bore fruit—which would have provided for the introduction of black bishops in the Episcopal church to assist in that church's work of evangelization among black Americans. It is believed, however, that McGuire was influenced by the different schemes which were advanced, and that he “almost certainly carried away from Arkansas the notion of a separate, autonomous black church, and one that was episcopal in character and structure, as one option for black religious self-determination and one avenue for achieving black independence.”
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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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Melkonyan, Husik. "A four-sided stele with a depiction of St George". ARAMAZD: Armenian Journal of Near Eastern Studies 13, n.º 2 (1 de janeiro de 2019): 147–55. http://dx.doi.org/10.32028/ajnes.v13i2.967.
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This work is an analysis of two of the three four-sided stelae erected on the eastern side of the Zorats Church (1331) in the village of Yeghegis, Vayots Dzor province, Armenia. The third stele has not been preserved. On the first stele are depicted a cross and St George, the pan-Christian saint. The inscription is directed to God and St George, beseeching them for aid. This contribution discusses the issues of the chronology of the stelae, as well as the individual who ordered their construction. As a result of these analyses, it can be concluded that they were erected at the beginning of the 9th century by Archbishop Soghomon I – patriarch of Syunik at the time.
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Fielding, Henry. "A Charge Delivered to the Grand Jury, At the Sessions of the Peace Held for the City and Liberty of Westminster, &c. On Thursday the 29th of June, 1749". Camden Fourth Series 43 (julho de 1992): 325–43. http://dx.doi.org/10.1017/s0068690500001690.
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of our Lord the King, holden at the Town Court-House near Westminster-Hall, in and for the Liberty of the Dean and Chapter of the Collegiate Church of St. Peter, Westminster, the City, Borough, and Town of Westminster, in the County of Middlesex, and St. Martin le Grand, London, on Thursday the Twentyninth Day of June, in the Twenty-third Tear of the Reign of our Sovereign Lord George the Second, King of Great-Britain, &c. before Henry Fielding, Esq; the Right Hon. George Lord Carpenter, Sir John Crosse, Baronet, George Huddleston, James Crofts, Gabriel Fowace, John Upton, Thomas Ellys, Thomas Smith, George Payne, William Walmsley, William Young, Peter Elers, Martin Clare, Thomas Lediard, Henry Trent, Daniel Gach, James Fraser, Esquires, and others their fellows, Justices of our said Lord the King, assigned to keep the Peace of the said Liberty, and also to hear and determine divers Felonies, Trespasses, and other Misdeeds done and committed within the said Liberty.
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Dimitrova, Margaret, Maxim Goynov, Konstantin Rangochev, Detelin Luchev e Gita Senka. "“Encyclopaedia Slavica Sanctorum” Ten Years Later: Main Trends and Questions". Digital Presentation and Preservation of Cultural and Scientific Heritage 13 (1 de setembro de 2023): 87–96. http://dx.doi.org/10.55630/dipp.2023.13.8.
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The paper discusses users’ activities in the period 2011-2022, mostly types of searches, in an electronic encyclopaedia on saints. The e-product contains information in Bulgarian on orthodox church calendar and texts dedicated to saints as preserved in medieval Slavonic manuscripts and in popular Bulgarian culture (as represented in fieldwork interviews). The most frequently used options are “view object” and “view date”. Most often articles on popular saints amongst Bulgarians were read, such as St. Basil the Great, St. Kliment of Ohrid, St. George, and St. Petka of Tarnovo. Less often are searches by combined parameters and an increase of their frequency is observable in 2019-2021.
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Bormpoudaki, Maria. "Evidence of Dominican Imagery and Cultural Identities on Venetian Crete at the Time of the Revolt of St Titus". Frankokratia 3, n.º 2 (18 de novembro de 2022): 121–42. http://dx.doi.org/10.1163/25895931-12340021.
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Abstract Current discourse on Latin imagery in rural Greek churches in Venetian Crete is habitually focused on images of St Francis. The explanations offered by scholars concerning his appearances in this context usually revolve around Francis’s perceived interconfessional appeal, but the introduction of another Latin saint from a different mendicant order into the monumental art of Byzantine character on Crete revises this picture significantly. The present article discusses images of Dominican saints found in Cretan churches of the Venetian period. With statutes promulgated in 1254 and 1256, the General Chapter of the Dominicans encouraged the veneration of Dominican saints through the dissemination of their images, and the representation of St Peter Martyr in his eponymous church in Candia clearly constitutes a visual testimony to this policy. At the same time, the portrait of St Peter Martyr in the Greek (Orthodox) church of St George in the village of Apostoloi in Pediada (in the wider Candia region) provides grounds for a discussion of cultural difference in Venetian Crete, as well as for the interaction between the Latin and Greek communities around the time of the revolt of St Titus. In my view, this representation, which is currently the only known example in a Greek church, should be re-examined in light of the prominent Venetian presence in the aforementioned region and the specificity of the local context.
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Petchey, Philip. "Hidden Treasure: The Church of England's Stewardship of Its Silver Plate". Ecclesiastical Law Journal 20, n.º 1 (janeiro de 2018): 16–50. http://dx.doi.org/10.1017/s0956618x17000874.
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This article examines the Church of England's stewardship of its silver plate. It explains the way in which the use of chalices, patens and flagons changed over time and considers the legal basis on which church plate is held by churchwardens. It explains how, having initially discountenanced all sales of redundant church plate, consistory courts came to authorise sales to museums. It also explains how, following a series of judgments by George Newsom QC, acting first as Chancellor of both London and St Albans dioceses and later as Deputy Dean of the Court of Arches, sales on the open market were more frequently allowed and then how, following the judgment of the Court of Arches in re St Lawrence, Wootton, a more restrictive approach was re-imposed. It considers the practical and legal issues arising out of that judgment. Finally, it considers the role of the Court of Arches as a maker of policy.
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Bravermanová, Milena, e Helena Březinová. "The Fate of the Remains and Funerary Equipment of Czech Rulers and Their Family Members". Acta Universitatis Lodziensis. Folia Archaeologica, n.º 35 (30 de dezembro de 2020): 107–21. http://dx.doi.org/10.18778/0208-6034.35.07.
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Prague Castle was the most important burial site of the Czech rulers and their relatives. The graves are located in the Church of the Virgin Mary, in St. George Church and Convent, and, in the greatest numbers in the St. Vitus Cathedral.
Reliquary tombs of the most important Czech patron saints are also located at Prague Castle – in St. George Basilica, in St. Vitus Cathedral and in All Saints Church. We also know the graves of 12 Prague bishops that are located in the St. Vitus Cathedral.
The majority of the aforementioned graves have been opened several times in the past for a variety of reasons, that caused various problems, the most serious of which involved the confusion of relics.
The first systematic anthropological investigations were conducted at the beginning of the 20th century. The remains of nearly all historical personalities buried at Prague Castle were available for another anthropological study conducted in the 1960s. Currently, the research continues with modern nature science analyzes.
In the past, removed grave goods did not receive proper care for the most part, mainly due to a lack of understanding as to what constituted correct procedures for handling artefacts deposited for years in the unsuitable conditions of graves and tombs. The grave goods themselves were often restored in an inappropriate manner. The restoration situation improved significantly after the establishment of restoration and conservation workshops in 2000.
The opening of graves is problematic and, from an ethical point of view, should be performer only to a very limited extent. Necessary construction work is a common reason for disruption, and in this case remains should be treated with respect. And if grave goods are removed, they must be cared for in a proper manner, as these artefacts are often irreplaceable heritage whose scientific study is a legitimate pursuit. The mere lust for knowledge, often connected with efforts to generate sensation, does not entitle us to disturb the resting place of our ancestors with ill-considered interventions.
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Chichinadze, Nino. "Fresco-Icons on Façades of Churches in Upper Svaneti (Georgia)". Kadmos 6 (2014): 50–94. http://dx.doi.org/10.32859/kadmos/6/50-94.
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The present article focuses on exterior mural decoration imitating icons, which are placed on the south facades of the Church of the Archangels in Iprari and St. George church in Ipkhi (Upper Svaneti), dating from the 13th century. The iconography of these fresco-icons constituting the Deesis is interpreted as a visual reference to the chancel barrier. The facade murals discussed in the article play a role in the complex relations between individual parts of the Christian church. The templon imagery, intended for those for whom the sanctuary is not accessible, is a liminal marker. I argue that the facade fresco-icons depicting the Deesis function as templon imagery addressing the space in front of them.
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Kuliešienė, Erika. "The Inventory List of the Library of the Vilnius Old Regula Carmelite Monastery at the St. George‘s Church: Publication of the Source". Bibliotheca Lituana 2 (25 de outubro de 2012): 429–46. http://dx.doi.org/10.15388/bibllita.2012.2.15593.
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This article presents the oldest source of information about the Vilnius Old Regula Carmelite Monastery library: the inventory list of the St. George’s Church library, compiled in 1677. Even though, in Polish historiography, considerable attention is accorded to the Vilnius St. George‘s Carmelite Monastery and its library, the 1677 inventory has not been included into any catalogue of inventories of the GDL’s church libraries. This inventory was for the first time introduced to the scientific community by A. Pacevičius. This article gives a short overview of the history of the Vilnius Carmelite Monastery at the St. George’s Church and of its library from its foundation to closure. The period of the compilation of the inventory is characterized as a crucial moment in the development of the library. At that time there were eight books in the church’s library, and 58 books, in the monastery’s library. Here we are publishing a facsimile of the inventory’s text and a transcript of the text in the language of the original. In the commentaries, with the greatest possible exactness, we are recreating the book list from rather scarce elements of book descriptions. This oldest source for the history of St. George Monastery library will doubtless be of interest not only for scholars in the history of the GDL, but also for both Lithuanian and foreign researchers of monastic book culture.
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Trška, Tanja. "Marco Boschini, Matteo Ponzone, and the Altar of the Scuola di San Giorgio degli Schiavoni in Venice". Confraternitas 27, n.º 1-2 (19 de maio de 2017): 62–78. http://dx.doi.org/10.33137/confrat.v27i1-2.28225.
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In the first decades of the seventeenth century the altar of the Scuola di San Giorgio e Trifone (also known as the Scuola di San Giorgio degli Schiavoni), at the time situated in the Venetian church of San Giovanni del Tempio, was adorned by an altarpiece by Matteo Ponzone (today in the church of Madonna dell’Orto), mentioned in 1664 by Marco Boschini as being “di Casa Stefani.” Boschini’s definition of Ponzone’s altarpiece as belonging to the Stefani family is explained by a 1582 request by the Guardian Grande Paulo (Paolo) de Stefano, who appealed to the general chapter for permission to construct a family tomb in the church of San Giovanni del Tempio in front of the Dalmatian nation’s altar of St. George. Although the construction of a family tomb in front of the confraternity altar affected its later reception as collective confraternal property, the iconography of Ponzone’s altarpiece depicting the confraternity’s patron saints George, Jerome, and Tryphon represents a distinct statement of Dalmatian identity, which the Scuola sought to exhibit within the multicultural society of Venice.
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Alekseeva, Galina V. "The Influence of the Ontology of Orthodox Christian Art on Music and Icon Painting". Problemy muzykal'noi nauki / Music Scholarship, n.º 1 (2024): 37–51. http://dx.doi.org/10.56620/2782-3598.2024.1.037-051.
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The social institution of the Orthodox Christian Church penetrates into all the aspects of artistry (icon painting, church singing, church rituals), supporting individual thinking. However, it is only in the present day than the integrity of this thinking is becoming comprehensible. The methods of iconography, musicology, and singing paleography, the meticulous reading of the theological utterances of St. John of Damascus and the other Church Fathers, analysis of the historiography of the works of such authors as Father Pavel Florensky, Yuri Lotman, Alexei Lidov, Sergei Averintsev, and Nikolai Mikhaltsov allow us to understand the deep ontology of Orthodox Christian art. The author of the article presumes that the concept of St. John of Damascus, expressed in the concept of perichorisis, reflecting the idea of the “mutual exchange of energies,” should be interpreted not only christologically, but as being the most important ontological basis of the entire legacy that accompanies church service. It is perichorisis that provides the synergy of the artistic means: the color scheme of images and the color model of the chant text for the icon, as well as the melodic formulas of the chant merge in unity. As a result of this, a unique set of regulator-techniques of the expressivity of ecclesiastic art is formed, which also exerts an impact on modern art. The article provides examples of such influence in the work of Georgy Sviridov.
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Elliott, John R., e John Buttrey. "The Royal Plays at Christ Church in 1636: A New Document". Theatre Research International 10, n.º 2 (1985): 93–106. http://dx.doi.org/10.1017/s0307883300010646.
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On 29 August 1636, King Charles I and his Queen, Henrietta Maria, paid a royal visit to the University of Oxford at the invitation of Archbishop Laud, Chancellor of the University. They lodged in Christ Church, a royal foundation and the largest of the Oxford colleges, which was to become the seat of their court during the Civil War. During the two days they spent in Oxford on this occasion, the King and Queen and their entourage were entertained with three plays: William Strode's The Floating Island, in Christ Church hall on the night of 29 August; George Wilde's Love's Hospital, in St. John's College hall on the afternoon of 30 August; and William Cartwright's The Royal Slave, again in Christ Church hall on the night of 30 August.
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Zherdiev, Vitalii V. "Three Orthodox Temples of Lappeenranta — Art Through the Prism of History". Vestnik of Saint Petersburg University. Arts 10, n.º 4 (2020): 609–36. http://dx.doi.org/10.21638/spbu15.2020.405.
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The article discusses the history of the creation of three Russian military churches in the Finnish city of Lappeenranta (Villmanstrand), representing vivid examples of stone and wooden architecture: churches of the Protection of the Virgin (The Intercession church) (1785), St. Nicholas the Thaumaturge (1904) and the Nativity of Christ (1914). A comprehensive analysis of the history of construction, architectural features and preserved decoration of the mentioned churches, which are significant for Russian Orthodox church construction abroad, is presented for the first time ever in the article. The Intercession Church in the Villmanstrand Fortress is the first brick freestanding Russian church built in Western Europe. The dynamics of changes of the temple as a result of reconstruction and renovation of the decoration is considered. For the first time, the church works of academician Nikanor Tiutriumov (1821–1877) for the Intercession Church are described and late painting interventions in unsigned images, which may also belong to Tiutriumov, are analyzed. The history of the construction of the wooden camp church of St. Nicholas the Thaumaturge is outlined, the uniqueness of which was expressed in the rich carved decor that distinguished the church from other Russian wooden churches in Finland. However, in the early 1920s the church was dismantled and only a few archival photographs make it possible to recreate its appearance. For the dragoon regiment stationed in Villmanstrand, a regiment church in the neo-Russian style was built according to Georgy Kosyakov’s design — the only example of this kind in Finland and one of the few examples of this style in Western Europe. After 1918, the church building was transferred to the Lutheran community and modified by the removal of domes and a radical redevelopment. The degree of embodiment of the architect’s original plan based on the author’s drawings and preserved photographs is analyzed.
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Markovic, Marijana, e Bojana Stevanovic. "The painted program in the dome of the Church of St. George in Dobrilovina". Zograf, n.º 42 (2018): 209–29. http://dx.doi.org/10.2298/zog1842209m.
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The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pec. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec.
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Bednarz, Lukasz, e Piotr Opalka. "Causes and consequences of a construction disaster in a historic church". MATEC Web of Conferences 284 (2019): 05001. http://dx.doi.org/10.1051/matecconf/201928405001.
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Paper concerns a construction disaster, which took place on June 4, 2018 in the 14th century St. George church in Hajduki Nyskie (Opole Voivodeship). The object is famous for its well-preserved 15th century wall polychromes. During the construction works, the eastern gable wall, part of the barrel vault with lunettes and part of the orchid roof truss collapsed at the roof truss. Some elements of the equipment were also destroyed. As a result of the catastrophe, valuable wall polychromes were directly threatened. Paper presents the causes and consequences of the catastrophe.
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Peno, Vesna Sara. "Patriarchial ifos in the perception of Greek church chanters". Muzikologija, n.º 31 (2021): 129–44. http://dx.doi.org/10.2298/muz2131129p.
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The paper deals with the so-called patriarchal - Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the ?old method? and the conservative among Constantinople?s renowned singers, who did not accept the ?new method? without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music.
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Smith, Ryan K. "The Cross: Church Symbol and Contest in Nineteenth-Century America". Church History 70, n.º 4 (dezembro de 2001): 705–34. http://dx.doi.org/10.2307/3654546.
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In 1834 the rector of St. Mary's Episcopal Church in Burlington, New Jersey desired to place a cross atop his newly-refurbished sanctuary. No ordinary rector, George Washington Doane also served as the Episcopal bishop of New Jersey. Shortly after taking charge of St. Mary's in 1833, he and his vestry had decided to renovate their old church, and their ambitious new design featured a cruciform plan with Greek details, including a pediment adorned with lotus leaves and a tower “derived from that built at Athens… commonly called the Tower of the Winds.” But when Doane carried out the plans for “an enriched Greek Cross” to be mounted on the roof, the community stood aghast. A local Presbyterian minister chronicled the confrontation, and he began by asserting that most of St. Mary's vestrymen had originally approved the designs without “noticing the Cross at the time.” The project was thus completed, and to the vestry's “great surprise, as well as that of many in the community, of all ‘denominations’—lo! a Cross made quite a Catholic appearance on the apex of the pediment!” Controversy arose, “both in the Vestry and out of it,” and “after a very warm meeting, one of the Vestry shortly after declared that unless the Cross was taken down very soon, it should be pulled down.”
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Foster, Stewart M. "Et In Suburbia Ego: Father Bampfield and the Institute Of St. Andrew". Recusant History 23, n.º 3 (maio de 1997): 434–49. http://dx.doi.org/10.1017/s0034193200005793.
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The lives of many converts in nineteenth-century England underwent quite significant, and often drastic change as a result of their decision to enter into full communion with the Catholic Church. Social ostracism, rejection by family and friends, and acceptance of the loss of professional advancement were counted among the risks of ‘going over’ to Rome. Conversion brought with it a discontinuity with the past; yet the Catholic careers of many of those received into the Church exhibit a remarkable continuity with the subject's non-Catholic past, if not in matters of doctrine and worship, then certainly in the field of social and apostolic goals. Father George Bampfield, educator of the poor and lower middle classes, and pioneer of Catholic evangelization in Hertfordshire and North Middlesex, is one such example. His career, in both its Anglican and Catholic spheres, represents the realisation, in albeit very changed circumstances, of a vision first glimpsed and a commitment made within the bosom of the Establishment.
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Ćirić, Jasmina S. "UNVEILING THE ‘TRUE LIGHT’: BRICK CRYPTOGRAMS AT ST. GEORGE CHURCH IN STARO NAGORIČINO". SCIENCE International Journal 2, n.º 4 (13 de dezembro de 2023): 119–23. http://dx.doi.org/10.35120/sciencej0204119c.
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This article delves into the intriguing ΦΧΦΠ cryptograms on the west facade of the St. George Church in Staro Nagoričino, shedding light on their connection to the era of King Milutin and their profound theological significance. It explores the convergence of architecture and symbolism, focusing on these cryptograms as a representation of the “True Light” within Christianity and its correlation to the concept of victory. The study delves into the influence of the Liturgy of the Presanctified Gifts. It investigates how placing these cryptograms above the church’s doorway resonates with architectural and spiritual narratives. It examines the architectural features of the church’s west façade, reflecting King Milutin’s depiction on the north wall and his role as the “New Constantine.” The cryptogram ΦΧΦΠ ( “The light of Christ shines upon all”) is strategically placed above the bifora in the central axis of the facade, marking the four sides of the Cross. The motif depicting the true light coming into the world is painted on both sides of the interior of the west entrance, creating a liminal space. This motif references the ancient Biblical verse from the Gospel of John 1:9: “The true light, which gives light to everyone, was coming into the world”. Apart from the biblical reference, the patronage inscriptions and the prayerful mention of King Stefan Uroš II Milutin Nemanjić and Queen Simonis are also highlighted. Their names are inscribed on the lintel of the portal. This study uncovers the intricate symbolism and architectural nuances of the St. George Church in Staro Nagoričino, shedding light on the interplay of liturgical and historical context in this remarkable Byzantine architectural gem.
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Djordjevic, Ivan, e Dragan Vojvodic. "The wall painting in the outer narthex of Djurdjevi stupovi (Church of St. George) in Budimlja, near Berane". Zograf, n.º 29 (2002): 161–80. http://dx.doi.org/10.2298/zog0329161d.
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Altered by repairs and largely concealed by later additions, the walls of the exonarthex in the cathedral Church of St. George near Berane (Vasojevici), now reveal very little of their earlier fresco decoration. There was the developed cycle of a frescoed menology depicted in the higher zones of the walls, whereas in the lowest zone were the images of saints archangels and the portraits of rulers. Judging by analogies that can be established with similar Serbian monuments of that epoch, the vault probably depicted the Ecumenical Councils...
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Bambrough, Renford. "Does Philosophy ‘Leave Everything as it is’? Even Theology?" Royal Institute of Philosophy Lecture Series 25 (março de 1989): 225–36. http://dx.doi.org/10.1017/s0957042x00011342.
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Does photography leave everything as it is? Clearly not. It scalps Uncle George, as he stands at the church door, proudly, innocently, in the role of bride's father, and it decapitates his nephew James, who had until now been a head taller than any other member of the wedding group. It reduces to two dimensions, and to black and white, such solid three-dimensional objects as the Rocky Mountains and St Paul's Cathedral, such colourful scenes and sights as the Aurora Borealis and sunset in the desert.
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Dimitrijević-Stanković, Mirjana, e Snežana Marić. "Specijalne biblioteke: sa posebnim osvrtom na Specijalne biblioteke u Zlatiborskom okrugu". Korak biblioteke: casopis za kulturu i bibliotecko-informacionu delatnost, n.º 5 (2020): 71–85. http://dx.doi.org/10.5937/korbib2005071d.
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The paper discusses special libraries that serve special and closed groups of users, are related to a particular institution within which they are located and are formed within cultural, educational, research, scientific, professional and other institutions. The libraries within the Historical Archive, the National Museum in Uzice, the library in the Church of St. George in Uzice and the library of the Special Hospital for Thyroid Diseases and Metabolic Diseases "Zlatibor" are described here, with a description of their purpose, role and most important material.
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Andrejić, Živojin. "Reflections regarding lost gravestone of Serbian Princess Brnča, the daughter of King Uroš the First and Helen Comnen Courtnee of Anjou". Bastina, n.º 56 (2022): 335–50. http://dx.doi.org/10.5937/bastina32-35665.
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Princess Brnča, daughter of king Uroš the First and his second wife Helen Comnen Courtne Anjou(from his previous marriage he had a son, Stefan), whose existence was unknown to historical sources, can be only noticed on portrait in frescos of lineage of dinasty of Stefan Nemanja in monasteries of Gračanica, Dečani and Patriarchate of Peć. Although she is nowhere presented as a nun, there is presumption that she became a nun and that she was buried in the Monastery of Gradac, which is the foundation of her mother Helen Of Anjou. Hungarian sources testifiy that King Uroš The First had a son in law, whose name was unknown to history (the son of Serbian great penitentiary), and Josif Tronožac claimed that the king had two daughters. There is a fact that Brnča was married to a certain mayor Đorđe, as well as the presumption that she was born around 1253. Newly discovered signature on the gravestone found in church of St. George, belonging to deserted and vanished, monastery Kastaljani, on the slopes of Kosmaj mountin, near Mladenovac, serves as a testemony that this church was built by King Milutin in 1303, and that Brnča was buried there in 1306. This fact serves to reject completely all assumptions that are without any physical evidence that princess Brnca was a nun and that she was buried in the monastery of Gradac. Knowing this, it can be concluded that the church of St. George was built on the land that belonged to Princess Brnča and her husband, Mayor Đorđe, in the state of her brother, The king of Srem, Dragutin. The church must have stareted being built before war conflicts between brothers, kings Milutin and Dragutin, around 1303 and 1304, and the other daughter of King Uroš The First, whose name remains unknown, is buried in the monastery of Gradac with her mother, Helen of Anjou.
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Седов, Вл В. "Church of St. George in Senno: a Monument from the Core of Style". Археология и история Пскова и Псковской земли, n.º 35(65) (9 de novembro de 2021): 325–39. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-347-3.325-339.
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Статья посвящена малоизвестному памятнику средневековой архитектуры Псковской земли, это церковь святого Георгия в Сенно. Здесь расположена каменная церковь с характерными для псковской архитектурной школы формами, а также башнеобразная каменная звонница примерно того же времени. Самое сложное в этом памятнике - отсутствие заметных форм, не позволяющее точно определить дату постройки. Здесь все формы общие для всей школы. Такие памятники в статье предложено считать принадлежащими к ядру регионального стиля, а само это ядро определять как состояние покоя и неизменности внутри стиля. The article is devoted to a little-known monument of medieval architecture of the Pskov land, this is the Church of St. George in Senno. There is a stone church with forms characteristic of the Pskov architectural school, as well as a tower-like stone belfry of about the same time. The most difficult thing about this monument is the lack of noticeable forms, which does not allow us to accurately determine the date of construction. Here all forms are common for the whole school. It is proposed to consider such monuments in the article as belonging to the core of the regional style, and to define this core as a state of calm and immutability within the style.