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Готові списки джерел за темами / Pierre (Cathedral)

Добірка наукової літератури з теми "Pierre (Cathedral)"

Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 28 липня 2024

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Статті в журналах з теми "Pierre (Cathedral)"

1

Bonnet, Charles. "The archaeological site of the cathedral of Saint Peter (Saint‐Pierre), Geneva." World Archaeology 18, no. 3 (February 1987): 330–40. http://dx.doi.org/10.1080/00438243.1987.9980010.

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2

Chevalier, Alain. "An Unknown Work by Pierre Puget: The Deydé Funerary Chapel in Montpellier Cathedral." Metropolitan Museum Journal 29 (January 1994): 89–98. http://dx.doi.org/10.2307/1512962.

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3

HOWE, JOHN. "St Berardus of Marsica (d. 1130) ‘Model Gregorian Bishop’." Journal of Ecclesiastical History 58, no. 3 (July 2007): 400–416. http://dx.doi.org/10.1017/s002204690700156x.

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The ‘Gregorian Reform’ or ‘Gregorian Revolution’ is a model of top–down ecclesiastical change that assumes that local bishops suddenly became, to some extent, agents of Rome. One striking illustration of this is the portrayal of the ‘new Gregorian bishop’, based largely on Berardus of Marsica (d. 1130), presented by Pierre Toubert in his classic Structures du Latium médiéval (1973), and now reprised by Jacques Dalarun (2003). This article, employing an unedited collection of miracles, re-examines Toubert's treatment of Berardus and reveals a reforming saint who belongs less to Rome and more to his idiosyncratic cathedral of Santa Sabina.

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4

Garcia-Talegon, Jacinta, Adolfo C. Iñigo, Santiago Vicente-Tavera, and Eloy Molina-Ballesteros. "Heritage Stone 5. Silicified Granites (Bleeding Stone and Ochre Granite) as Global Heritage Stone Resources from Ávila, Central Spain." Geoscience Canada 43, no. 1 (March 14, 2016): 53. http://dx.doi.org/10.12789/geocanj.2016.43.087.

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Silicified granites were used to build the Romanesque monuments in the city of Ávila, Spain. The building stones comprise two types of granite based on their technical properties and colour: Bleeding Stone (Piedra Sangrante) and Ochre Granite (Caleño). They were used as a facing stone in the city´s Romanesque monuments of the 12th century (e.g. the cathedral and church of San Pedro), and the famous city walls that constitute the best example of military Romanesque Spanish architecture. During the Gothic and Renaissance periods of the 13th and 15th centuries, silicified granites were used mainly to build ribbed vaults, the voissoirs of the arches, and elements of the windows in the monuments of Ávila. Silicified granites are found in the intermediate and upper part of a complex palaeoweathering zone or mantle developed on the Iberian Hercynian Basement which underlies much of the western Iberian Peninsula. The silicification occurred during tropical conditions in the Mesozoic. The weathered mantle was truncated by Alpine tectonic movements during the Tertiary, and its remnants were unconformably overlain by more recent sediments in the western and southern part of the Duero Basin and along the northern edge of the Amblés Valley graben. The historical, and now protected, quarry is located in a village called La Colilla, about 5 km from the city of Ávila. Currently, this stone is exploited only for restoration work performed in the city, for example the Walls of Ávila, and the church of San Pedro. The resource is limited and being depleted, so the stone will be scarce in the near future. Consequently, these silicified granites should be recognized as a Global Heritage Stone Resource. The specific technical properties of these stones and their historic use, decay patterns, durability, and suitability for conservation treatments combine to support its designation as a Global Heritage Stone Resource.RÉSUMÉDes granites silicifiés ont été utilisés pour construire les monuments romans dans la ville d’Ávila, en Espagne. Les pierres de construction comprennent deux types de granite selon leurs propriétés techniques et leur couleur : Bleeding Stone (Piedra sangrante) et Ochre Granite (Caleño). Ils ont été utilisés comme pierre de revêtement de monuments romans du 12ème siècle de la ville (par exemple la cathédrale et de l'église de San Pedro), et pour les célèbres remparts de la ville qui constituent le meilleur exemple de l'architecture espagnole romane militaire. Durant les périodes gothique et Renaissance des 13e et 15e siècles, les granites silicifiés ont été utilisés principalement pour construire des croisés d'ogives, des voussoirs d’arcs et des éléments de fenêtres des monuments d’Ávila. Les granites silicifiés se trouvent dans la partie intermédiaire et supérieure d'une zone complexe de paléo-altération ou de manteau développée sur le socle ibérique hercynien qui supporte une grande partie de la péninsule ibérique occidentale. La silicification s’est produite dans des conditions tropicales au Mésozoïque. Le matériau mantélique altéré a été tronqué par des mouvements tectoniques alpins au cours du Tertiaire, et ses restes ont été recouverts en discordance par des sédiments plus récents dans la partie ouest et sud du bassin de Duero, et le long de la bordure nord de la vallée en graben d’Amblés. L’ancienne carrière, maintenant protégée, est située dans un village appelé La Colilla, à environ 5 km de la ville d’Ávila. Actuellement, cette pierre est exploitée uniquement pour les travaux de restauration effectués dans la ville, par exemple les murs d’Ávila, et l'église de San Pedro. La ressource est limitée et en voie d'épuisement, de sorte que la pierre sera rare dans un proche avenir. Par conséquent, ces granites silicifiés devraient être reconnus en tant que pierre du Patrimoine mondial des ressources en pierre. Les propriétés techniques spécifiques de ces pierres et leur valeur historique, leurs modes de désintégration, leur durabilité et leur pertinence pour la conservation patrimoniale justifient leur désignation en tant que roche du Patrimoine mondial des ressources en pierre. Traduit par le Traducteur

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5

Luescher, Andreas. "Architecture that bows to the artist: Musée Soulages." Architectural Research Quarterly 20, no. 3 (September 2016): 207–16. http://dx.doi.org/10.1017/s1359135516000403.

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This paper examines the museum dedicated to Pierre Soulages and its relationship with Soulages, the city of Rodez, the Forirail Garden (which is the site of the museum), and the ideas and practices realised by Catalan architects Rafael Aranda, Carme Pigem and Ramon Vilalta (RCR). The Musée Soulages is defined by the colour black and the luminous fluidity of steel as designed by RCR Arquitectes; it is also aligned with an environmental ecology that literally and figuratively represents the town of Rodez with its Notre-Dame Cathedral. The central thesis is that the Musée Soulages inducts the visitor into a role of active participation and exchange in an atmosphere of transcendental logic, and, ultimately, a new way to experience black as a colour rather than the lack of one. A visitor to the Musée Soulages becomes part of a theatrical event in which two actors —one French abstract painter, three Catalan architects—communicate in physical terms about the metaphysical environment, and the relationship between the scenographic and the tectonic in architecture. The Musée Soulages is a fascinating metaphorical representation of not only Pierre Soulages's character and his work, but also of the role of the built environment and material culture that is intertwined with the body of Soulages's expressive works. This essay focuses on the material and symbolic gestures created by Pierre Soulages and RCR Arquitectes to maintain and promote their particular world views, and examines the ways in which their expressive mediums and ideas are by turn harmonious and contradictory.

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6

Neagley, Linda Elaine. "The Flamboyant Architecture of St.-Maclou, Rouen, and the Development of a Style." Journal of the Society of Architectural Historians 47, no. 4 (December 1, 1988): 374–96. http://dx.doi.org/10.2307/990382.

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The construction of St.-Maclou after 1432 revitalized architecture in Rouen and Normandy for the next 90 years. Both the patrons and the architect played a significant role in the emergence of this new style. The architecture has been attributed to the Parisian master Pierre Robin, but the stylistic evidence based on a unique vocabulary of forms suggests that the St.-Maclou master was trained in the Norman Vexin and had a knowledge of architecture of Germany, Flanders, and central Europe. The parish church was also modeled on several monumental features found at the cathedral of Rouen including the interior and transept elevations, the lantern tower, and the western porch. This ambitious project, undertaken by the merchant class families of the parish during the English occupation, reflects both a desire to assume the duties of the old orders of the city and a conscious rejection of contemporary English-influenced architecture constructed during the occupation. One of these families, the Dufours, assisted the French king, Charles VII, in the recapitulation of Rouen in 1449. Thus, the retrospective and hence conservative reference to the Rayonnant parts of the cathedral of Rouen may have reflected a nostalgia for the architectural style associated with Louis IX and a golden age of French royalty. Using both stylistic and documentary evidence, this article attempts to identify the role of the patrons and architect in the development of the style of St.-Maclou.

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7

Ponce Gregorio, Pedro, Ignacio Peris Blat, and Salvador José Sanchis Gisbert. "Septiembre de 1931 Le Corbusier y el Palacio de los Soviets = September 1931: Le Corbusier and the Palace of the Soviets." Cuaderno de Notas, no. 21 (July 31, 2020): 70. http://dx.doi.org/10.20868/cn.2020.4472.

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ResumenA principios de septiembre de 1931, mediante carta privada remitida por B. Breslow -en calidad de Representante Comercial de la URSS en Francia-, Le Corbusier (y Pierre) reciben la invitación a participar en el concurso del Palacio de los Soviets de Moscú. Un edificio que, además de encarnar la voluntad de las masas trabajadoras rusas debía convertirse, de manera análoga, allí donde ya se hallaba construida la catedral del Salvador, en el monumento artístico-arquitectónico de la maltrecha capital soviética. Así, sirviéndonos del proyecto como instrumento, el escrito tratará de poner en relación dos de los materiales más íntimos en la vida y obra de Le Corbusier: sus agendas de Moscú y la correspondencia del atelier. Todo ello, con el único fin de desvelar algunas de las claves más desconocidas del comportamiento del arquitecto; ya no al frente de este proyecto concreto, sino sobre todo aquello que lo rodeaba: ya fueran los clientes, sus ayudantes o Pierre.AbstractIn early september 1931, on a private letter dispatched by B. Breslow -acting as Comercial Representative of the URSS in France-, Le Corbusier (and Pierre) received the invitation to participate in the contest of the Palace of the Soviets in Moscow. A building that would not only enbodies russian´s working class will, but also should become in the same way, there where the Salvador cathedral was built, in the artistic-architectural monument of the struggling soviet capital. So, using the project as an instrument, the note will try to put in relation two of the most intimate materials in the life and work of Le Corbusier: his Moscow diaries and the atelier correspondence. All of this, with the sole purpose of revealing some of the most unknown keys to the architect behavior; not at the front of this specific project, but above all that surrounded it: whether the clients, their assistants or Pierre.

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8

Evteev, Andrey, and Anna Tarasova. "A Case of Hypertrophic Osteoarthropathy (HOA) in a Female Burial from the Cathedral Hill Necropolis in Vyazma (Late 13th c. AD)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2023): 186–99. http://dx.doi.org/10.15688/nav.jvolsu.2023.2.9.

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The necropolis at the Cathedral Hill in Vyazma is mainly dated to the late 13th c. AD, and likely contains burials of the citizens of a high social status. A complete and well-preserved skeleton of a 35–40 year old female was excavated from Burial 15 of the necropolis. Almost all the bones of both upper and lower limbs were deformed due to excessive deposits of bone (periostitis) in the diaphyseal and metaphyseal areas. A combination of macroscopic and radiological – x-ray and microfocus computed tomography – has revealed that the lesions were likely manifestations of the Pierre-Marie-Bamberger syndrome, or secondary hypertrophic osteoarthropathy (HOA). This bone pathology accompanies some chronic diseases of the lungs and pleura (including benign and malignant tumors, tuberculous lesions, etc.), mediastinum and heart, and also, less frequently, other organs and systems. The exact disease that caused the observed bone lesions cannot be determined due to the absence of soft tissues. However, a detailed description of the skeletal manifestation of this pathology, in our opinion, can facilitate the detection and interpretation of periostitis of this type and localization in archeological remains of varying preservation and completeness. Noteworthy, this syndrome is, in 80% of clinical cases, associated with various lung diseases.

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9

Forster, Imogen. "Book reviews : Cathedral of the August Heat: a novel of Haiti By PIERRE CLITANDRE (translated by Bridget Jones) (London, Readers International, 1987). 159 pp. £4.95." Race & Class 30, no. 1 (July 1988): 96–97. http://dx.doi.org/10.1177/030639688803000113.

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10

Butler, Matthew. "Sotanas Rojinegras: Catholic Anticlericalism and Mexico's Revolutionary Schism." Americas 65, no. 4 (April 2009): 535–58. http://dx.doi.org/10.1353/tam.0.0108.

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As the recent clashes in Mexico City's metropolitan cathedral show, it is not just clericalism that is making an apparent comeback in post-priístaMexico: clericalism's faithful alter ego, anticlericalism—provoked to violence when clanking church bells disturbed a political rally in thezócaloin November 2007—is also stirring anew. This dialectical affinity between rival ideological traditions goes back a long way, as historic clashes over church bells—auditory symbols of institutional jurisdiction and influence—remind us: and yet, as Alan Knight points out, neither the terrain, nor the terms, of the dispute between clericalism/anticlericalism have been mapped out with enough clarity by Mexicanist historians. The 1910-40 revolution, for instance, is associated with various anticlericalisms— be it the protestant variety studied by Jean-Pierre Bastian; the constitutionalists' liberal clerophobia, irrupting circa 1914; masonic, spiritist, or popular anticlericalisms; or the “socialist” god-burning of the 1930s which climaxed in the iconoclasm studied by Adrian Bantjes. This trajectory— from priest-baiting to dechristianization within a generation—makes it tempting to posit an irreligious revolution, whose anticlericalism was a precursory form of mature godlessness. Some revolutionaries, like Tomás Garrido Canabal in Tabasco, encouraged such a conflation by using anticlerical restrictions—especially state licensing of priests, enshrined in constitutional Article 130—in a vindictive and secularizing way: squeezing the clergy so hard that priests were eradicated, not just rubber-stamped by the state. Such figures clearly hoped that persecuting priests would fatally minebelief: the day would come, Adalberto Tejeda hoped in 1926, when religion would expire and churches become places of recreation for apostate Indians. The Roman Catholic clergy, meanwhile, was fond of denouncing anticlericals as deicides, if not devils, and reinforced its own position by encouraging the association of anticlericalism with anti-Catholicism in the minds of the faithful.

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Книги з теми "Pierre (Cathedral)"

1

Bonnet, Charles. Les fouilles de la cathédrale Saint-Pierre de Genève: Les édifices chrétiens et le groupe épiscopal. Genève: Société d'histoire et d'archéologie de Genève, 2009.

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2

Alain, Peillex, Demierre Mattieu, Poux Matthieu, and Campagnolo Matteo, eds. Les fouilles de la cathédrale Saint-Pierre de Genève: Le centre urbain de la protohistoire jusqu'au début de la christianisation. Genève: Société d'histoire et d'archéologie de Genève, 2009.

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3

Pastan, Elizabeth Carson. The early stained glass of Troyes Cathedral: The ambulatory chapel glazing c. 1200-1240. Ann Arbor, Mich: UMI, 1988.

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4

Judith, Förstel. La cathédrale Saint-Pierre de Beauvais, Oise. [Amiens]: Édité par l'Association pour la généralisation de l'Inventaire régional en Picardie, 1997.

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5

Meunier, Florian. Martin & Pierre Chambiges: Architectes des cathédrales flamboyantes. Paris: Picard, 2015.

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6

Kiner, Alice. La cathédrale: Livre de pierre / Alice Kiner. Paris: Presses de la Renaissance, 2004.

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7

Normandie, Musée de. La pierre de Caen: Des dinosaures aux cathédrales. Condé-sur-Noireau: Corlet, 2010.

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8

Claire, Huguenin, Cassina Gaëtan, and Lüthi Dave, eds. Destins de pierre: Le patrimoine funeraire de la Cathedrale de Lausanne. Lausanne: Cahiers d'archeologie romande, 2006.

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9

Ada, Alma Flor. Encaje de piedra. Buenos Aires: Guadalupe, 1989.

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10

Sampson, Jobam. Building in the name of God. [S.l.]: A&E Television Networks, 2008.

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Частини книг з теми "Pierre (Cathedral)"

1

Tachau, Katherine H. "The Scientist Steps away from His Theological Cathedra. Perspectivist and Astrological Learning in the Priestly Œuvre of Pierre of Limoges and Pierre Auriol." In The Medieval Paradigm, 645–80. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.nutrix-eb.1.101257.

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2

Tolstoy, Leo. "20." In War and Peace. Oxford University Press, 2010. http://dx.doi.org/10.1093/owc/9780199232765.003.0219.

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On the morning of the 25th Pierre was leaving Mozhaisk. At the descent of the high steep hill, down which a winding road led out of the town past the cathedral on the right, where a service was being held and the bells were...

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3

Osler, Margaret J. "When Did Pierre Gassendi Become a Libertine?" In Heterodoxy in Early Modern Science and Religion, 169–92. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199268979.003.0007.

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Abstract Pierre Gassendi (1592-1655) is best known as the thinker who baptized the philosophy of Epicurus, hoping to provide a theologic-ally acceptable alternative to Aristotelianism for seventeenth-century thinkers who were searching for a new philosophy of nature. Natural philosophers in the latter half of the seventeenth century regarded Gassendi as one of the founders of the new, mechanical philosophy of nature. Gassendi was a Catholic priest and canon of the cathedral at Digne in the south of France. During his lifetime, he had a reputation as a person of moderate habits who shared the Epicurean values of a quiet life that provided opportunities for the freedom to philosophize and the joys of friendship.

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4

Popkin, Richard H. "The New Sceptics." In The History of Scepticism, 274–82. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195107678.003.0017.

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Abstract Toward the end of the seventeenth century some new sceptical writers appeared challenging the many philosophies, old and new, with the sceptical weapons of antiquity. Simon Foucher, Pierre-Daniel Huet, and Pierre Bayle attacked the new philosophies of Descartes, Spinoza, Malebranche, Leibniz, Locke, and others. Some of their argumentation has become an important contribution to Enlightenment and post-Enlightenment thought. In this chapter I will deal with Foucher and Huet, and in the final chapter I will turn to Pierre Bayle, the master sceptic. Foucher (1644–96) was born in Dijon, the son of a merchant. He studied there and then took a degree in theology at the Sorbonne. He was made honorary canon of the Cathedral of Dijon, a title that he used throughout his life. He became involved with the Paris Cartesians, and it is said that he was asked to give the funeral oration for René Descartes when the great philosopher’s body was transferred to Paris for burial in holy French soil.

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5

"Pievi and the Care of Souls." In A People's Church, edited by Agostino Paravicini Bagliani and Neslihan Senocak, 70–92. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501716768.003.0004.

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This chapter introduces the key concepts of pieve, which was the collegiate baptismal church that governed smaller rural districts. It details the important characteristics of the Italian pieve that distinguished it from the baptismal churches found elsewhere in Europe. From the pastoral point of view, the relation of the pieve to the faithful in its plebanal district is similar to the relation of the cathedral to the urban population. Thus, the pieve had a monopoly on baptism and the cemetery in its district. The chapter elaborates on how the pieve became a key institution within the religious life of the Christian inhabitants of medieval central and northern Italy even though its organization of pastoral care was different compared to other parts of Europe.

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6

Manning, Jane. "JUDITH BINGHAM (b. 1952)The Cathedral of Trees (1998)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 42–45. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0013.

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This chapter takes a look at The Cathedral of Trees, by singer-composer Judith Bingham. Cathedral is a solo song which exhibits similar mastery and an innate understanding of how the voice works. It comprises an attractive mix of vocal tasks that are much easier to execute than they may appear. Everything lies comfortably and there is an enjoyable joie de vivre in the melismas, trills, and especially the rotating repeated arpeggios that swoop up and down over a wide span. These give the singer a chance to develop a keen sense of tonality from the outset and to attain familiarity with recurring pitches. The piece moreover successfully preserves a sense of rhythmic momentum, but the composer exhorts a flexible approach (‘fluid and variable’) that obeys the natural swing of the music and avoids rigidity.

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7

Jakubczyk, Ignacy. "Badania endoskopowe komory grobowej króla Władysława Łokietka w katedrze krakowskiej – okiem konserwatora." In Studia z dziejów katedry na Wawelu, 409–22. Ksiegarnia Akademicka Publishing, 2023. http://dx.doi.org/10.12797/9788381389211.24.

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In 2019, at the initiative of the parish priest of Wawel Cathedral, Zdzisław Sochacki,an attempt was made to verify the information about the presence of a royal burialchamber beneath the tombstone of Władysław II Elbow-high in Cracow Cathedral,as described in Ambroży Grabowski’s account from 1838. This account referred toa stone masonry repair carried out at that time on the pedestal of the tomb, duringwhich, to everyone’s surprise, a narrow slit was pierced into an unknown grave.As part of the preparations, ground-penetrating radar surveys were conducted in thevicinity of the royal tomb. As a result, the possibility of an empty space beneath its basewas detected. In order to verify these suppositions, further endoscopic examinationswere carried out, which successfully reached the located chamber. The interpretationof interior photographs and in situ measurements allowed, among other things, forconclusions to be drawn regarding its original construction and its relationship with the tomb, as well as its overall dimensions and state of preservation. Traces left by the 19th century stonemasons’ intervention were recorded and compared to the types of craftsmen’s accomplishments described by Grabowski.

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8

Thomas, Anabel. "Workshop Training and Neighbourhood Networking." In The Art and Government Service of Francesco di Bartolomeo Alfei (c. 1421–c. 1495). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463721585_ii_ch01.

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This chapter considers Francesco di Bartolomeo Alfei’s family and his early access to officials in central government through the office of the Biccherna (chancellery of finance) and his father-in-law Meo di Lorenzo: contrasting the advantages of this with professional openings available through networking within his own artistic community, including receiving the commission from the Fraternita di Santa Maria degli Angeli e Compagnia di San Francesco. The workshop relationship established between the young artist, Giovanni di Paolo and Sano di Pietro in the ambit of the Biccherna, the Cathedral Works and the Franciscan conventual complex is outlined, along with an analysis of two panels associated with the church of San Francesco in Grosseto, variously attributed to Sano di Pietro, Francesco di Bartolomeo Alfei and the ‘Maestro dell’Osservanza’.

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9

Mee, Nicholas. "The Vanishing Point." In Celestial Tapestry, 117–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851950.003.0013.

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Filippo Brunelleschi was a pivotal figure in the Renaissance. He designed and constructed the dome of the cathedral in Florence whose size has only been surpassed using modern building materials. Even more influential was his invention of single-point perspective as a technique for producing geometrically realistic paintings. His methods were disseminated by Alberti and developed by painters such as Paolo Uccello and Piero della Francesca. Chapter 12 provides a simple explanation of how a perspective grid is constructed and discusses examples of its use, including Raphael’s School of Athens.

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Cuillé, Tili Boon. "The Harmony of Nature in Paul et Virginie." In Divining Nature, 142–96. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613362.003.0004.

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Анотація:

Rousseau’s protégé, Jacques-Henri Bernardin de Saint-Pierre, conceived of his Études de la nature as a complement to Buffon’s Histoire naturelle. Chapter 3 traces the generation of his novel Paul et Virginie from his travelogue to its publication as the fourth book of his natural history. Bernard de Lacépède’s Poétique de la musique provides a missing link between Bernardin’s novel and its operatic adaptation by Jean-François Le Sueur. Reading Bernardin’s natural history, full of advice for artists, alongside Le Sueur’s essays on church music, full of tips for composers, reveals that author and composer both sustained and sought to foster mixed emotions in response to the spectacle of nature that led to the “sentiment of divinity.” The chapter concludes with a consideration of French cathedrals, redesigned along lines reminiscent of the opera and the natural history museum in the course of the century.

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