Thirteenth century wall paintings under the Siena Cathedral (Italy). Mineralogical and petrographic study of materials, painting techniques and state of conservation

2006 ◽  
Vol 7 (3) ◽  
pp. 171-185 ◽  
Author(s):  
S. Mugnaini ◽  
A. Bagnoli ◽  
P. Bensi ◽  
F. Droghini ◽  
A. Scala ◽  
...  
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
Siena Cathedral ◽  
Petrographic Study ◽  
Painting Techniques

A combined analytical approach applied to Medieval wall paintings from Puglia (Italy): The study of painting techniques and its conservation state

2015 ◽  
Vol 47 (3) ◽  
pp. 321-328 ◽  
Author(s):  
Daniela Fico ◽  
Antonio Pennetta ◽  
Giulia Rella ◽  
Antonella Savino ◽  
Valentina Terlizzi ◽  
...  
Keyword(s):  
Analytical Approach ◽  
Wall Paintings ◽  
Painting Techniques

scholarly journals The Siena relic of St John the Baptist’s right arm

Zograf ◽  
2017 ◽  
pp. 77-94
Author(s):  
Danica Popovic
Keyword(s):  
Thirteenth Century ◽  
Systematic Approach ◽  
Historical Information ◽  
John The Baptist ◽  
Siena Cathedral ◽  
The Veil

The paper takes a systematic approach to the hitherto unpublished relic of St John the Baptist?s right arm which is kept in a cache in Siena cathedral. It includes the available historical information about the relic?s journey from Serbia until its arrival in Siena (1464) and the circumstances in which it came into the possession of pope Pius II. It provides a detailed description both of the relic and of the reliquary, an exquisite piece of medieval goldsmithing and filigree work with few direct analogies. Particular attention is devoted to the inscription on the reliquary lid: ?Right arm of John the Forerunner, cover me, Sava the Serbian archbishop.? Based on the inscription, the reliquary is identified as one of the founding objects of the treasury of the monastery of Zica (the Serbian cathedral and coronation church) which was gradually built up in the first decades of the thirteenth century through the effort of Sava of Serbia. Discussed in the context of this topic are also the ?veil? and the ?cushion?, the luxurious textiles in which the Baptist?s arm was brought to Siena.

scholarly journals Reliquary-chapel of saint Demetrios at the Davitgareji Desert

Zograf ◽  
2020 ◽  
pp. 79-100
Author(s):  
Marina Bulia
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
Cultural Traditions ◽  
Geographical Spread ◽  
History Of

The paper addresses a recently discovered rock-hewn chapel in the Davitgareji Desert, which has preserved late twelfth-early thirteenth century wall paintings dominated by a cycle of St Demetrios. The cycle, which finds no parallel in Georgia, is remarkable in many regards and raises important questions as to the chronology and geographical spread of such cycles, the provenance of unknown iconographical redactions, the history of the relics of St Demetrios, the function of the chapel dedicated to the saint, and the interaction between Georgian and Byzantine artistic and cultural traditions, in general.

A church with a Roman inscription in Tairia, Monemvasia

2002 ◽  
Vol 97 ◽  
pp. 469-490
Author(s):  
Alexander G. Kalligas ◽  
Haris A. Kalligas ◽  
Ronald S. Stroud
Keyword(s):  
Thirteenth Century ◽  
Tenth Century ◽  
Roman Period ◽  
Second Century ◽  
Wall Paintings ◽  
Imperial Cult ◽  
Small Complex ◽  
The Church ◽  
Assumption Of The Virgin

In Tairia, at a distance of about 10 km from Monemvasia, is a small complex of two Byzantine churches, dedicated to the Assumption of the Virgin and Ag. Anna. Each has a simple one-aisled plan covered by a barrel vault with an intermediate arch. Wall paintings exist in both churches dating from the twelfth, the thirteenth century, and later. The church of the Assumption, or Theotokos, is older and could be dated to the tenth century and thus identified with the church mentioned in a contemporary source, the Life of St. Theodore of Kythira. Ag. Anna imitates the plan of the older church and seems to have occupied the place of earlier service buildings. Built in, on the top of the altar table in the church of the Assumption, is a marble slab with a completely preserved Greek inscription of the Roman period, consisting of five lines which cover the whole surface of the slab and commemorate the dedication to the deities of the Imperial cult (Θεοί Σεστοί) and to a πόλις, the name of which is not known, of a makellon by three Roman citizens out of their own funds. The most probable date for the inscription seems to be the second century AD, but, even though makella existed in few Peloponnesian cities, neither the polis where the establishment was erected is known, nor can the dedicators be safely identified.

scholarly journals The Byzantine wall-paintings in the church of Saint Theodore at Platanos, Kynouria (Arcadia)

Zograf ◽  
2015 ◽  
pp. 91-105
Author(s):  
Maria Agrevi
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
The Church

The church of St Theodore (also known as "Sts Theodoroi") at Platanos, Kynouria, is a single-nave building of small dimensions. The interior surfaces of its walls preserve their Byzantine paintings, which are partially visible under the coat of plaster that covers most of them. The paintings exhibit affinity with wall-paintings of churches in the Peloponnese (neighbouring Laconia included), and can be dated to the last quarter of the thirteenth century.

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