scholarly journals Prilog Trogirskoj klesarskoj radionici

Ars Adriatica ◽  
2011 ◽  
pp. 97
Author(s):  
Ivan Josipović
Keyword(s):  
Ninth Century ◽  
Time Frame ◽  
Eighth Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
Similar Concept ◽  
Almost All ◽  
Short Time ◽  
First Time ◽  
The Church

The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and  in the analogies with other similar fragments of pre-Romanesque reliefs which have already been attributed to the same workshop. This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from  Pađene, Brnaze, Malo polje of Trogir and Otres, but also those from Krković and Ostrovica. In addition, two fragmented reliefs which have been inserted as spolia in east wall of the parish church of St George at Pađene near Knin are also attributed to the same workshop. These fragments have been measured and photographed in more detail for the first time for this paper. The analysis of their decoration has resulted in the conclusion that these fragments belonged to a widely distributed type of chancel screen pilasters, with a somewhat more complex decoration consisting of a dense interlaced mesh of three-strand bands.  Finally, the gable from the Trogir Town Museum, and other stylistically similar relief from Trogir, have been brought into a stronger connection with the church of St Mary, and its original liturgical furnishings in particular. Following from such a conclusion, as well as the fact that the same workshop produced liturgical installations in another hexaconchal church at Brnaze near Sinj, the author dates both structures to the period when the workshop was active (the first quarter of the ninth century), and places the construction of almost all Dalmatian hexaconchs in a relatively short time frame from the end of the eighth century to mid-ninth century.

scholarly journals Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 61-80
Author(s):  
Mario Pintarić ◽  
Damir Tulić
Keyword(s):  
16Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Third ◽  
15Th Century ◽  
First Time ◽  
Santa Maria ◽  
The Church

The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.

scholarly journals Ranokršćanski sloj arhitekture u Nadžupnom kompleksu Sv. Asela u Ninu

Ars Adriatica ◽  
2014 ◽  
pp. 15 ◽  
Author(s):  
Marija Kolega
Keyword(s):  
Sixteenth Century ◽  
Ninth Century ◽  
Eighth Century ◽  
The South ◽  
Christian Church ◽  
Early Christian ◽  
Parish Church ◽  
The North ◽  
North Wall ◽  
The Church

Archaeological excavations in the complex of the Arch Parish Church of St Asel discovered an entire early Christian complex consisting of a north singlecellchurch and, to its south, a group of baptismal buildings which was soon transformed into a longitudinal building with an eastern apse. A number of remodelling interventions between the sixth and the eighth century confirm that the early Christian church and its baptistery survived the turbulent centuries of the Migration Period. The next major building phase was identified during the conservation works carried out on the church walls and there is no doubt that it occurred at the turn of the ninth century when the church became the cathedral of the Croatian bishop. Both churches, the north and the south, were provided with new stone furnishings while the baptismal font was altered so as to conform to the liturgical changes which were introduced into the baptismal rite. Archaeological evidence has demonstrated that the font remained in use until the sixteenth century when the apse of the south church was destroyed to make way for the chapel of Our Lady of Zečevo (1510-1530). The buildings to the south suffered a major destruction in 1780 when the Lady chapel was extended at the expense of its north wall which was torn down and the southern structure was cut in half.

scholarly journals Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 227
Author(s):  
Damir Tulić ◽  
Mario Pintarić
Keyword(s):  
Small Town ◽  
18Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Church ◽  
Made In

In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

scholarly journals Prilozi proučavanju crkve Svetog Mateja u Splitu

Ars Adriatica ◽  
2011 ◽  
pp. 67
Author(s):  
Ivan Basić
Keyword(s):  
Eighteenth Century ◽  
Middle Ages ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Ninth Century ◽  
Eighth Century ◽  
Early Christian ◽  
Existing Structures ◽  
The Church ◽  
East West

The church of St Matthew, which stood next to the south entrance to Split cathedral until 1881, was constructed between the peripteros and temenos of Diocletian’s mausoleum, along its east-west axis. A large number of pre-existing structures in the church of St Matthew and their degree of preservation indicate that it was erected at the beginning of the early middle ages, when the original layout of diocletian’s building had been well preserved. The church was the original setting for the sarcophagus with the epitaph of Archbishop John from the second half of the eighth century, which can be linked to the restorer of the Salonitan archbishopric in Split, John of Ravenna, who is mentioned by Thomas, the Archdeacon of Split, in his thirteenth-century chronicle, Historia Salonitana. The analysis of the sources relevant for the burial place of Archbishop John of Ravenna (the fourteenth-century chronicle of A. Cutheis and his catalogue of the archbishops of Split) showed that the data from these records are also of early medieval origin. The chronological frame in which the formula carved on the lid of the Archbishop’s sarcophagus existed, its epigraphic features and comparisons with the deceased’s epitaph, link it with the time when the longer inscription and the decoration of the sarcophagus front were carved - the end of the eighth century, and point to Archbishop John (c. 787) as the likeliest owner of the sarcophagus.  The choice of place for the sarcophagus of prior Peter, immediately next to the entrance to the church of St Matthew, in the ninth century, as well as the decoration and its relationship with the epitaph inspired by that on the sarcophagus of Archbishop john, corroborate that the prior’s sarcophagus was later than that of the Archbishop and the church in which it stood. The description of the church’s interior by D. Farlati in the eighteenth century, together with other indications, confirms that the sarcophagus and the church were made at the same  time, and that the Archbishop’s tomb was originally envisaged within the architectural setting of this church where an arcosolium contributed to its monumentality. The iconographic variant of the crossed-lily decoration and its specific symbolism originated in early christian Ravenna, which corresponds not only to the origin of the  Archbishop buried in the chapel but to the dedication to St Matthew, also of ravennate provenance, which creatively matches the iconographic programme of the sarcophagus. Thus, the sarcophagus, the church of St Matthew and John of Ravenna are connected to John,  the Archbishop of Split in the late eighth century.

Concept Exploration for a Mine-countermeasures Vessel Using a Packing-based Ship Synthesis Model

2015 ◽  
Author(s):  
Ruben J. Zandstra ◽  
Etienne A.E. Duchateau ◽  
Bart J. van Oers
Keyword(s):  
The Netherlands ◽  
Feasible Solution ◽  
Time Frame ◽  
Rapid Evaluation ◽  
Wide Range ◽  
Concept Exploration ◽  
Mine Countermeasures ◽  
Short Time ◽  
First Time

This paper presents a summary of a recent concept exploration effort for the replacement of the “Tri-Partite” class mine-hunters conducted at the Netherlands Ministry of Defense’s Defense Materiel Organization. Both the process and the ship synthesis model that were used are extensively discussed. Of particular interest is the process, as it is the first time that a novel type of “packing-based” ship synthesis model was applied to a Royal Netherlands Navy procurement project. In all, the application of this novel ship synthesis model was deemed successful. It enabled the rapid evaluation of a wide range of alternatives in a short time-frame. Most importantly, the results of the concept exploration effort aided in the search for a technically and financially feasible solution.

THE CONTRACT FOR THE NORTH AISLE AT THE CHURCH OF ST JAMES, BIDDENHAM

2015 ◽  
Vol 95 ◽  
pp. 251-265 ◽  
Author(s):  
Gabriel Byng
Keyword(s):  
Sixteenth Century ◽  
Single Family ◽  
Final Version ◽  
Parish Church ◽  
The North ◽  
Rough Draft ◽  
The Cost ◽  
First Time ◽  
The Church ◽  
Building Contracts

The contract for the building of the north aisle at St James’s Church, Biddenham, Bedfordshire, in 1522 is an exceptional document that escaped the surveys of L F Salzman, John Harvey and most later scholars. Unlike other surviving medieval building contracts, it is the rough draft of an indenture, showing the alterations and changes that were made before it was copied into a neat final version and sealed. By surveying these changes it is possible to delineate, for the first time, the process of negotiation engaged in by its patron, Sir William Butler, and the mason, John Laverok. Unusual too are the details it provides of Butler’s collaboration with the parish in building the well-constructed aisle that would bear his arms. This went further than simply defraying the cost of the work, and is of significance for our wider understanding of the organisation and financing of parish church construction in the sixteenth century. Most importantly, it demonstrates the breadth and complexity of forms that co-operation could take between gentry and parish, and shows that projects with the arms of a single family could nevertheless be funded collaboratively.

Archbishop Ebbo of Reims (816–835): A Study in the Carolingian Empire and Church

1974 ◽  
Vol 43 (4) ◽  
pp. 437-447 ◽  
Author(s):  
Peter R. McKeon
Keyword(s):  
Ninth Century ◽  
Active Role ◽  
Eighth Century ◽  
Public Official ◽  
Small Measure ◽  
Common Interests ◽  
The Subject ◽  
Carolingian Empire ◽  
The Government ◽  
The Church

It is almost a commonplace that the ideology and circumstances of the Carolingian empire made possible assertion by the Frankish episcopacy of an increasingly active role in the government of ninth-century Frankish Europe. Restoration of the ecclesiastical hierarchy begun in the mid-eighth century by Pepin the Short and completed under his son, the emperor Charles, resulted in the establishment of a class of able men whose common interests were closely bound up with preservation and extension of the imperial structure; in the reign of Charles' successors this group came to be involved more and more prominently in the workings of the empire, as events in the forty years following Charles' death necessitated rapid reinterpretation of that entity. In that process no member of the hierarchy played a more ubiquitous part than did Ebbo, archbishop of Reims from 816 until his deposition nineteen years later. Loyal to the principles of imperial rule while at the same time betrayer of the friendship and fealty owed his monarch, Ebbo was scholar, builder, missionary, high public official, rebel and outcast during a career inextricably bound up with the course and transmutations of the empire. In the range of his activities and influence almost a paradigm of those opportunities and tasks open to the Carolingian episcopate, his history is in no small measure that of the empire itself and of the church with which in the ninth century that empire was conceived to be coextensive, even identical. It is those two histories and their interrelations that form the subject of the present paper.

scholarly journals Religious Europe, Russia and Serbia: Past and present (Arguments of empirical evidence: The case of Europe)

2008 ◽  
Vol 19 (1) ◽  
pp. 275-294 ◽  
Author(s):  
Mirko Blagojevic
Keyword(s):  
Scientific Evidence ◽  
European Countries ◽  
Sociological Research ◽  
European Values ◽  
Comparative Survey ◽  
European Values Study ◽  
International Comparative ◽  
Almost All ◽  
First Time ◽  
The Church

The author has envisaged to publish three articles in three issues of "Philosophy and Society" magazine in which, relying on the empirical scientific evidence, plans to reveal the scope and level of religiousness in some European countries, then to study the case of Russia in a separate text and finally to analyze religiousness of people in Serbia and their attachment to the church and religion. This sequence of publication has its own logics looking forward to the empirical research called "European Values Study" - a longitudinal and international comparative survey of human values - in almost all European countries including, for the first time, Serbia in 2008, the author first aims to present results of previous sociological research which are representative for the area of Europe, and then for the Orthodox area in the country with the highest number of Orthodox believers in the world. Therefore, in the last article the author will be able to compare the religious situation in Serbia not only with the (non)-religious Europe but the (non)-religious Orthodox Russia as well.

scholarly journals Architrave Slab of the Entrance into the Gate Church of Funa

2021 ◽  
Vol 49 ◽  
pp. 164-175
Author(s):  
Vladimir Petrovich Kirilko ◽  
Keyword(s):  
Middle Part ◽  
Large Fragment ◽  
The South ◽  
Exact Date ◽  
New Information ◽  
Short Time ◽  
First Time ◽  
Architectural Detail ◽  
The Village ◽  
The Church

The gate church of the Theodorite castle near the village of Funa appeared in 1459 and existed to 1778. Left unattended later on, it became decayed, quickly dilapidated, and finally turning into ruin after the earthquake of 1927. The experts’ conclusions concerning its origin are based mainly on the typical features of the architectonics and carved decoration of the structure, correlated with the traditions of Armenian architecture and Seljuk ornamentation. The most exquisite architectural detail of the building is the large slab with relief ornamentation that overlapped from outside the doorway of the south entrance. Two iconographic sources are published for the first time to supply new information about the slab in question along with the results of a substantive study of a large fragment of the artefact which was found by chance outside the castle short time ago. Almost a half of the composition that adorned the outermost part of the architrave survived. Its completely lost middle part can be reconstructed reliably by the photograph taken by N. N. Klepinin and the drawing by D. M. Strukov. The ornamental motif of the slab is one of the most popular in mediaeval art, being typical of the eastern decorative tradition. It is still not possible to discover the origin and exact date of the architrave which was secondary used in the church of 1459. Stylistically, structurally, and technologically it is comparable with carved architectural details of many main buildings of the capital town of Theodoro, which were erected in the 1420s. Therefore, the slab in question possibly has the same chronology, but still it could be made even earlier.

scholarly journals Idea pentarchii jako rękojmia jedności Kościoła w dobie ikonoklazmu. Stanowisko Teodora Studyty

Vox Patrum ◽  
2012 ◽  
Vol 58 ◽  
pp. 201-220
Author(s):  
Oleksandr Kashchuk
Keyword(s):  
Reference Point ◽  
Ninth Century ◽  
Eighth Century ◽  
Privileged Position ◽  
Ecumenical Council ◽  
Secular Power ◽  
The Church

From the first half of the eighth century until the mid-ninth century the Church of Constantinople struggled with heretical iconoclast movement. Dur­ing the period of iconoclasm, St. Theodore of Studium (759-826) stood at the side of the defenders of the cult of images. He was a great thinker and abbot of the Studium monastery near Constantinople. One of the main themes he discussed was an independant status of Church from secular power, which frequently intervened in issues relating to faith and morals. St. Theodore of Studium wanted to prove that the Church dogmas and rules derive not from emperors, but bishops. In this context, his idea resembles the concept of pentarchy. According to St. Theodore, the guarantee of orthodoxy, which is the basis for the unity of the universal Church, is rooted in ecclesial body of pentarchy. Decisions about divine and celestial dogmas are entrusted to five patriarchs, who should be characterized by unanimity to reach a joint deci­sion at the universal council. All of them together have the highest position in the Church and their consent is necessary for recognition of the ecumenical council. Among the five patriarchs the privileged position has the patriarch of Rome, without whom no ecumenical council can be called. The Roman Church is the reference point and stands at the center of the unity of Church. St. Theodore of Studium considered the primacy of the bishop of Rome not in isolation from other patriarchates but in orbit of the entire Church.

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