scholarly journals Novi podaci o zlataru Stefanu Piazzi

Ars Adriatica ◽  
2011 ◽  
pp. 149
Author(s):  
Bojan Goja
Keyword(s):  
Seventeenth Century ◽  
Archival Data ◽  
Silver Plate ◽  
New Information ◽  
Available Information ◽  
Venetian Republic ◽  
The Church ◽  
Made In

The article presents new information about the life and work of goldsmith Stefano Piazza in Zadar, based on the archival investigation. In 1691 he was commissioned by the fraternity of the Blessed Virgin of the Snow, to make a silver cover for the painting of the Virgin displayed on the marble altar, which the Venetian altar makers Girolamo and Francesco Garzotti made for the fraternity in the church of St Donatus around 1675. The cover was made of silver plate procured in Venice, which Piazza polished and decorated. Neither the painting nor the silver cover have been preserved, and we do not know what they looked like but it is likely that the cover was made in a similar way as other silver painting covers - covering a large part of the painting and with openings for the faces and hands of the figures. Apart from the already known piece of information about the 1691 silver andlestick, it has been established that during 1692 and 1693, Piazza made a series of other metalwork objects, mostly liturgical, for the fraternity of Croatian and Albanian soldiers in the service of the Venetian Republic, dedicated to St Jerome, which gathered in the church of St Simeon for which they had a marble altar made. These objects included a silver figure of Christ, the covers for the parish register, chalice and paten of gilt silver, a silver aspergillus, four silver candlesticks and a pax. Stefano Piazza was a member of the fraternity of St Sylvester (also known as della Pietà e della Misericordia) which had its seat in the Zadar church dedicated to the same saint, and for which the fraternity  steward made a list of reliquaries and other silver objects in 1690. He died in Venice on 28 September 1703. His son Francesco (Zadar, 21 December 1684 - 17 September 1721) is also mentioned in the sources as a goldsmith.  Stefano Piazza (? - Venice, 7 September 1703) was probably the son of a north Italian goldsmith Francesco of Stefano, who is mentioned as being in Zadar between 1652 and 1668. Given that according to the available information not a single work of Stefano Piazza has been preserved,  nothing can be said about his skills as a craftsman or artistic achievements, but it can be assumed that he was a respectable goldsmith who was frequently contacted by local commissioners because of his skill in making a variety of objects. Other archival data about his life and work are also published here, as well as information about other goldsmiths who worked in Zadar in the late  sixteenth and during the seventeenth century.

An Inventory of Choirbooks At S. Maria Maggiore, Bergamo, January 1628

1965 ◽  
Vol 5 ◽  
pp. 47-50
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Northern Italy ◽  
Santa Maria ◽  
The Church ◽  
Made In

Santa Maria Maggiore at Bergamo was one of the principal churches at which music was made in early seventeenth-century northern Italy. It had built up a considerable reputation in the sixteenth century which was continued into the next under a succession of prominent musicians, the most important of whom was Alessandro Grandi. He occupied the post of maestro from 1627 to 1630, and, as with every newly appointed choirmaster, the choir's accumulated repertory was formally consigned to him. The documents of consignment are preserved in a volume marked Inventarium (LXXIX-1) in the archives of the Misericordia Maggiore, which ran the church. I now print below the inventory that Grandi signed in 1628 – the first one of the seventeenth century; it is on ff. 129v-130 of the Inventarium. I have set it out unedited in the layout in which it appears there.

scholarly journals Christian Mangup: The Modern Source Base and the Main Stages of Its History

2021 ◽  
pp. 255-281
Author(s):  
Valery E. Naumenko ◽  
Aleksandr G. Gertsen ◽  
Darya V. Iozhitsa
Keyword(s):  
Seventeenth Century ◽  
Middle Ages ◽  
Entire Period ◽  
Sixth Century ◽  
The South ◽  
Christian Community ◽  
Church Building ◽  
History Of ◽  
Available Information ◽  
The Church

Throughout the entire period of the Middle Ages, the settlement of Mangup was one of the most important ideological centres for the spread of Christianity in the south-western Crimea. From the creation of the independent Gothic bishopric on, it housed the residence and the cathedral church of the hierarchs of Crimean Gothia. This is evidenced by numerous churches and monasteries discovered by many-year-long excavations of the site (27 in total). This paper is the first in the scholarship attempt of systematization of all available information from the sources related to the Christian history of the castle of Mangup, written, epigraphic, archaeological, and so on. Particular attention has been paid to the results of modern excavations of the church archaeology monuments at the settlement in question, carried out systematically in 2012–2021. They formed the basis for the reconstruction of the main stages of church building and the most important periods in the history of the local Christian community. Generally, it covers a wide period from the mid-sixth century, when a big basilica featuring the nave and two aisles, the future cathedral of the Gothic bishopric (metropolia), was built at Mangup along with the large Byzantine castle, and finished in the early seventeenth century. The construction and functioning of most part of known churches and monasteries of the castle of Mangup dates to the fourteenth and fifteenth centuries, when this site finally developed into a large mediaeval city, the capital of the principality of Theodoro in the south-western Crimea.

scholarly journals Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli

Ars Adriatica ◽  
2012 ◽  
pp. 203
Author(s):  
Bojan Goja
Keyword(s):  
Eighteenth Century ◽  
Surrounding Area ◽  
Archival Research ◽  
Parish Church ◽  
Large Numbers ◽  
Venetian Republic ◽  
The Church ◽  
Made In

Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli). Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar. The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented.

scholarly journals San Norberto en algunas estampas flamencas del siglo XVII = Saint Norbert in some Flemish Engravings of the Seventeenth Century

2018 ◽  
pp. 301
Author(s):  
Juan Isaac Calvo Portela
Keyword(s):  
Seventeenth Century ◽  
Crucial Role ◽  
Religious Order ◽  
New Model ◽  
German Origin ◽  
The Church ◽  
Sobre Todo ◽  
Made In

El interés de la historiografía artística española por las representaciones del santo de origen alemán, san Norberto, ha sido muy escaso. De ahí el interés de este artículo en el que abordamos el estudio de una serie de estampas de este santo, realizadas en Amberes a lo largo del siglo XVII. Como otros santos de medievales canonizados al calor del Concilio tridentino, se debido a que respondía al nuevo modelo de santidad defendido por la Iglesia: fue predicador de Amberes, fundador de una orden religiosa, defensor de la Eucaristía y se enfrentó al hereje Tanchelino. Todos ellos aspectos que vemos captados en estas estampas amberinas. También abordamos el papel crucial que tuvo el convento premostratense de San Miguel de Amberes, sobre todo gracias al abad Jan Chrisostomus van der Sterre que encargó muchas de ellas.The interest of the Spanish artistic historiography for the representations of the Saint of German origin, Saint Norbert, has been very scarce. Hence the interest of this article in which we address the study of a series of prints of this saint, made in Antwerp throughout the seventeenth century. Like other medieval saints canonized in the heat of the Tridentine Council, it was because he responded to the new model of sanctity defended by the Church: he was preacher of Antwerp, founder of a religious order, defender of the Eucharist and faced the heretic Tanchelino. All of them aspects that we see captured in these amberine prints. We also addressed the crucial role played by the Premonstratensian convent of San Miguel de Antwerp, especially thanks to the abbot Jan Chrisostomus van der Sterre, who commissioned many of them.

Transmission of Renaissance herbal images to China: the Beitang copy of Mattioli’s commentaries on Dioscorides and its annotations

2020 ◽  
Vol 47 (2) ◽  
pp. 236-253
Author(s):  
Wu Huiyi ◽  
Zheng Cheng
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
National Library ◽  
Materia Medica ◽  
Close Analysis ◽  
Northern Chinese ◽  
Jesuit Missionaries ◽  
Animal Names ◽  
National Library Of China ◽  
Made In

The Beitang Collection, heritage of a seventeenth- and eighteenth-century Jesuit library in Beijing now housed in the National Library of China, contains an incomplete copy of Pietro Andrea Mattioli’s commentary on an Italian edition of Pedanius Dioscorides's De materia medica (1568) bearing extensive annotations in Chinese. Two hundred odd plant and animal names in a northern Chinese patois were recorded alongside illustrations, creating a rare record of seventeenth-century Chinese folk knowledge and of Sino-Western interaction in the field of natural history. Based on close analysis of the annotations and other contemporary sources, we argue that the annotations were probably made in Beijing by one or more Chinese low-level literati and Jesuit missionaries during the first two decades of the seventeenth century. We also conclude that the annotations were most likely directed at a Chinese audience, to whom the Jesuits intended to illustrate European craftsmanship using Mattioli’s images. This document probably constitutes the earliest known evidence of Jesuits' attempts at transmitting the art of European natural history drawings to China.

Dreams Give Birth to Reality”. Engraving Austroseraphicum Coelum as an Attempt to Create a New Reality by the Spanish Habsburgs Dynastic Propaganda / Sny rodzą rzeczywistość…”. Grafika Austroseraphicum Coelum jako próba kreowania nowej rzeczywistości za pomocą propagandy dynastycznej Habsburgów hiszpańskich

2014 ◽  
Vol 39 (1) ◽  
Author(s):  
Jan Kurowiak
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
General Condition ◽  
Symbolic System ◽  
Political Situation ◽  
Mission Of God ◽  
Starting Point ◽  
The World ◽  
The Church

AbstractAs a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign

Hymnody and Liturgy

2019 ◽  
pp. 491-506
Author(s):  
Jonathan Hehn
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
North American ◽  
John Calvin ◽  
Church Of Scotland ◽  
Metrical Psalmody ◽  
History Of ◽  
The Church

This chapter outlines the history of Presbyterian worship practice from the sixteenth century to the present, with a focus on North American Presbyterians. Tracing both their hymnody and their liturgy ultimately to John Calvin, Presbyterian communions have a distinct heritage of worship inherited from the Church of Scotland via seventeenth-century Puritans. Long marked by metrical psalmody and guided by the Westminster Directory, Presbyterian worship underwent substantial changes in the nineteenth century. Evangelical and liturgical movements led Presbyterians away from a Puritan visual aesthetic, into the use of nonscriptural hymnody, and toward a recovery of liturgical books. Mainline North American and Scottish Presbyterians solidified these trends in the twentieth and twenty-first centuries; however, conservative North American denominations and some other denominations globally continue to rely heavily on the use of a worship directory and metrical psalmody.

scholarly journals When to Substitute a Missing Upper Lateral With a Canine: A Simplified Approach

2021 ◽  
pp. 030157422098054
Author(s):  
Renu Datta
Keyword(s):  
Anterior Segment ◽  
Specific Treatment ◽  
Simplified Approach ◽  
Special Cases ◽  
Randomized Control ◽  
The One ◽  
Individual Presentation ◽  
Available Information ◽  
Missing Tooth ◽  
Made In

Introduction: The upper lateral incisor is the most commonly missing tooth in the anterior segment. It leads to esthetic and functional imbalance for the patients. The ideal solution is the one that is most conservative and which fulfills the functional and esthetic needs of the concerned individual. Canine substitution is evolving to be the treatment of choice in most of the cases, because of its various advantages. These are special cases that need more time and effort from the clinicians due to space discrepancy in the upper and lower arches, along with the presentation of individual malocclusion. Aims and Objectives: Malocclusion occurring due to missing laterals is more complex, needing more time and effort from the clinicians because of space discrepancy, esthetic compromise, and individual presentation of the malocclusion. An attempt has been made in this article to review, evaluate, and tabulate the important factors for the convenience of clinicians. Method: All articles related to canine substitution were searched in the electronic database PubMed, and the important factors influencing the decision were reviewed. After careful evaluation, the checklist was evolved. Result: The malocclusions in which canine substitution is the treatment of choice are indicated in the tabular form for the convenience of clinicians. Specific treatment-planning considerations and biomechanics that can lead to an efficient and long-lasting result are also discussed. Conclusion: The need of the hour is an evidence-based approach, along with a well-designed prospective randomized control trial to understand the importance of each factor influencing these cases. Until that time, giving the available information in a simplified way can be a quality approach to these cases.

« ET VIDI COELUM NOVUM ET TERRAM NOVAM »

Nuncius ◽  
1986 ◽  
Vol 1 (2) ◽  
pp. 49-77
Author(s):  
MAURIZIO TORRINI
Keyword(s):  
Seventeenth Century ◽  
Traditional Knowledge ◽  
Scientific Revolution ◽  
Single Access ◽  
New Science ◽  
Modern Thought ◽  
Formal School ◽  
Made In ◽  
School Boundaries

Abstract<title> SUMMARY </title>Contemporary movements, united by their common rejection of traditional knowledge and by their common beginnings and development outside formal school boundaries, libertinism and the new science are often considered, evaluated and classified in the univocal light of modern thought introduced by Descartes. A comparison totally unfavourable to libertinism which did not benefit from the attempt made in some cases to assimilate it to the scientific revolution in the name of a common anti-dogmatic character. The movements were in fact distinct in their aims and motives and their occasional interaction must not make us forget the contemporary presence of different and often contrasting ideas at the dawn of modern thought. The aim of this paper is to overcome the historiographical approach which, by privileging a single access to modern thought, evaluates all the others according to the same measure.The paper, through an examination of the European discussion stimulated by Galileo's Sidereus nuncius, shows the philosophical consequences of the astronomical revolution and the series of projects, hopes and misunderstandings that marked its course. An event that did not encounter the indifference of libertines like Naude, who read in the celestial revolution confirmation of the crisis of terrestrial knowledge. In Italy the bond between libertine thought and the scientific revolution came tragically into being as from the condemnation of Galileo and found its consecration in the Neapolitan trial of the atheists at the end of the seventeenth century, thus reuniting in the name of a single orthodoxy, two different conceptions of nature and knowledge.

Sign in / Sign up

Export Citation Format

Share Document