scholarly journals The wall paintings of the church of Al-Adra in the monastery of Deir-el-Baramus (Wadi-el-Natrun)

Zograf ◽  
2010 ◽  
pp. 37-52
Author(s):  
Silvia Pasi
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
Literary Sources ◽  
Wadi El Natrun ◽  
The Church ◽  
Southern Wall

The fragmentarily preserved frescoes of the Church of Al-Adra in the monastery of Deir el-Baramus were fortunately discovered in 1986. They are located in the apse, on the southern wall of the altar area and along the walls of the nave. The condition of the frescoes makes it difficult to give a stylistic evaluation, and it is hard to determine the chronology of the frescoes because of the lack of literary sources and inscriptions. The style of the painting and the architectural data on the church lead one to dating all the preserved frescoes of Deir-el-Baramus to the same period. It probably involves the period after the repair of the central and lateral aisles, which probably took place after 1200. Apart from that, a comparison with other works from the same epoch indicates that the thirteenth century was most probably the time when the frescoes came into being.

scholarly journals The synthronon and locus inferior (αρχιερατικός θρόνος) of the metropolitan of Pozega. Liturgical furniture and wall paintings of the Orahovica Monastery

Zograf ◽  
2017 ◽  
pp. 189-212
Author(s):  
Milan Radujko
Keyword(s):  
Wall Paintings ◽  
The Church ◽  
Southern Wall

The paper discusses the appearance of the synthronon, the position of the locus inferior (????????????, or ?????????? ??????, the episcopal throne in the nave, donje mesto) of the Metropolitan of Pozega at the Orahovica Monastery, fresco paintings inspired by the purpose of the throne in front of the sanctuary, and the views it incorporated. The synthronon is in fact a series of niches. The locus inferior has not survived; based on the fresco program, the author places it between the southwestern pillar and the southern wall. The fresco decoration of the locus inferior - one of the largest in Serbian art - is both centered on the topoi of the throne program and unique. Christ and the apostles from the apostolic Deisis draw on the teaching about Christ as the eternal leader of the liturgical community and the apostolic roots of the church and the office of bishop; by emphasizing the presence of St. Andronicus and St. Titus beside the seat, the program incorporates the tradition of the apostolic lineage of the church among the Slavs and in the Metropolitanate of Pozega.

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.

scholarly journals Notes from the church of the Virgin at the island of Mali grad

Zograf ◽  
2010 ◽  
pp. 111-124
Author(s):  
Saso Cvetkovski
Keyword(s):  
Wall Paintings ◽  
The Church ◽  
Southern Wall ◽  
Prespa Lake

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.

scholarly journals The wall painting in the church of St. Nicholas tes Rhodias near Arta

Zograf ◽  
2010 ◽  
pp. 87-109
Author(s):  
Leonela Fundic
Keyword(s):  
Detailed Analysis ◽  
Thirteenth Century ◽  
Wall Painting ◽  
Significant Part ◽  
Wall Paintings ◽  
First Time ◽  
The Church

The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.

University Education and English Ecclesiastical Lawyers 1400–1650

2011 ◽  
Vol 13 (2) ◽  
pp. 132-145 ◽  
Author(s):  
Richard Helmholz
Keyword(s):  
Thirteenth Century ◽  
Legal Education ◽  
University Education ◽  
Legal Practice ◽  
Negative Opinion ◽  
Ius Commune ◽  
The Law ◽  
The Church ◽  
Academic Study

Most recent historians have expressed a negative opinion of the quality of legal education at the English universities between 1400 and 1650. The academic study of law at Oxford and Cambridge, they have stated, was easy, antiquated and impractical. The curriculum had not changed from the form it assumed in the thirteenth century, and it did little to prepare students for their careers. This article challenges that opinion by examining the inner nature of the ius commune, the law that was applied in the courts of the church, and also by examining some of the works of practice compiled by English civilians during the period. Those works show that the negative opinion rests in part upon a misunderstanding of the nature of legal practice during earlier centuries. In fact, concentration on the texts of the Roman and canon laws, as old-fashioned as it seems to us, was well suited for the tasks advocates and judges would face once they left the academy. It also provided the stimulus needed for advance in the law of the church itself; their legal education made available to potential advocates and judges skills that would permit a sophisticated application of the ius commune, one better suited to their times. The article provides evidence of how this happened.1

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

scholarly journals Introduction

1865 ◽  
Vol 91 ◽  
pp. i-xxxiv
Keyword(s):  
Thirteenth Century ◽  
Public Nature ◽  
Magna Carta ◽  
The Church

The volume now presented to the reader, and entitled “Registrum Prioratus Beatæ Wigorniensis,” contains documents of many kinds. Some few are of a public nature, such as the Magna Carta, de Libertatibus Angliæ, 9 Henrici III. 1224, the Carta de Libertatibus Forestæ of the same year, the Novæ Provisiones Angliæ, 44 H. III. 1259, and the Provisiones de Merton, 20 H. III. 1235. Others are Precedents of forms to be observed upon the vacancy of a Bishopric, for announcing the vacancy, and for obtaining from the Crown licence to elect. There are also Royal, Episcopal, and Private charters relating to the possessions and privileges of the Church at Worcester, together with records of proceedings in law suits before the Justices in Eyre. The larger portion, however, of the volume consists of a Descriptive Rental, as it may be termed, of the Possessions of the Benedictine Monastery of Worcester in the middle of the thirteenth century, including as well the Spiritual Revenues derived from Churches and Tithes, as the Temporal Revenues derived from Manors and Lands.

Papal Legates against the Albigensians: The Debts of the Church of Valence (1215–1250)

Traditio ◽  
2013 ◽  
Vol 68 ◽  
pp. 259-276
Author(s):  
D. Dudley Stutz
Keyword(s):  
Middle Ages ◽  
Thirteenth Century ◽  
Detailed Treatment ◽  
Northern Portion ◽  
Rhone Valley ◽  
The Church ◽  
The Middle Ages

In 1232 Pope Gregory IX (r. 1227–41) imposed a tenth of episcopal revenues on prelates of Occitania to subsidize the church of Valence, which owed 10,000 poundstournoisto various bankers of Vienne, Rome, Lyons, and Siena. In 1865 B. Hauréau first noted the event when he edited one of the main documents in theGallia christianavolume concerning the ecclesiastical province of Vienne. With the publication of Gregory IX's register from 1890–1908 most of the facts of the tax were more widely available. In 1910 Ulysse Chevalier briefly mentioned the tax in his monograph on the long tenure of John of Bernin, archbishop of Vienne (r. 1218–66). In 1913, Heinrich Zimmermann cited Hauréau's text in a note in his detailed treatment of early thirteenth-century papal legations. Recently Alain Marchandisse reviewed eight of the eleven papal letters pertaining to the tax in his study of William of Savoy (d. 1239) as bishop-elect of Liège. These scholars provided no reason for the debt or why the papacy would take such measures to ensure payment. Perhaps they did not study this tax further because a church indebted to moneylenders is not in itself surprising. It appears that the church of Valence acquired the debt, very large compared to the church's income, when bishop-elect William of Savoy (r. 1225–39) waged war against Adhémar II of Poitiers-Valentinois, count of the Valentinois (r. 1189–1239). Struggles between bishops and the local nobility occurred on a regular basis throughout the Middle Ages, so what in this unimportant Rhone-valley diocese interested the pope enough to impose taxes on prelates of Occitania over twenty years to ensure payment of this debt? Adhémar II faithfully supported Raymond VI (r. 1194–1222) and Raymond VII (r. 1222–49) of Saint-Gilles, counts of Toulouse, throughout their struggle with the papacy during and following the Albigensian crusades. Adhémar II was also their vassal for the Diois, which borders the Valentinois on the southeast and comprised the northern portion of the marquisate of Provence. These lands had been reserved for the church in the Treaty of Meaux-Paris (1229), which ended the Albigensian crusades. Thus William of Savoy as bishop-elect of Valence defended the papacy's claims on the marquisate of Provence, which the papacy deemed part of the larger struggle between the Roman church and the counts of Toulouse. The facts on the nature of the debts and the steps the papacy took to aid the diocese show that the local struggle between the bishop of Valence and the count of the Valentinois embodied a part of the larger struggle between the papacy and the counts of Toulouse over the marquisate of Provence, which began as early as 1215.

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