scholarly journals Newly discovered portraits of rulers and the dating of the oldest frescoes in Lipljan

Zograf ◽  
2012 ◽  
pp. 143-155
Author(s):  
Dragan Vojvodic
Keyword(s):  
Fourteenth Century ◽  
Wall Painting ◽  
The Church

On the fa?ade of the church of the Presentation of the Virgin, in Lipljan, the damaged depictions of two rulers were discovered under a more recent layer of fresco mortar. The depictions can be identified as portraits of the Serbian king and the emperor Stefan Dusan (1331-1355) and his wife Jelena. That provides the basis for the more reliable dating of the original wall painting in the interior of the church. For their part, the stylistic characteristics of that expressionistic painting suggest that the original Lipljan frescoes came into being around the mid-fourteenth century. Probably, they were executed by the same workshop that did the frescoes in the Church of St. Peter near Unjemir in Metohia, not very far from Lipljan.

The Literary Context of The Wall-Painting at Idsworth, Hampshire

1993 ◽  
Vol 73 ◽  
pp. 69-75
Author(s):  
Alan Deighton
Keyword(s):  
Fourteenth Century ◽  
Wall Painting ◽  
Literary Context ◽  
Art Historians ◽  
Initial Discovery ◽  
Artistic Quality ◽  
The Church

The fourteenth-century wall-painting in the church of St Hubert, Idsworth, Hampshire, have attracted repeated attention since their initial discovery in 1864. This is, of course, partly a reflection of their artistic quality—both E. W. Tristram (1955, 89) and David Lloyd (Pevsner and Lloyd 1967, 307) referred to their liveliness and vigour and the exceptional quality of their design—but clearly also reflects the difficulties art historians have found in providing a convincing interpretation of their iconographic programme.

scholarly journals The iconostasis in Decani: the original painted programme and subsequent changes

Zograf ◽  
2012 ◽  
pp. 115-129
Author(s):  
Branislav Todic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Fourteenth Century ◽  
Wall Painting ◽  
John The Baptist ◽  
History Of ◽  
The Cross ◽  
The Church ◽  
Eighth Decade

The history of the iconostasis in the central nave of the church in Decani can be divided into two periods. The icons of Christ, the Mother of God, John the Baptist and St. Nicholas on the original altar screen, painted around 1343, were related to the relics of King Stefan Decanski and with the wall painting in the church space in front of the altar. The removal of those icons at the end of the sixteenth century and their replacement with new ones explains the strengthening cult of St. Stefan Decanski. In 1577 an icon of St. Stephen was placed over the king?s portrait depicted in the fourteenth century fresco painting, and by 1593/1594, the new despotic icons of Christ and the Virgin were painted for the iconostasis, then an expanded Deesis that was placed above them, with a large cross fixed on the top. The central icons were painted by the painter Longin, and the cross is attributed to Andreja, a painter known for his frescoes from the seventh and eighth decade of the seventeenth century.

At the Edge of Reformation

2019 ◽  
Author(s):  
Peter Linehan
Keyword(s):  
Civil War ◽  
Fourteenth Century ◽  
Black Death ◽  
The West ◽  
Late Medieval ◽  
Medieval Europe ◽  
History Of ◽  
Portuguese Society ◽  
The Relationship ◽  
The Church

This book springs from its author’s continuing interest in the history of Spain and Portugal—on this occasion in the first half of the fourteenth century between the recovery of each kingdom from widespread anarchy and civil war and the onset of the Black Death. Focussing on ecclesiastical aspects of the period in that region (Galicia in particular) and secular attitudes to the privatization of the Church, it raises inter alios the question why developments there did not lead to a permanent sundering of the relationship with Rome (or Avignon) two centuries ahead of that outcome elsewhere in the West. In addressing such issues, as well as of neglected material in Spanish and Portuguese archives, use is made of the also unpublished so-called ‘secret’ registers of the popes of the period. The issues it raises concern not only Spanish and Portuguese society in general but also the developing relationship further afield of the components of the eternal quadrilateral (pope, king, episcopate, and secular nobility) in late medieval Europe, as well as of the activity in that period of those caterpillars of the commonwealth, the secular-minded sapientes. In this context, attention is given to the hitherto neglected attempt of Afonso IV of Portugal to appropriate the privileges of the primatial church of his kingdom and to advance the glorification of his Castilian son-in-law, Alfonso XI, as God’s vicegerent in his.

scholarly journals Per Ravenna trecentesca: nuove proposte per l’assetto architettonico di Santa Maria in Porto Fuori

2019 ◽  
Vol 82 (1) ◽  
pp. 3-31
Author(s):  
Fabio Massaccesi
Keyword(s):  
Fourteenth Century ◽  
Second World War ◽  
World War ◽  
The Subject ◽  
First Time ◽  
Santa Maria ◽  
Second World ◽  
The Church

Abstract This contribution intends to draw attention to one of the most significant monuments of medieval Ravenna: the church of Santa Maria in Porto Fuori, which was destroyed during the Second World War. Until now, scholars have focused on the pictorial cycle known through photographs and attributed to the painter Pietro da Rimini. However, the architecture of the building has not been the subject of systematic studies. For the first time, this essay reconstructs the fourteenth-century architectural structure of the church, the apse of which was rebuilt by 1314. The data that led to the virtual restitution of the choir and the related rood screen are the basis for new reflections on the accesses to the apse area, on the pilgrimage flows, and on the view of the frescoes.

Church Discipline in the Later Middle Ages: the Priors of Durham as Archdeacons

2004 ◽  
Vol 40 ◽  
pp. 95-105
Author(s):  
Margaret Harvey
Keyword(s):  
Recent Work ◽  
Middle Ages ◽  
Fourteenth Century ◽  
Local Level ◽  
Church Discipline ◽  
Full Account ◽  
Church Courts ◽  
Medieval Church ◽  
The Church ◽  
The Way

It is often forgotten that the medieval Church imposed public penance and reconciliation by law. The discipline was administered by the church courts, among which one of the most important, because it acted at local level, was that of the archdeacon. In the later Middle Ages and certainly by 1435, the priors of Durham were archdeacons in all the churches appropriated to the monastery. The priors had established their rights in Durham County by the early fourteenth century and in Northumberland slightly later. Although the origins of this peculiar jurisdiction were long ago unravelled by Barlow, there is no full account of how it worked in practice. Yet it is not difficult from the Durham archives to elicit a coherent account, with examples, of the way penance and ecclesiastical justice were administered from day to day in the Durham area in this period. The picture that emerges from these documents, though not in itself unusual, is nevertheless valuable and affords an extraordinary degree of detail which is missing from other places, where the evidence no longer exists. This study should complement the recent work by Larry Poos for Lincoln and Wisbech, drawing attention to an institution which would reward further research. It is only possible here to outline what the court did and how and why it was used.

A fourteenth-century Welsh Sarum antiphonal: National Library of Wales ms. 20541

1987 ◽  
Vol 10 ◽  
pp. 15-21
Author(s):  
Owain Tudor Edwards
Keyword(s):  
Fourteenth Century ◽  
National Library ◽  
John Bale ◽  
The Law ◽  
The Church

Surprisingly few antiphonals were to survive “the King's order for bringing in popish rituals”, the Statute of 3 and 4 Edward VI, c. 10., following an Order in Council, 25 December 1549.[1] This was put into effect with great assiduity by the Church, under the auspices of its bishops, each bishop having been made personally responsible for seeing that the law was obeyed in his diocese. The destruction of books was deplored by some of the Protestants themselves, for instance by Bishop John Bale, who was a fierce enemy of the papacy,[2] but they were not permitted to do anything about it. The text of the statute acquires an ominous inevitability as every kind of liturgical book in turn is condemned to annihilation. Since divers unquiet and evilly-disposed people wanted to have their Latin services back (begins the statute), their “conjured bread” and water and suchlike vain and superstitious ceremonies, the king had decided to put an end to such expectations by instructing each bishop immediately to command every clergyman in his diocese to deliver to him or to a deputy “all antiphoners, missales, grayles, processionalles, manuelles, legendes, pies, portasies, jornalles, and ordinalles after the use of Sarum, Lincoln, Yorke, or any other private use, and all other bokes of service …” Bishops were explicitly instructed to “take the same bokes … and then so deface and abolyshe that they never after may serve eyther to anie soche use, as they were provided for …”

The Litany of the Saints on Holy Saturday

1950 ◽  
Vol 1 (1) ◽  
pp. 51-62
Author(s):  
Stephen A. van Dijk
Keyword(s):  
Fourteenth Century ◽  
Holy Saturday ◽  
Liturgical Reform ◽  
Personal Connections ◽  
History Of ◽  
Papal Court ◽  
The Church

Everybody who knows the ABC of the history of the Roman liturgy has undoubtedly heard of the story about the fourteenth-century dean of Tongres, Ralph van der Beke (de Rivo). His education in matters ecclesiastical had been splendid; his zeal for the reform of the Church was fervent and sincere; he was especially devoted to a revival of the liturgy of his time and the problems which he raised are accepted as being of the greatest importance. But this is not the whole story. Ralph's life does not lack a certain note comigue which is not often heard of. Ralph had his weaknesses: one of them was a whole-hearted aversion to the Friars Minor, who a century before had occasioned a liturgical reform in the Church, the consequences of which he saw every day and simply did not like. Until someone has checked Ralph's personal connections with the friars and the influence which he underwent from those Italians, who, under a show of zeal for the Eternal City, hid their jealousy and selfinterest and disputed everything concerning the papal court at Avignon, it is difficult to decide whether he could not stand the friars because of their Roman liturgy or the Roman liturgy because of the friars. All the same, whatever they did, for Ralph it was always wrong, and the most flattering thing which he could find in his heart was that those friars singularem usum cum regula servant singulari, as though it were a crime to follow the customs of the pope and nothing but praiseworthy to keep to those of the bishop of Liège or Lyons, or even the abbot of Cluny or Montecassino.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals Les peintures murales du catholicon du monastère de Gradac: Répertoire des fresques et observations sur les particularités de certaines représentations

Zograf ◽  
2012 ◽  
pp. 89-108
Author(s):  
Dragana Pavlovic
Keyword(s):  
Wall Painting ◽  
The Church

This paper presents the iconographic program of frescoes in the Church of the Annunciation in the monastery of Gradac, in which there were a number of hitherto unrecognized sections that have now been identified. It publishes the pre served inscriptions on the frescoes, as well as the texts on the scrolls of the hierarchs in the altar space. Finally, it presents observations about the typical program features of the wall painting in the Gradac church, which have not been previously considered in research.

scholarly journals The vision of Saint Peter of Alexandria, from the Church of St. Archangels in Prilep: Iconographical research

Zograf ◽  
2012 ◽  
pp. 83-88
Author(s):  
Saso Cvetkovski
Keyword(s):  
Thirteenth Century ◽  
Wall Painting ◽  
Saint Peter ◽  
The Church

This text is dealing with a rare thematic innovation that appeared in Byzantine wall painting of the thirteenth century. In particular, the author explores the iconography of the Vision of Saint Peter of Alexandria as found in the Church of St. Archangels in Prilep around 1270. He argues that this work manifests a key moment in the development of this composition over the course of the thirteenth century. This links the same motif found in Melnik from the beginning of the thirteenth century, and a composition from the Church of the Virgin Peribleptos in Ohrid from 1294/1295. In the end, place of the Vision in the painted program of the western part of the Church of St. Archangels in Prilep is analyzed.

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