scholarly journals Inscription from Kalymnos

1881 ◽  
Vol 2 ◽  
pp. 362-364
Author(s):  
C. T. Newton
Keyword(s):  
British Museum ◽  
The Subject ◽  
The Temple ◽  
The Church

I copied this inscription in 1855 from a marble found in a garden near the Marina, called Blyko, in the island of Kalymnos, the ancient Kalymna. On this site formerly stood the Church of Panagia Kalymniotissa.In the year 1854 I explored the site of the Temple of Apollo in that island and discovered there a number of inscriptions, most of which will appear in Part II. of the work on Greek Inscriptions in the British Museum, of which Part I. was published in 1874.The inscription which I have here selected for publication, and which was not taken away by me from Kalymnos, is one of a well-known class which relate to the enfranchisement of slaves, and of which many examples have been found at Delphi and elsewhere. The forms and conditions of such enfranchisement varied in different places (See M. Foucart's article, Apeleutheroi, in Daremberg, Dictionnaire des Antiquités, where the subject is very fully treated).

scholarly journals Exegesis Integrative Review of Salvation Because The Love Of God Is The Basic of The Church As The Unity of The Body of Christ (Ephesians 2:11-22)

2020 ◽  
Vol 3 (1) ◽  
pp. 20-29
Author(s):  
Tonny Andrian
Keyword(s):  
Jesus Christ ◽  
Church History ◽  
The Body ◽  
Body Of Christ ◽  
Shed Blood ◽  
Major Subject ◽  
The World ◽  
The Subject ◽  
The Temple ◽  
The Church

The subject of the unity of the church has appeared several times during the period of church history as a major subject. Even in the 20th century, differences of opinion on the subject of unity led to divisions. This point cannot be ignored. That is why the researcher conducted an integrated exegessa study on the meaning of the Church as the unity of the body of Christ Ephesians 2: 11-22. Ephesians 2: 11-22 is not a separate passage, but integrative, with other passages in the book of Ephesians. (this would be integrative both with Ephesians 2: 1-10 and Ephesians 4: 1-6) The conjunction "therefore" in Ephesians 2.11, describes the preceding verses that speak of grace. The suffering of Jesus Christ and His sacrifice on the cross, and His shed blood, are manifestations of grace that saves sinners. A demonstration of grace, which is free gift. It is the grace that saves people from sin. Thus Ephesians 2: 11-22 must be seen as a context that comes from grace. The saving or salvation based on the grace of God, as a building body of Christ, which is a union, which was previously "distant", ie those who are without Christ, not belonging to the citizens of Israel, become one body of Christ as intended by God. Ephesians 2: 11-22 explains that the unification of the body of Christ is a reflection of the journey of a Christian individual who has been saved by the grace of Christ God, is united or united with other Christian individuals to move towards the unity of building the body of Christ, as the Temple of God. the church as the unified Body of Christ, is built on the teachings of the Apostles and Prophets. Thus, the church, which has a government, a doctrine that may not be the same as one another, but the church is a unity in the bonds of the Spirit of peace, one faith, one Baptism, one god, one GOD the FATHER of all God, as salt and The light of the world, brings transformation and restoration for the world, through the carrying out of the task of the grace of Christ, namely the preaching of the gospel of the kingdom of heaven, so that all knees will kneel and all tongues confess that Jesus Christ is Lord to the glory of the heavenly Father.

Another Hellenistic Royal Portrait from the Temple of Apollo at Cyrene?

2002 ◽  
Vol 33 ◽  
pp. 29-44 ◽  
Author(s):  
Neil Adams
Keyword(s):  
Sacred Space ◽  
British Museum ◽  
Female Head ◽  
Male Head ◽  
Northern Edge ◽  
The Subject ◽  
The Temple

AbstractDuring their second campaign at the temple of Apollo in August 1861, Robert Murdoch Smith and Edwin Porcher discovered a large marble female head along the northern edge of the building's peristasis. The sculpture was subsequently sent to the British Museum. A recent re-examination of the head suggests that it deserves serious more attention than it has hitherto merited, principally for its quality, and the fact that it displays characteristics highly indicative of Hellenistic royal portraiture. Furthermore, comparison with a similarly sized and modelled male head discovered inside the temple presently identified as ‘Ptolemy Apion’ suggests the two should be considered as companion pieces. This paper attempts to identify the subject of the female head within the context of other sculpture originating from the temple, together with epigraphy relating to the Ptolemaic family at Cyrene. It also explores the possibility of a royal portrait group erected inside Cyrene's primary sacred space.

scholarly journals Inscriptions in the Artistic Structure of the Items of Medieval Silversmiths. Works of Church Art from Tikhvin in the State Russian Museum

2021 ◽  
Vol 11 (3) ◽  
pp. 467-493
Author(s):  
Anna A. Makarova ◽  
◽  
Olga V. Klukanova ◽  
Nadezhda V. Pivovarova ◽  
◽  
...  
Keyword(s):  
The State ◽  
Applied Art ◽  
Art Works ◽  
State Museum ◽  
The Subject ◽  
Technical Features ◽  
Church Art ◽  
The Temple ◽  
The Church ◽  
Made In

The article presents the results of studying inscribed and dated objects of applied art of the 16th–17th century from the State Russian Museum in St. Petersburg. The subject of the research is the set of church plates from the monasteries of the Dormition of Our Lady and the Presentation of the Virgin in the Temple in Tikhvin and the precious tsata from the Tikhvin icon of the Mother of God (Stockholmskaya) from the Tikhvin Cathedral of the Transfiguration. In 1928, the items were given to the State Russian Museum from the department of ecclesiastical property of the State Museum fund. The majority of these items were made in the Moscow workshops. The study provided an opportunity to identify the items fabricated by Tikhvin silversmiths. The authors analyze the iconography, style, structural and technical features of a number of art works including liturgical vessels, a church lamp and several altar Gospels. The study substantiates new attributions of the chalice and the church lamp from the Cathedral of Dormition of Our Lady. Attention is given to the inscriptions on the items. The authors examine the specifics of the forms of inscriptions and cite new data on the donors such as Ivan Nikitich Romanov, Ivan Ivanovich Shuiskii and the Mikhalkov family.

scholarly journals Od hagiografskog obrasca do političkog elaborata - škrinja Sv. Šimuna, zadarska arca d’oro

Ars Adriatica ◽  
2014 ◽  
pp. 125
Author(s):  
Nikola Jakšić
Keyword(s):  
Local Level ◽  
The Body ◽  
Main Body ◽  
Visual Interpretation ◽  
The Subject ◽  
Left And Right ◽  
Representative Work ◽  
The Temple ◽  
The Church ◽  
Selection Of

The casket of St Simeon the God-Receiver is the most representative work in the applied arts of the Croatian Trecento and, at the same time, one which displays great iconographic complexity. Although it was the subject of two monographs and a large number of individual articles, a whole set of questions remains open and awaits plausible interpretations. Particularly great problems are connected to the interpretation of a number of scenes which were understood differently by different scholars. At the same time, it can be noted that the discussion about the casket’s complex iconographic programme lacks a study which would address it as a unique a coherent whole in which every single scene is viewed as its irreplaceable constituent part. This article aims to demonstrate that the casket’s iconographic programme, especially that of the eight panels on its main body, was selected and arranged according to a carefully developed programme the creators of which were five noblemen of Zadar to whom Queen Elizabeth, the wife of the powerful King Louis I the Great of Hungary (1342-1382), entrusted not only the silver for the making of the casket but other important details connected to the commission such as the choice of the artist and, even more importantly, the selection of the scenes through which the casket communicated with its spectators. There is no doubt that the queen had her own demands with regard to what was depicted as can be seen in the opulent dedicatory inscription which records that she was the patron of the casket but also in the donation scene where she appears together with her daughters. It can also be said with certainty that she gave instructions for the somewhat unusual panel which depicts her standing by the catafalque of her father, Ban Stephen of Bosnia (+1354) who is being sent off to the next world by St Simeon the Righteous. It should mentioned that Ban Stephen was considered a heretic – a Bogomil – which means that being a Catholic queen, his daughter attempted to rectify the past with this panel. All these scenes are at the back of the casket. The queen undoubtedly also had a say in the selection of scenes which were depicted on the front. Those relate to the life of St Simeon which, considering that we know of only one event in his life, was done in a very skilful way: the central panel shows the saint receiving the Christ Child in the scene of the Presentation in the Temple while the panels to its left and right depict the translation of the saint’s relics which have not been identified as such in the scholarly literature. The translation consists of three scenes which are always present in the cases of translation: the finding of the body (inventio corporis), the transport of the body to a new place (translatio corporis) and, finally, the placing of the body to a new site where it would remain in the future (colocatio corporis). These three scenes were interpreted by the noblemen of Zadar in an idiosyncratic way in order to affirm the medieval Zadar and its nobility on the casket itself. The scene of the inventio corporis depicts the rectors of Zadar intervening at the last moment before a group of monks from the outskirts of town get hold of the body and place it in their monastery. In the scene of the colocatio corporis, the body of St Simeon is being carried into the Church of St Mary Major in the presence of King Louis and the grateful citizens who are led by the Bishop Nicholas Matafar. This scene depicts the return of the saint’s body from Venice where, according to the author of this article, it had been taken during the local uprising against the Venetian rule (1346-1358). At the same time, the visual message of the two scenes which flank the central one was to show that the exclusive ownership of the relics belonged to the citizens of Zadar. The conflict with the monks which erupted on a local level is being resolved by the local authorities, that is, the rectors of Zadar. When the problem becomes ‘bilateral’, that is, when it involves Venice, the dispute is settled (to the benefit of the citizens of Zadar) by their sovereign, the king of Hungary and Croatia.The visual interpretation of the translation depicted on the casket relies greatly on the scenes from the cycle of the translation of the body of St Mark from the façade of St Mark’s basilica at Venice (the discovery and exhumation of the body, the transport of the body on a ship, the placing of the body in a new shrine). The author of the article, therefore, frequently compares the scenes on the Zadar casket to those from Venice.

Woodcarvings in Temples “St. Dimitar” and “St. app. Peter and Paul” in Svishtov

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Simeon Zahariev ◽  
Keyword(s):  
19Th Century ◽  
Field Studies ◽  
The Other ◽  
Literary Sources ◽  
The Subject ◽  
The 19Th Century ◽  
The Temple ◽  
The Church

The subject of this text are the altar doors of the iconostasis in the temple “St. Dimitar” and the iconostasis at the temple “St. app. Peter and Paul” in Svishtov. Literary sources, field studies, and comparative material from other carvings give us reason to make suggest about the possible dating and attributing. It can be assumed that the woodcarving of the iconostasis in the church “St. app. Peter and Paul” in Svishtov is a work of carvers from the group of Georgi from Vidin. The work was created in the first half of the 19th century. Perhaps at the same time was made the holy gates of the altar of the other Svishtov church “St. Dimitar”.

AUX FONDEMENTS DE L’INSTITUTION ECCLÉSIALE: LA POSITION DE SAINT PIERRE PARMI LES APÔTRES (MT 16, 13–20) ET SON RETENTISSEMENT Á L’ÉPOQUE APOSTOLIQUE ET PATRISTIQUE

2016 ◽  
Vol 9 (1) ◽  
pp. 91-105
Author(s):  
Jacek Wojda
Keyword(s):  
Special Role ◽  
Church Community ◽  
Special Place ◽  
The Subject ◽  
The Church ◽  
The Way

Big activity passed Popes, with the least Francis Bergoglio, is a question about receptiontheir lives and action, especially in times of modern medium broadcasting. Sometimes presentedcontent could be treated as sensation, and their receptiveness deprived of profound historical andtheological meaning. This article depends of beginnings of the Church, when it started to organizeitself, with well known historically-theological arguments. Peter confessed Jesus as the Christ andgot special place among Apostles. His role matures in young Church community, which is escapingfrom Jewish religion.Peter tramps the way from Jerusalem thru Antioch to Rome, confirming his appointing to thefirst among Apostles and to being Rock in the Church. Nascent Rome Church keeps this specialPeter’s succession. Clement, bishop of Rome, shows his prerogatives as a successor of Peter. Later,bishop of Cartagena, Cyprian, confirms special role both Peter and each bishop of Rome amongother bishops. He also was finding appropriate role for each of them. Church institution, basedon Peter and Apostles persists and shows truth of the beginnings and faithfulness to them innowadays papacy.Methodological elements Presented in the introduction let for the lecture of Gospel and patristictexts without positivistic prejudices presented in old literature of the subject.

Priesthood Ordination

2018 ◽  
Author(s):  
Jonathan A. Stapley
Keyword(s):  
Nineteenth Century ◽  
Black Men ◽  
Church Leaders ◽  
Men And Women ◽  
Joseph Smith ◽  
Book Of Mormon ◽  
The Temple ◽  
The Church ◽  
Power And Authority

Early Mormons used the Book of Mormon as the basis for their ecclesiology and understanding of the open heaven. Church leaders edited, harmonized, and published Joseph Smith’s revelation texts, expanding understandings of ecclesiastical priesthood office. Joseph Smith then revealed the Nauvoo Temple liturgy, with its cosmology that equated heaven, kinship, and priesthood. This cosmological priesthood was materialized through sealings at the temple altar and was the context for expansive teachings incorporating women into priesthood. This cosmology was also the basis for polygamy, temple adoption, and restrictions on the participation of black men and women in the church. This framework gave way at the end of the nineteenth century to a new priesthood cosmology introduced by Joseph F. Smith based on male ecclesiastical office. As church leaders expanded the meaning of priesthood to comprise the entire power and authority of God, they struggled to integrate women into church cosmology.

III.—Notes on Some Post-Liassic Species of Acrodus

1887 ◽  
Vol 4 (3) ◽  
pp. 101-105 ◽  
Author(s):  
A. Smith Woodward
Keyword(s):  
British Museum ◽  
The Subject

So little is known of the extension through later Mesozoic deposits of Selachian teeth belonging to the familiar type of Acrodus, as represented in the Lias, that any additional evidence upon the subject is invested with considerable interest. It is impossible, of course, from these isolated relics, to determine whether the original Sharks were as closely allied as the resemblances in their dentition might at first lead one to suspect;inone case, indeed, it has been proved that the complete fish differs much from the Liassic species; but the persistence of the dental type is at any rate of some significance, and it may therefore be acceptable to offer a few notes upon the undescribed Jurassic and Cretaceous Acrodonts preserved in the British Museum. These specimens furnish evidence of at least two new specific modifications, and they are also suggestive of novel points in regard to some of those already known.

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.

The Deadliest Sin: Warnings against Avarice and Usury on Romanesque Capitals in Auvergne

1990 ◽  
Vol 59 (1) ◽  
pp. 7-18
Author(s):  
Priscilla Baumann
Keyword(s):  
The Subject ◽  
The Church

Clustered around the episcopal center of Clermont, in that least accessible French province of Auvergne, a series of romanesque churches built between the end of the eleventh and first half of the twelfth centuries harbor sculptured capitals which repeatedly treat the themes of avarice and usury. Although the virtues and vices provided a popular and graphic subject for sculptors throughout France during this period, only in Auvergne do we discover such a specific emphasis on the sins of avarice and usury. In some cases the subject is treated to the exclusion of all others, and every example has been placed in a predominant and highly visible location within the church.

Sign in / Sign up

Export Citation Format

Share Document