Early Medieval Wall-Painting in the Church of San Clemente, Rome: The Libertinus Cycle and Its Date

1982 ◽  
Vol 45 ◽  
pp. 182 ◽  
Author(s):  
John Osborne
Keyword(s):  
Wall Painting ◽  
Early Medieval ◽  
The Church

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.

Quem Aspicientes Viverent: Symbolism in the Early Medieval Church Door and its Ironwork

1988 ◽  
Vol 68 (2) ◽  
pp. 223-237 ◽  
Author(s):  
S. A. J. Bradley
Keyword(s):  
Twelfth Century ◽  
Early Medieval ◽  
Sacred Spaces ◽  
Door Opening ◽  
Medieval Church ◽  
Liturgical Practice ◽  
To Come ◽  
Early English ◽  
The Church

SummarySymbolic perception of the church door in early English exegetical writings and in medieval liturgical practice is illustrated and discussed as the wider context of a proposal that the arched iron strip at the top of the twelfth-century church door at Stillingfleet, North Yorkshire, represents the rainbow of Noah's Flood, perceived as a reminder ofjudgement past and of judgement still to come, and as a symbol of the covenant between God and humanity. The possibility is considered that on other surviving early medieval church-doors too, the rainbow shape, even if primarily functional or dictated by the shape of the door-opening, and notwithstanding the absence of other figural imagery, may have been recognized as an emblem of the covenant, basis of all church-sanctioned contracts, aptly dislayed on the threshold—where various liturgical or other formal actions had their setting—of the sacred spaces of the domus dei.

William Tyndale's Use of History as a Weapon of Religious Controversy

1962 ◽  
Vol 55 (2) ◽  
pp. 121-141 ◽  
Author(s):  
Rainer Pineas
Keyword(s):  
Sixteenth Century ◽  
New Testament ◽  
Early Medieval ◽  
Religious Controversy ◽  
Medieval Chronicles ◽  
Medieval Christianity ◽  
The Church

In their struggle against the Church of Rome, a number of sixteenth century English reformers became students of ecclesiastical and secular history. To support their contention that the Roman Church had deviated from New Testament principles, these reformers studied the available records concerning the dogma and ritual of primitive and early medieval Christianity. To prove their charge that for eight hundred years the Church of Rome had usurped the temporal power of European and English rulers, they turned to the medieval chronicles.

Apostolic Monasticism at Tokalı Kilise in Cappadocia

1985 ◽  
Vol 35 ◽  
pp. 57-65 ◽  
Author(s):  
Anthony Cutler
Keyword(s):  
Alluvial Soil ◽  
Tenth Century ◽  
Wall Painting ◽  
Wall Paintings ◽  
Relative Chronology ◽  
The Church

At least as early as the day, nearly eighty years ago, when Hans Rott gained access to “Doghalikilise” through an entrance reduced to a narrow cleft by heaps of rubble and alluvial soil, the monument has been recognized as the largest and most important in Göreme. Many of the wall-paintings of both the Old and the New Church at Tokalı were published by Jerphanion who correctly appreciated the relative chronology of these successive phases. This pioneering and still fundamental survey was supplemented by the excellent photographs of Jeannine Le Brun in Restle's corpus of 1967. In the same year, Cormack suggested on stylistic and iconographic grounds a probable date of ca. 913–920 for the decoration of the Old Church, a period little less than half a century before its relatively gigantic successor was cut transversely across its eastern end. Now, within a year or two, Tokalı Kilise will receive the ultimate accolade of monographic treatment by Ann Wharton Epstein in a book which treats the church as a cultural whole and finally recognizes the frescoes in the New Church as the supreme achievement of Byzantine wall-painting to survive from the tenth century.

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