Composition «The trial of Jesus Christ» as a Part of St. Nicholas Church Mural Paintings in Boboli Village

2020 ◽  
pp. 37-51
Author(s):  
Анна Леонидовна Павлова
Keyword(s):  
19Th Century ◽  
Jesus Christ ◽  
Expressive Language ◽  
Folk Art ◽  
Wall Painting ◽  
Wall Paintings ◽  
Mural Paintings ◽  
Kaluga Region ◽  
The 19Th Century ◽  
First Time

В статье впервые в научный оборот вводится новый памятник монументального искусства последней четверти XIX столетия в Калужской области - масляные росписи Никольской церкви с. Боболи. Среди сюжетов стенописи выделяется необычная композиция - «Суд над Христом», принадлежащая редкой иконографической традиции. Рассмотрение отдельно взятого сюжета в контексте программы росписей помогает внимательно изучить феномен сельского искусства того времени. В нём отразились различные религиозные и культурные интересы экономически развитого крупного села, получили развитие стилистические предпочтения эпохи эклектики. Характер стенописи сформирован на сочетании типичных столичных академических образцов и приёмов народного искусства. Наиболее ярким проявлением выразительного языка региональной живописи стала композиция «Суд над Христом». В ней своеобразно, наглядно и подробно раскрыта традиционная тема сопоставления Ветхого и Нового Заветов как часть страстного и христологического циклов росписи. A new example of the last quarter of the 19th century monumental art in Kaluga region, namely, the oil wall paintings of St. Nicholas Church in Boboli village are introduced into scholarly circulation for the first time in this paper. An unusual composition «The trial of Jesus Christ» is notable among other mural subjects for its rare iconographic tradition. The examination of a separately taken subject in the context of the whole paintings programme helps one to study carefully the phenomenon of the rural art of that time. It reflected the various religious and cultural interests of a big economically well-developed village, in which the stylistic preferences in the age of eclecticism were further elaborated. Some wall painting features are combinations of typically metropolitan academic patterns and rural folk art devices. The composition of «The trial of Jesus Christ» became the brightest example of the regional paintings expressive language. The traditional motif of the contradiction between the Old and New Testaments are developed there in the most original, clear and detailed way as a part of the Passion and Christological painting cycles.

Bonobos

2018 ◽  
Keyword(s):  
19Th Century ◽  
Historical Data ◽  
Line Drawings ◽  
History Of ◽  
The 19Th Century ◽  
First Time

This is a comprehensive, illustrated catalogue of the 200+ marine chronometers in the collections of Royal Museums Greenwich. Every chronometer has been completely dismantled, studied and recorded, and illustrations include especially commissioned line drawings as well as photographs. The collection is also used to illustrate a newly researched and up-to-date chapter describing the history of the marine chronometer, so the book is much more than simply a catalogue. The history chapter naturally includes the story of John Harrison’s pioneering work in creating the first practical marine timekeepers, all four of which are included in the catalogue, newly photographed and described in minute detail for the first time. In fact full technical and historical data are provided for all of the marine chronometers in the collection, to an extent never before attempted, including biographical details of every maker represented. A chapter describes how the 19th century English chronometer was manufactured, and another provides comprehensive and logically arranged information on how to assess and date a given marine chronometer, something collectors and dealers find particularly difficult. For further help in identification of chronometers, appendices include a pictorial record of the number punches used by specific makers to number their movements, and the maker’s punches used by the rough movement makers. There is also a close-up pictorial guide to the various compensation balances used in chronometers in the collection, a technical Glossary of terms used in the catalogue text and a concordance of the various inventory numbers used in the collection over the years.

scholarly journals Catalogue of the primatological collection of the Torino University

2016 ◽  
Vol 3 (2) ◽  
pp. 3 ◽  
Author(s):  
Mara Calvini ◽  
Maria Stella Siori ◽  
Spartaco Gippoliti ◽  
Marco Pavia
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Great Part ◽  
Type Specimen ◽  
Zoological Garden ◽  
Historical Material ◽  
The 19Th Century ◽  
First Time

The revised catalogue of primatological material stored in the Museo Regionale di Scienze Naturali of Torino and in the Dipartimento di Scienze della Vita e Biologia dei Sistemi of the Università degli Studi di Torino and belonging to the historical material of the Torino University is introduced. The material, 494 specimens belonging to 399 individuals of 122 taxa, is of particular importance since specimens were mainly obtained during the 19th Century and the beginning of the 20th Century. A relevant part of the collection was created by the collaborators of the Museum, among which it is worth to mention F. De Filippi, A. Borelli and E. Festa, while other material came from purchases and donations from private people or the Royal Zoological Garden of Torino. Great part of the specimens is stuffed but also the osteological materials are of particular importance, as many of them derived from the specimens before being prepared and consisting of skulls or more or less complete skeletons. After this revision, the Lectotype and Paralectotypes of <em>Alouatta</em> <em>palliata</em> <em>aequatorialis</em> have been selected, and the type-specimen of the <em>brunnea</em> variety of <em>Cebus</em> <em>albifrons</em> <em>cuscinus</em> has been recognized. In addition, some specimens of particular historical-scientific importance have also been identified and here presented for the first time.

De windmolen

2020 ◽  
Vol 5 (1) ◽  
pp. 17-32
Author(s):  
JOS BAZELMANS
Keyword(s):  
The Netherlands ◽  
19Th Century ◽  
Turn Of The Century ◽  
The 19Th Century ◽  
First Time ◽  
At Home

The windmill. The origins of a Dutch icon The windmill is an icon of the Netherlands. But when did this instrument acquire this symbolic role at home and abroad? After all, mills are also common outside of the Netherlands. In this essay, it is argued that during the second half of the 19th century, foreigners systematically identified the Netherlands and the windmill for the first time. More than in other countries, there was a varied use of mills in the Netherlands, large and robust mills and clusters of industrial mills. Within the Netherlands itself, development towards an iconic position is only visible around the turn of the century when the mill turned out to be a plus in tourist recruitment abroad and when mills were slowly disappearing from the landscape.

scholarly journals "However, the language here is changing gradually, and in the presence of so many local dialects the Croatian and its kindred Slovenian world cannot be separated very precisely" – Drawing the Slovenian-Croatian National Border in the Territory of the Present-day Prekmurje Region

2017 ◽  
Vol 57 (2) ◽  
pp. 33-50
Author(s):  
Jernej Kosi
Keyword(s):  
19Th Century ◽  
The West ◽  
Demarcation Line ◽  
National Space ◽  
National Movement ◽  
National Border ◽  
The 19Th Century ◽  
First Time

The article analyses the process involved in the formation of the idea to separate the "Slovenian" and "Croatian" national territory in the west of the Kingdom of Hungary. The concept was initially articulated as a linguistic premise in the works written by the famous linguist Jernej Kopitar, who understood the territory of the today's Prekmurje region as an area where Slovenian language was spoken. As of the middle of the 19th century, Kopitar's classification had been appropriated by the Slovenian national movement, which presupposed that the speakers of the Slovenian language in the Kingdom of Hungary were also members of the envisioned Slovenian community. In this context the Slovenian linguistic – national border was, in the middle of the 19th century, depicted on a map for the first time (Peter Kozler). In just a few decades, the idea of the national demarcation line in the today's Prekmurje, supposedly separating Slovenians from Croats at the river Mura, had strengthened considerably among the Slovenian national activists in the Cisleithanian lands. After the dissolution of Austro-Hungary and the signing of the Treaty of Trianion, this line in fact became a border between the Slovenian and the neighbouring Croatian national space. 

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

scholarly journals Upphaf kvikmyndaaldar á Íslandi

Ritið ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 43-68
Author(s):  
Gunnar Tómas Kristófersson
Keyword(s):  
Prior Knowledge ◽  
19Th Century ◽  
Early Years ◽  
The World ◽  
The 19Th Century ◽  
Magic Lantern ◽  
First Time

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth’s and Fernanders’ equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó”) was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.

Responsibility for offenses in the customary law ideas of the don Cossacks in the second half of the 19th century

2020 ◽  
Vol 2020 (12-2) ◽  
pp. 233-251
Author(s):  
Sergey Krasnov
Keyword(s):  
Ethnic Identity ◽  
19Th Century ◽  
Customary Law ◽  
Historical Reconstruction ◽  
Xix Century ◽  
The 19Th Century ◽  
First Time

In this publication, the author conducts a specific historical reconstruction of the customary law ideas of the Don Cossacks about the responsibility of the perpetrators of the offenses committed by them in the second half of the XIX century in order to establish what actually, despite the ethnic identity and features of bringing these persons to various types of punishment under customary law, was the basis for the occurrence of a particular type of responsibility and constituted its essence. For the first time, the author proposes to consider of thecustomary representations of the Don Cossacks about responsibility for offenses through the concept of abuse of their duties (obligations) to the Don Cossack communities by all, without exception, members of communities and in various spheres of their life.

Revisiting the Memory of Solferino: Knowledge Production and the Laws of War

2021 ◽  
pp. 256-275
Author(s):  
Eyal Benvenisti ◽  
Doreen Lustig
Keyword(s):  
Civil Society ◽  
19Th Century ◽  
Knowledge Production ◽  
Agenda Setting ◽  
International Committee ◽  
Red Cross ◽  
Laws Of War ◽  
History Of ◽  
The 19Th Century ◽  
First Time

During the course of the second half of the 19th century, the rules regulating the conduct of armies during hostilities were internationally codified for the first time. The conventional narrative attributes the codification of the laws of war to the campaign of civil society, especially that of the founders of the Red Cross—Henry Dunant and Gustav Moynier. In what follows, we problematize this narrative and trace the construction of this knowledge. We explore how the leading figures of the Red Cross, who were aware of the shortcomings of their project, were nonetheless invested in narrating its history as a history of success. Their struggle to control the narrative would eventually confer the International Committee of the Red Cross (ICRC) with considerable interpretive and agenda-setting authority in the realm of the laws of war. We dwell on the meaning of this conscious exercise in knowledge production and its normative ramifications.

Fin de siècle

2018 ◽  
Author(s):  
David Martens
Keyword(s):  
19Th Century ◽  
Cultural Production ◽  
Fin De Siecle ◽  
Art Nouveau ◽  
European Languages ◽  
Fin De Siècle ◽  
Mind Set ◽  
Historical Moment ◽  
The 19Th Century ◽  
First Time

Referring to the end of the 19th century, Fin de siècle not only represents a specific historical moment but also a part of the sensibility and of the cultural production of the period. It is particularly challenging to define fin de siècle within the artistic world, as it neither corresponds to a movement around a leading figure, nor to an amalgamation of shared and promulgated aesthetic principles (there is no manifesto laying claim to fin-de-sièclism). The term appears for the first time at the end of the 1880s. In its French form, it has imposed itself ever since on most Western-European languages (e.g., English, German). Fin de siècle crystalizes certain anxieties that are typical of this era: the period is characterized by a particular striving for modernity, while at the same time it is also perceived as an end. This explains why the fin de siècle mentality has often been closely related to decadence (or decadentism) to which it is, however, not limited: symbolism, aestheticism or even art nouveau all fall within fin de siècle. The fin de siècle mind-set is marked by an ensemble of shared features, in particular an ambivalent fear for the end.

scholarly journals First building engineers in architectural practice of St. Petersburg at the beginning of the 19th century

2020 ◽  
Vol 164 ◽  
pp. 05011
Author(s):  
Ekaterina Vozniak ◽  
Svetlana Golovina ◽  
Maria Kolesova
Keyword(s):  
Civil Engineer ◽  
Urban Development ◽  
Engineering Education ◽  
19Th Century ◽  
Building Structures ◽  
Next Generation ◽  
Bridge Construction ◽  
Architectural Practice ◽  
The 19Th Century ◽  
First Time

The emergence of the specialty of civil engineer in the first half of the 19th century had a significant impact on architectural practice in St. Petersburg. The differentiation of the professions of engineer and architect took place for the first time; both specialists began to participate in the design. The appearance of such engineers as Augustine Betancourt, Matvey Clark, Pierre-Dominique Bazin and Wilhelm von Tretter brought about changes in all areas of architecture and construction. New building structures and materials appeared, as well as methods for checking and calculating. Designing has become comprehensive, the activities of the Committee for Structures and Hydraulic Works led by Betancourt covered urban development, individual buildings and all types of utilities. The formation of engineering education took place, which brought up the next generation of Russian engineers.The article considers the most important aspects of the activities of Augustine Betancourt, who laid the foundations for engineering education in Russia; Matvey Clark, who created the first metal beams and trusses; Pierre Dominique Bazin, who continued the development of engineering education, as well as Wilhelm von Tretter, one of the founders of iron bridge construction in Russia.

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