Ice-Cliff Morphometry in Identifying the Surge Phenomenon of Tidewater Glaciers (Spitsbergen, Svalbard)

In this study, 110 tidewater glaciers from Spitsbergen were studied to characterize the frontal zone using morphometric indicators. In addition, their time variability was also determined based on features of the active phase of glacier surges. Landsat satellite imagery and topographic maps were used for digitalization of the ice-cliffs line. In recent years (2014–2017) all the glaciers studied can be thus classified as: stagnant (33%), retreating and deeply recessing (33%), starting to move forward/fulfilling the frontal zone (23%), and surging (11%). Indicators of the glacier frontal zone (CfD and CfE) allow to identify the beginning and the end of the active phase through changes in their values by ca. 0.05–0.06 by the year and get even bigger for large glaciers as opposed to typical interannual differences within the limits of ±0.01 to 0.02. The active phase lasted an average of 6–10 years. The presence of a “glacier buttress system” and the “pointed arch” structure of the ice-cliff seem to be an important factor regulating the tidewater glacier stability.

The Late Gothic Portal in Trebišov Pauline Order Church, Architecture and Geometry

Gothic architecture is one of the oldest surviving architecture in Slovakia. The Church of Pauline Order in Trebišov has many building phases; its entrance stone portal belongs to the later phase dated about the second half of the 15th century. Paper focuses on an architectural features and geometry of this portal. Portal has clearly a geometrical construction that is compared to another late gothic portal from church in Handlová. Conclusion suggests, that ratio of the entire portal dimensions is close to 4 : 3, proportions of jamb and opening widths are 1 : 4 : 1 part of the overall portal width and there highly probably existed some simple method of determining position of pointed arch arches.

STUDY OF THEORY, METHOD, APPLICATION OF GOTHIC CHURCH ARCHITECTURE

<p><em>The architecture of Gothic church is the outcome from creation process of knowledge by human in 12^th – 15^th Century which originating from France, which one the evolution from Romanesque church architecture (10^th – 13^th Century). The word of “evolution” is being a keyword and be a reason of Gothic church, to change characters from Romanesque church architecture are monastic buildings (not large), heavy in appearance, simple in construction to be a larger and finer, much details and symbols, construction and ornament is advancing and improving, there is an effort to enter natural lighting. There is competition in 12^th – 15^th Century about bigger and magnificent building of church in Europe. The method is literature studies with analytical descriptions. The results are: 1) The basic theory of evolution is dignity, Gothic church architecture is built with the intention of giving honor of the highest to God. The concepts are verticalism, transparent, religious symbolism. The methods is following the concepts that are heighten (heightening structure), mitigate (lightening structure), brighten (natural lighting), symbolize (enrich symbols). The application is realized with: floor plan as cross, pointed arch, ribbed vault, flying buttress, pinnacles, flamboyant decoration, large windows filled with rich stained glass.</em></p>

Geometry of the Late Gothic Portal in Handlová Church

Gothic architecture is one of the oldest surviving architecture in Slovakia. The Church of St Catherine of Alexandria in Handlová was built in the High Gothic period of 1360 - 1370; its main stone portal belongs to the later phase of 1502. The paper focuses on architectural features and geometry of this late gothic portal. The portal has a geometrical construction clearly based on the square of 2670 × 2670 mm. The division into thirds is applied in the details of the intersecting stone mouldings. Conclusions of the geometrical analysis suggest that the ratio of width to height of the entire portal could be close to 2 : 3 or 5 : 8 to suggest some consideration, but it was not a primary goal to attain precise ratios. The stone cutter just followed many times repeated geometrical procedure - square and the pointed arch, based on it.

Prikaz Korčule na ikoni iz Bizantskog muzeja u Ateni

The icon of Miracle by the Virgin attributed to the circle of Theodore Poulakis from Byzantine Museum in Athens is known and published. It is divided in two horizontal registers: the upper depicts Virgin Hodegetria with venerating angels under adorned pointed arch, while in the lower one there is a shipwreck in front of the fortified town. Virgin is accompanied by the eloquent epithet „The Hope of Sinners”. The wreck below this celestial scene is realistically presented with passengers of the ship perishing in the rough sea. Two of them clinging to wooden boards swim to nearby land with fortified city which Greek inscription „Kurzula”. This town is, actually, Korčula on the epinomous island in the Croatian part of the Adriatic which was Venetian territory and important port, and not Kurzulari islands at the western entrance to the Corinthian gulf, as had been suggested. Icon has Greek votive dedication to the „Virgin of the Venetians”, made by obviously saved Ioannis Ardavanis, which is a Greek name from Kefallinia, who was either passenger or owner of the ship. The image of the Virgin may be identified as venerated icon from Hvar Franciscan monastery, parallel to island of Korčula, a well known medieval sanctuary, situated on the way to Holy Land. Hvar icon with the epithet „Hope of the Sinner” was painted in the second half of 16th century and has the same iconography and a similar epithet as the Virgin in the Byzantine Museum.

Prikaz Korčule na ikoni iz Bizantskog muzeja u Ateni

The icon of Miracle by the Virgin attributed to the circle of Theodore Poulakis from Byzantine Museum in Athens is known and published. It is divided in twohorizontal registers: the upper depicts Virgin Hodegetria with venerating angels under adorned pointed arch, while in the lower one there is a shipwreck in frontof the fortified town. Virgin is accompanied by the eloquent epithet „The Hope of Sinners”. The wreck below this celestial scene is realistically presented withpassengers of the ship perishing in the rough sea. Two of them clinging to wooden boards swim to nearby land with fortified city which Greek inscription „Kurzula”. This town is, actually, Korčula on the epinomous island in the Croatian part of the Adriatic which was Venetian territory and important port, and not Kurzulari islands at the western entrance to the Corinthian gulf, as hadbeen suggested. Icon has Greek votive dedication to the „Virgin of the Venetians”, made by obviously saved Ioannis Ardavanis, which is a Greek name from Kefallinia, who was either passenger or owner of the ship. The image of the Virgin may be identified as venerated icon from Hvar Franciscan monastery, parallel to island of Korčula, a well known medieval sanctuary, situated on the way to Holy Land. Hvar icon with the epithet „Hope of the Sinner” was painted in the second half of 16th century and has the same iconography and a similar epithet as the Virgin in the Byzantine Museum.