Zeitschriftenartikel: „Franciscan art“

1

Mathes, W. Michael. „Franciscan Art in Mexico“. Americas 43, Nr. 3 (Januar 1987): 355–56. http://dx.doi.org/10.1017/s0003161500053037.

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Derbes, Anne. „The Franciscans and Art Patronage in Late Medieval Italy. Louise Bourdua The Art of the Franciscan Order in Italy. William R. Cook“. Speculum 82, Nr. 2 (April 2007): 416–18. http://dx.doi.org/10.1017/s0038713400009477.

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3

Morales Francisco, OFM. „The Native Encounter with Christianity: Franciscans and Nahuas in Sixteenth-Century Mexico“. Americas 65, Nr. 2 (Oktober 2008): 137–59. http://dx.doi.org/10.1353/tam.0.0033.

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Among the nations of the New World, Mexico is probably the country in which the Franciscans worked most intensively. Having been the first missionaries to arrive in Mexico, they covered most of its territory and worked with numerous native groups: Nahuas, Otomies, Mazahuas, Huastecas, Totonacas, Tarascans, Mayas. Their intense missionary activity is evident in the many indigenous languages the Franciscans learned, the grammars and vocabularies they wrote, the numerous Biblical texts they translated, and the catechisms they wrote with ideographical techniques quite alien to the European mind. This activity left an indelible mark in Mexico, a mark still alive in popular traditions, monumental constructions, popular devotions, and folk art. Without a doubt, in spite of the continuous growth of the Spanish and Mestizo populations during colonial times, the favorite concern of Franciscan pastoral activity was the indigenous population. Thus, Franciscan schools and colleges, hospitals, and publications were addressed to it. For their part, the native population showed the same preference for the Franciscans. To the eyes of the civil and ecclesiastical authorities, Franciscans and natives appeared as an inseparable body, an association not always welcomed by the Spanish Crown. In fact, since the middle of the sixteenth century bishops and royal officials tried to separate them, assigning secular priests in the native towns and limiting the ecclesiastical authority of the friars.

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Bogataj, Jan Dominik. „Frančiškanska knjižnica in muzej s pinakoteko v Ljubljani“. Clotho 5, Nr. 2 (04.03.2024): 151–58. http://dx.doi.org/10.4312/clotho.5.2.151-158.

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The Franciscan Museum and Pinacotheca of the Franciscan Friary in the center of Ljubljana represent, together with the renovated library, a newly conceived cultural and art-historical section of the Friary as the mother house of the Slovenian Franciscan Province of the Holy Cross. The library currently holds ca. 70,000 book units, including precious books such as incunabula – one-seventh of all incunabula in the country – and can thus boast the title of Slovenia’s most extensive monastic library. The newly designed museum showcases some of the friary’s key cultural and artistic objects.

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Corrie, Rebecca. „Amy Neff. A Soul’s Journey: Franciscan Art, Theology, and Devotion in the “Supplicationes variae”“. Studies in Iconography 42, Nr. 1 (2021): 194–98. http://dx.doi.org/10.32773/mdnz8765.

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Begović-Sokolija, Ena. „Franciscan Characters in Bosnian-Herzegovinian Drama Literature: On the Phenomenon Of Remembrance and Memory“. Društvene i humanističke studije (Online) 6, Nr. 4(17) (22.12.2021): 33–56. http://dx.doi.org/10.51558/2490-3647.2021.6.4.33.

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In seven dramatic texts written by six Bosnian-Herzegovinian authors – Borivoje Jevtić, Štefa Jurkić, Nikola Šop, Nasko Frndić, Nada Đurevska and Dževad Karahasan – from the perspective of the art of memory we follow the construction of literary imaginaria on the examples of three Bosnian-Herzegovinian Franciscans (Anđeo Zvizdović, Matija Divković and Ivan Frano Jukić). The paper examines the relationship between historic reality and fiction, where in history was an inspirational incentive for dramatic texts, with individual members of the Franciscan order transformed into a collective place of traumatic memory. For this conscious work on cultural memory we are to thank both the history of remembrance and memory (mnemohistory) and the motivational associative images that have been cultivated in literature and the historiography of literature for more than a century.

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Jerman, Mateja. „Srebrni zidni svijećnjaci cara Leopolda I. u franjevačkom samostanu na Trsatu“. Ars Adriatica, Nr. 6 (01.01.2016): 139. http://dx.doi.org/10.15291/ars.535.

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The aim of this paper is to publish and place in an art-historical context two silver wall candelabra with busts of classical antique figures surrounded by intertwined stylized acanthus leaves. The candelabra are kept in the Franciscan convent of Trsat. They were last documented in a photo-documentary campaign by Artur Schneider during the 1930s, and in 1974 they were added to the culturalheritage list as part of the convent's inventory. It is a very valuable set of silver wall candelabra, donated to the Franciscan convent of Trsat in 1693 by the Holy Roman Emperor Leopold I Habsburg (1658-1705). The author refers to the written sources confirming the commission of the candelabra and analyses the evolution of their peculiar typology. In their design and iconographic programme, judging by the various analogies and graphic models, they corresponded to the production of Augsburg goldsmiths. This hypothesis is supported by the hallmark of the city of Augsburg and another one indicating goldsmith Antoni Grill I, documented in that art centre in the period from 1668-1700.

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Szyszka, Tomasz. „Franciszkańscy misjonarze w Peru“. Annales Missiologici Posnanienses, Nr. 22 (04.01.2018): 33–46. http://dx.doi.org/10.14746/amp.2017.22.3.

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The history of evangelization in Peru, which started at the very onset of the 16th century is connected with the presence of the missionaries of the Franciscan Order, who played a major role in the building of Church structures on the territory of the former Inca empire. However, their main contribution was an effective evangelization of the indigenous peoples through the use of innovative methods (music, singing and art, organizing schools for Indians, knowledge of indigenous languages, protection of Indians against excessive exploitation). In this activity they were urged by their Franciscan charisma summed up in the greeting “Peace and good”. Their missionary commitment was realized not only in the Andean world, but over time expanded across the Amazon Selva.

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Gamalinda, Carla. „Contributing to the Identification of Publications from the Dominican, Jesuit, and Franciscan Presses through a Study of Graphic Art in Manila, 1604-1815“. Philippiniana Sacra 56, Nr. 168 (01.05.2021): 409–41. http://dx.doi.org/10.55997/2004pslvi168a3.

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This article demonstrates the use of graphic art as a source of information. This information, gathered through non-verbal methods, and not available through other methodologies, contributes to the identification of anonymous publications by supporting or prompting reinvestigation of claims by previous scholars. The information was gathered through a chronological cataloguing of various graphic art elements from each press from the start of letterpress printing in the Philippines to 1825. The elements are categorized into (1) iniciales grabadas or decorative initials, (2) viñetas or printers decorations, (3) orla bordadas or border decorations (4) risos xilográficos or xylographic headers, and (4) laminas or copperplate prints. Organizing these graphic art elements in this manner presents the frequency of use of distinct elements over time. The article provides a timeline of the arrival and use of art movements that influenced decorative graphic art in Manila. Based on the catalogue, a narrative of the use of graphic art elements of the Dominican, Jesuit, and Franciscan press is presented, along with comparisons of elements from known presses to prints from unidentified presses.

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López Plasencia, José Cesáreo. „Una escultura inédita de san Roque del Círculo de Balduque, recuperada en Tenerife“. ACCADERE. Revista de Historia del Arte, Nr. 2 (2021): 31–45. http://dx.doi.org/10.25145/j.histarte.2021.02.02.

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"In this paper we study a wood sculpture representing Saint Roch of Montpellier that belongs to the parish church of The Immaculate Conception, in Realejo Bajo, Los Realejos (Tenerife). The religious effigy, which was venerated in the extinct Franciscan Convent of Saint Lucy, in the same town, has recently been restored. Its art features allow us to relate this simulacrum to the art of the well-known Flemish sculptor and woodcarver Roque de Balduque, who worked in Seville from 1534 to 1561 and is one of the most prominent figures in 16th-century Spanish sculpture."

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Bruzelius, Caroline. „The Art of the Franciscan Order in Italy. Edited by William R. Cook. The Medieval Franciscans. Leiden: Brill, 2005. xxii + 297 pp. $199.00 cloth.“ Church History 75, Nr. 3 (September 2006): 663–65. http://dx.doi.org/10.1017/s0009640700098784.

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Lara, Jaime. „The Artistic Posterity of Joachim of Fiore in Latin America“. Religion and the Arts 18, Nr. 1-2 (2014): 26–60. http://dx.doi.org/10.1163/15685292-01801004.

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‭It has long been recognized that Joachim of Fiore (d. 1202), the Calabrian abbot, prophet, and artist, had a profound effect on the mendicant friars, particularly on the Franciscans and Dominicans who recognized their respective founders in his eschatological prophecies. Both orders made use of Joachim’s prognostications in their self-defense and in their world mission, especially when the New World was discovered. Franciscan art in the Andes and Mexico employed Joachimite references, and included the portrait of the Calabrian abbot in paintings depicting a flying Saint Francis of Assisi. There is evidence that native peoples saw and understood this unique New World iconography, with its utopian and apocalyptic messages, within their own cultural constructs and values. The end result suggests that Joachim of Fiore was better known in the Spanish colonial world than in the medieval European world of his own day, and that the visual arts had much to do with this.‬

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Necula, Constantin, und Eugen Răchiteanu. „From a Franciscan Spirituality to an Iconography that Marqued Tuscan Art between the 13th-14th Centurie“. Anastasis. Research in Medieval Culture and Art 6, Nr. 2 (29.11.2019): 31–48. http://dx.doi.org/10.35218/armca.2019.2.02.

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14

Muraoka, Anne H. „From Leonardo to Caravaggio: Affective Darkness, the Franciscan Experience and Its Lombard Origins“. Arts 13, Nr. 2 (06.04.2024): 68. http://dx.doi.org/10.3390/arts13020068.

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The function of affectivity has generally focused on post-Council of Trent paintings, where artists sought a new visual language to address the imperative function of sacred images in the face of Protestant criticism and iconoclasm, either guided by the Council’s decree on images, post-Tridentine treatises on sacred art, or by the Counter-Reformation climate of late Cinquecento and early Seicento Italy. This essay redirects the origins of the transformation of the function of chiaroscuro from objective to subjective, from corporeal to spiritual, and from rational to affective to a much earlier period in late Quattrocento and early Cinquecento Milan with Leonardo da Vinci. By tracing the transformation of chiaroscuro as a vehicle of affect beginning with Leonardo’s Virgin of the Rocks, it will become evident that chiaroscuro became a device used to focalize the viewers’ experience dramatically and to move viewers visually and mystically toward unification with God under the influence of the Franciscans.

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Verdi Webster, Susan. „Art Ritual, and Confraternities in Sixteenth Century New Spain. Penitential Imagery at the Monastery of San Miguel, Huejotzingo“. Anales del Instituto de Investigaciones Estéticas 19, Nr. 70 (06.08.1997): 5. http://dx.doi.org/10.22201/iie.18703062e.1997.70.1785.

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During the sixteenth century in New Spain, the celebration of some Christian feasts, especiality Holy Week and Corpus Christi, was much more complex than any of the dramatic rites of Late Medieval Spain. Theater, architecture, and sculpture were used by the mendicant orders, and by the confraternities associated to them, to reinforce instruction. Mural painting was used to chronicle these celebrations as well as to remind the faithful of their representation, as is discussed in this analysis of the Franciscan murals of Huejotzingo.

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Fleming, John. „Beyond the Text: Franciscan Art and the Construction of Religion ed. by Xavier Seubert and Oleg Bychkov“. Franciscan Studies 72, Nr. 1 (2014): 524–26. http://dx.doi.org/10.1353/frc.2014.0024.

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17

Weinstock, Horst. „Roger Bacon's Polyglot Alphabets“. Florilegium 11, Nr. 1 (Januar 1992): 160–78. http://dx.doi.org/10.3138/flor.11.012.

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Encyclopaedias usually label Roger Bacon as "theologian, philosopher, and scientist." Literary scholars and critics will certainly associate Roger Bacon with Robert Greene's Friar Bacon and Friar Bungay. The romantic comedy illustrates Bacon's close connections with experimental science and with magic art. Oculists even credit Greene's Franciscan friar with the epoch-making invention of spectacles. As for acoustics and experimental phonetics, the doctor mirabilis in Friar Bacon and Friar Bungay tried hard but eventually failed to construct a speaking machine. To his great disappointment, his Brazen Head collapsed while repeating the magic spell "Time is out."

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Stollhans, Cynthia. „:Women, Art and Observant Franciscan Piety: Caterina Vigri and the Poor Clares in Early Modern Ferrara“. Sixteenth Century Journal 51, Nr. 1 (01.03.2020): 167–69. http://dx.doi.org/10.1086/scj5101104.

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19

Tjoa-Bonatz, Mai Lin. „Provenance research: Entangled histories of objects from Asia and Oceania in the missionary museum “Forum der Völker”“. Decolonizing academic disciplines and collections 52-1 (2024): 89–102. http://dx.doi.org/10.4000/11zlv.

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In the missionary museum “Forum der Völker”, founded by the Franciscan religious order, ethnographic objects – in particular ritual implements or religious art – were transferred to a Christian context by reinterpreting them as counter-images for the missionary task. Missionaries commodified devices of local worship and showed an ambivalence towards human remains and weapons. The museum’s collection was extended in the past thirty years by private collections, including objects obtained by the military from the colonial period or of antiquities theft by art lovers. The initial provenance research in the museum used archive material, gathered information by studying the objects and conducted interviews with relevant actors. The implication of the findings revealed unclear changes of ownership and various potentially sensitive acquisition contexts that offers an orientation in how to deal with objects of problematic provenance in a missionary context.

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Greeley, June-Ann. „“Who Would Believe What We Have Heard?”: Christian Spirituality and Images from the Passion in Religious Art of New Spain“. Religion and the Arts 13, Nr. 2 (2009): 181–204. http://dx.doi.org/10.1163/156852909x422737.

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AbstractThe colonial art of New Spain/Mexico provides the viewer with a locus of examination into the robust Christianity that emerged over time out of a native spirituality newly laden with the contours and images from the Old World theology of late medieval/early Catholic Reformation Spain. Franciscan and especially Jesuit missionaries, impelled by a devotional zealotry, championed an apocalyptic vision of hope and suffering that was well suited for artistic expression. Religious art, whether or not patronized by European colonizers, became an instrument for the missionaries to teach and for the native artists to interrogate religious doctrine, and some artists, consciously or not, created their art as a response to that catechesis, a subtle fusion of ancient passion with the dramatic intensity of the new Catholic faith. One array of images in particular, that of the dolorous Passion of the Christ, was especially vibrant in the imaginations of the native artists and in the contemplation of the European missionaries and patrons. The image of the Suffering Servant resonated in the hearts and in the daily lives of the people just as it humbled missionary ardor, and excited a spiritual enthusiasm that forged an art of stunning doctrinal intimacy.

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Malinović, Miroslav, Danijela Ucović und Milijana Okilj. „The Peak of Jože Plečnik's Ecclesial Oeuvre: the Parish Church of Saint Anthony of Padua in Belgrade“. Hercegovina. Serija 3: časopis za kulturno i povijesno nasljeđe, Nr. 8 (22.09.2022): 285–308. http://dx.doi.org/10.47960/2712-1844.2022.8.285.

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The paper deals with the architectural evaluation of the Parish Church of Saint Anthony of Padua in Belgrade, Serbia, done by a Slovene architect, Jože Plečnik, in 1929. The study is based on a research of available historical sources with a critical approach to analysis and architectural evaluation, as well as a contemporary fieldwork and an on-site analysis. The paper offers a brief overview of Plečnik's engagements in various public projects throughout Europe, followed by an analysis of a wider historical and Lektura: Maja Bjelica Andonov Univerzitet u Novom Sadu 286 social context within which the site of the Franciscan convent and later parish church in Belgrade emerged. Furthermore, the paper provides an insight into the historical development of the site inside the framework of the Franciscan Province Bosna Argentina. It also gives a critical examination of the stylistic approach to the project for the church, and its later alterations made by Plečnik's successors. Moreover, its contribution to ecclesial architecture, significant structural novelties, interior decoration, furnishing and works of art produced for this project, according to Plečnik's ideas, are historically analysed and examined. Keywords: Jože Plečnik; Belgrade; architecture; Bosna Argentina; parish church

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22

Classen, Dr Albrecht. „The Humorous Treatment of Prostitutes by an Early Modern German Franciscan Preacher Poet: Johannes Pauli (1522)“. New Literaria 04, Nr. 02 (2023): 165–73. http://dx.doi.org/10.48189/nl.2023.v04i2.018.

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Irrespective of our comfort level, the topic of prostitution assumes an important role also within late medieval and early modern history, literature, law, and art history. While many scholars have already engaged with this issue drawing from legal or social-economic sources, the literary evidence also deserves to be considered in this context. The German-Swabian Franciscan preacher and poet, Johannes Pauli, is famous for his extensive discussion of everyday-life situations in his close to 700 prose narratives. There is hardly any aspect in human existence left out, whether we think of truth, fools, gender, peasants, judges, clerics, women, or the many different vices and virtues. Practically overlooked by scholarship, however, in one section, Pauli also turns his attention to prostitutes and entertains his audience with humorous narratives about various situations in the lives of those women, certainly an important sliver of human society during the pre-modern world.

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Mueller, Joan. „Book Review: Beyond the Text: Franciscan Art and the Construction of Religion. Edited by Xavier Seubert and Oleg Bychkov“. Theological Studies 75, Nr. 2 (20.05.2014): 449–50. http://dx.doi.org/10.1177/0040563914529909x.

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Mueller, Joan. „Book Review: Beyond the Text: Franciscan Art and the Construction of Religion. Edited by Xavier Seubert and Oleg Bychkov“. Theological Studies 76, Nr. 2 (Juni 2015): 381–82. http://dx.doi.org/10.1177/0040563915574990v.

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25

Parker, John. „Valhalla Is Burning: Theory, the Middle Ages, and Secularization“. PMLA/Publications of the Modern Language Association of America 130, Nr. 3 (Mai 2015): 787–98. http://dx.doi.org/10.1632/pmla.2015.130.3.787.

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In 1802 the Franciscan Friary standing in Munich since the late thirteenth century was razed to make room for the national Theater. Many of its books found their way to the state library where, among further spoils swept up in the waves of secularization following the French Revolution, they fed the growth of modern medievalism. Other relics fed other tastes. A profitable brewery remained in the friary's basement, operated now under secular license, while everything else detachable—furniture, copper gutters and plates, lead and iron fittings, window frames, artwork, altars, the tower clock and organ—went to the highest bidder to pay for the theater's troubled construction. Buttresses buckled and pushed through walls. When three workers raising the roof beam fell into a pit, critics divined the hand of God in retaliation for the friary's ruin. Different observers, more favorable perhaps to the cause of art, stressed the workers' survival and took it as a miraculous omen for the theater's future—God's blessing, so to speak, on historical progress. In the short term, it wasn't. In 1823 the theater caught fire and burned to the ground, as onlookers claimed to see in the rising smoke “the face of a monstrous Franciscan.”

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Popescu, Adrian Petre. „The Proto-Diplomatic Document in Romania“. International conference KNOWLEDGE-BASED ORGANIZATION 22, Nr. 2 (01.06.2016): 484–89. http://dx.doi.org/10.1515/kbo-2016-0083.

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Abstract The theme is decoding the “literary field of the Romanian proto-diplomatic document”, designed to replace the art of diplomacy and cultural regeneration. It is the observation field over the products of literature’s habitat, the “art of the word”. Therefore, to confirm the “Romanian tradition”, we have analysed several of the “literary works” of some Romanian writers from the 19th Century. Under these circumstances, attention is drawn on the role of the document/deed, on its importance in the universe of cultures. Attention is drawn on the occurrence of proto-religious documents and of the proto-diplomatic documents. During the evolution of scripts in the mid 17th Century – presented by Nicolae Iorga as “abandonment of the Franciscan spirit, a change of the entire meaning of the religious literature”, we have included in the study the role of Slavic monks (refugees from Mount Athos on our lands) and their apprenticeship in the atmosphere of “mysticism and culture”, the impact caused by founders of monasteries, turned genuine centres of culture. Within these monastic places, the art of calligraphy and miniature develops, revived under Matei Basarab, Vasile Lupu and especially during the reign of Constantin Brâncoveanu.

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Tomić, Radoslav. „Slikar Filippo Naldi (II)“. Ars Adriatica, Nr. 2 (01.01.2012): 217. http://dx.doi.org/10.15291/ars.450.

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According to his own testimony, the painter Filippo Naldi was of Florentine origin. He lived and worked in Dalmatia in the mid-eighteenth century while serving in the Venetian army. He was mentioned in records as a port manager at Opuzen. In the wider Dalmatian area, Naldi painted a large number of religious works and several portraits. This paper attributes to him seven paintings in churches situated in the Dalmatian hinterland and the region of Poljica (at Zavojane near Vrgorac, Dobranje near Imotski, Kostanje at Poljica, Čaporice near Trilj and in the Franciscan monastery at Sinj). The author analyzes the characteristics of Naldi’s painting and his significance in eighteenth-century Dalmatian art and society.

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Vymazalová, Marie. „Less Known Iconography of the Immaculate Conception of the Virgin Mary in the Prague Loreto in Connection with the Teaching of St Lawrence of Brindisi“. AUC THEOLOGICA 12, Nr. 2 (06.03.2023): 59–77. http://dx.doi.org/10.14712/23363398.2023.5.

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The text describes and contextualises collections of sermons by Lawrence of Brindisi about the Virgin Mary called Mariale, mainly the sermons about the teachings of the Immaculate Conception of the Virgin Mary. Lawrence of Brindisi, a capuchin monk and a European diplomat, was an important person in European church history of the 16th and the 17th centuries, but his texts are not yet fully appreciated. The text compares the theological question with the works of art from Prague Loreta. The comparison of the layout of this Marian pilgrimage place and thoughts of Franciscan spirituality contained in Lawrence’s sermons demonstrates the mutual interconnection between the specific period of theological thinking and a particular example of artistic expression.

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Bush, Kate. „Women, Art, and Observant Franciscan Piety: Caterina Vigri and the Poor Clares in Early Modern Ferrara by Kathleen G. Arthur“. Catholic Historical Review 105, Nr. 1 (2019): 162–64. http://dx.doi.org/10.1353/cat.2019.0030.

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Pezzoli-Olgiati, Daria. „Women, Art and Observant Franciscan Piety. Caterina Vigri and the Poor Clares in Early Modern Ferrara, by Kathleen G. Arthur“. Religion and Gender 9, Nr. 1 (24.07.2019): 134–36. http://dx.doi.org/10.1163/18785417-00901010.

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Bychkov, Oleg. „“He Who Sees Does Not Desire to Imagine”: The Shifting Role of Art and Aesthetic Observation in Medieval Franciscan Theological Discourse in the Fourteenth Century“. Religions 10, Nr. 3 (18.03.2019): 205. http://dx.doi.org/10.3390/rel10030205.

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In the thirteenth century, following Neoplatonic and Patristic trends, art and aesthetic experience were still treated as symbolic, as “vestiges” or “echoes” of the divine that lead us to it. However, in the early fourteenth century, attitudes to concrete sensory/aesthetic experience begin to shift and theologians adopted the model of concrete phenomenal observation of sensory experience. Concrete sensory-aesthetic experience is endowed with a much higher value: seeing something is not the same as imagining it, recalling it, or thinking about it. This new approach results in some heterodox views about our phenomenal experience and debates about the exact status of “intentional” (phenomenal) appearance. These debates lead to profound observations about the nature of aesthetic-sensory experience of art objects and a re-evaluation of the status of the artistic image, which is now seen as much more than the platonic “copy of a copy”. In other words, starting with the fourteenth century, theologians start to pay attention to concrete aesthetic (sensory) experience and use their observations to make conclusions about various cognitive and perceptual issues that could be relevant to a discussion of the divine. That is, quite separately from theoretical theological observations, art and aesthetic experience now provide independent approaches to the divine or spiritual via the experience of aesthetic wonder as a starting point. It is now our concrete experience of sensory and aesthetic objects that starts the train of thought, at times leading to some unorthodox conclusions that contradict the doctrine (such as the skeptical point of view). The intellectual shift in treating sensory and artistic objects in the fourteenth century invites some parallels with the current discussions of the experience of aesthetic wonder in “post-secular” thought.

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Lloyd, Joan Barclay. „:Testimony, Narrative and Image: Studies in Medieval and Franciscan History, Hagiography and Art in Memory of Rosalind B. Brooke“. Speculum 99, Nr. 2 (01.04.2024): 564–65. http://dx.doi.org/10.1086/729486.

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Ben-Aryeh Debby, Nirit. „Crusade Propaganda in Word and Image in Early Modern Italy: Niccolò Guidalotto’s Panorama of Constantinople (1662)*“. Renaissance Quarterly 67, Nr. 2 (2014): 503–43. http://dx.doi.org/10.1086/677409.

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AbstractThe focus of this article is a vast seventeenth-century panorama of Constantinople, which is an exceptional drawing of the city, currently displayed at the Tel Aviv Museum of Art. The panorama is an elaborate piece of anti-Ottoman propaganda designed by the Franciscan friar Niccolò Guidalotto da Mondavio. Guidalotto also prepared a large manuscript, held in the Vatican Library, which details the panorama’s meaning and the motivation behind its creation. It depicts the city as seen from across the Golden Horn in Galata, throwing new light on both the city and the relationships between the rival Venetian Republic and the Ottoman Empire. It also trumpets the unalloyed Christian zeal of Niccolò Guidalotto and serves as a fascinating example of visual Crusade propaganda against the Ottomans in the early modern period.

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Studziżba-Kubalska, Beata. „Józef Mehoffer’s competition design for the polychrome decoration of the Franciscan Church in Kraków, 1894. An attempt to reconstruct the artist’s decorative concept“. Sacrum et Decorum 15 (2022): 39–78. http://dx.doi.org/10.15584/setde.2022.15.3.

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Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19 th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13 th -century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, "The Defeat of Legnica – The Rebirth of Poland. 1241", 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20 th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.

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Condorelli, F., G. Pescarmona und Y. Ricci. „PHOTOGRAMMETRY AND MEDIEVAL ARCHITECTURE. USING BLACK AND WHITE ANALOGIC PHOTOGRAPHS FOR RECONSTRUCTING THE FOUNDATIONS OF THE LOST ROOD SCREEN AT SANTA CROCE, FLORENCE“. International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (28.08.2021): 141–46. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-141-2021.

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Abstract. In this research paper photogrammetric techniques have been successfully applied to historic black and white analogic photographs to convey previously inaccessible architectural and archaeological information. The chosen case study for this paper is the Franciscan Basilica of Santa Croce in Florence, Italy. A photogrammetric algorithm has been implemented over a series of b/w negatives portraying the archaeological excavations carried out in the years 1967–1969, after the traumatic flood of the river Arno in 1966 that severely damaged the city centre of Florence and, particularly, the Santa Croce monumental site. The final aim of this operation is to provide solid evidence for the virtual reconstruction of the lost rood screen of the basilica of Santa Croce, the current subject of the PhD research of one of the Authors (Giovanni Pescarmona) at the University of Florence. The foundations that were uncovered during the archaeological excavation in the ‘60s are one of the most important hints towards a convincing retro-planning of the structure. Using advanced photogrammetric techniques, and combining them with LIDAR scanning, it is possible to uncover new datasets that were previously inaccessible for scholars, opening new paths of research. This interdisciplinary approach, combining traditional art-historical research methods and state-of-the-art computational tools, tries to bridge the gap between areas of research that still do not communicate enough with each other, defining new frameworks in the field of Digital Art History.

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Pozhidaeva, Anna V. „VISUALIZATION OF THE IMAGE OF A “BIRD SPREADING ITS WINGS OVER ITS NESTLINGS” (MAT. 23:37–38) IN WESTERN CHRISTIAN ART“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 1 (2022): 211–26. http://dx.doi.org/10.28995/2686-7249-2022-1-211-226.

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The allegorical painting by Frans Floris (Louvre collection) was given a number of names, including ‘Allegory of the Trinity’. There are some unconventional elements in the composition of the ‘Adoration of the Trinity’, including the wings flanking the cross, and a hen with her chicks underneath it. Several quotations from both the Old and the New Testaments are used to clarify the message of the painting. In this article an attempt is made to review the significance of the image of a bird spreading its wings over its nestlings. Old and New Testament traditions, both textual and iconographic, will be reviewed. Recent analysis by Edward W. Wouk will be complemented with several texts and relating to the Holy Mother in the Franciscan tradition. These images and texts come from late medieval miscellanies of “exempla”, and are believed by Wouk to be inspired by the poem ‘Gallina’ by Alardus of Amsterdam and for the conception of Floris’ painting of the Trinity

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Zivkovic, Valentina. „On the trail of a painting bequeathed to St. George’s abbey on the islet near Perast the testaments of Nycolaus and Johannes Glauacti (as of 1327 and 1336)“. Zograf, Nr. 38 (2014): 113–21. http://dx.doi.org/10.2298/zog1438113z.

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The paper reviews the last will of the Kotor nobleman Nycolaus Marini Glauacti made in 1327 to bequeath to St. George?s church on the small island near Perast a depiction of the Madonna, St. Nicholas and St. John the Baptist. On the one hand, the legacy is analyzed in the context of the compositions involving the three saints in Kotor?s religious medieval art and, on the other, in the context of ad pias causas bequests and the concept of preparing for a good death (ars moriendi). The contents of the testaments of Nycolaus and his brother Johannes Marin Glauacti as of 1336 are contrasted, especially in terms of the number of pro remedio animae items bequeathed and their distribution. A special emphasis is laid on the comparison of the representations between the Franciscan and Benedictine Orders as the recipients of pious bequests.

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Macklin, Christopher. „PLAGUE, PERFORMANCE AND THE ELUSIVE HISTORY OF THE STELLA CELI EXTIRPAVIT“. Early Music History 29 (21.07.2010): 1–31. http://dx.doi.org/10.1017/s0261127910000057.

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One of the greatest scourges of the later medieval period was plague. While there is a considerable scholarly literature tracing the impact of the dread disease on literature and art, the impermanence of performance has rendered the extension of such studies to the field of music problematic. These problems are to some extent surmountable in studying the fifteenth-century hymn Stella celi extirpavit, a Marian invocation unequivocally phrased as a plea for deliverance from illness. In this essay, it is proposed that the Stella celi is representative of the beliefs and skills shared by a broad spectrum of late medieval society in the shadow of the plague. Analysis of musical and textual features, and the contexts of performance, further suggest links with the artistic and intellectual concerns of the Franciscan Order, which may have thus enabled otherwise ephemeral music to be preserved as an enduring response to epidemic calamity.

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Logan Wagner, E. „The Continuity of Sacred Urban Open Space: Facilitating the Indian Conversion to Catholicism in Mesoamerica“. Religion and the Arts 18, Nr. 1-2 (2014): 61–86. http://dx.doi.org/10.1163/15685292-01801005.

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‭During the sixteenth century, the Spanish crown sent Mendicant friars of the Franciscan, Dominican, and Augustinian monastic orders to evangelize and convert the indigenous people of America. With huge populations to convert, spread over an extremely vast territory, a limited number of friars had to find expedient ways to facilitate the conversion effort. Among the many conversion strategies used by the Mendicant friars under the early guidance of Fray Pedro de Gante were: to locate places of Christian worship over or near native ceremonial centers and continue the use of ceremonial open urban space; the incorporation of native religious rituals deemed compatible with Catholic liturgy such as processions, music, art, and dance; the creation of new architectural forms and open urban spaces to provide a setting for these rituals; and the substitution of native rituals for Catholic ceremonies including adjusting native and Catholic ritual calendric dates. Based on recent architectural field surveys and ethnographic documentation, this research focuses on the architectural and urban space adaptations that the missionary friars undertook to facilitate conversion efforts.‬

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Restall, Matthew. „Heirs to the Hieroglyphs: Indigenous Writing in Colonial Mesoamerica“. Americas 54, Nr. 2 (Oktober 1997): 239–67. http://dx.doi.org/10.2307/1007743.

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Shortly after the Spanish conquests in Mesoamerica (or, as the colonizers termed it, New Spain), friars chiefly of the Franciscan and Dominican orders taught the art of alphabetic writing to the indigenous elite. As a result the colonial period saw the production of an extensive body of documentation—overwhelmingly notarial and largely legal in nature—by Mesoamerica's indigenous peoples, written in their own languages but using the Roman alphabet. The language best represented in the surviving material (and thus in the ethnohistorical literature) is Nahuatl, often misleadingly called Aztec but in fact widely spoken throughout central Mexico. Yucatec Maya places a distant second in terms of known records, probably followed in order of magnitude by Mixtec. While this article will focus primarily upon these three tongues, it should also be noted that scholars have investigated a small but significant body of Cakchiquel and Quiché materials from highland Guatemala, and that there are also known to exist unstudied sources in Chocho, Cuicatec, Mixe, Otomí, Tarascan, Totonac, and Zapotec; other Mesoamerican languages may also have been written alphabetically in the colonial period.

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Beadle, Richard, und Anthony Smith. „A Carol by James Ryman in the Holkham Archives“. Review of English Studies 71, Nr. 302 (17.04.2020): 850–66. http://dx.doi.org/10.1093/res/hgaa030.

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Abstract A late fifteenth-century manorial notebook in the archives of the Earl of Leicester at Holkham Hall, Norfolk, has been found to contain a hitherto unnoticed and apparently unique late medieval English carol, based on the Latin hymn Te deum. Comparison with other examples of the genre suggests that its author is more likely than not to have been James Ryman, a Franciscan friar of Canterbury, and a prolific writer of carols. His oeuvre includes a number of compositions deriving from the Te deum, to some of which the Holkham text bears significant similarities. The owner of the notebook is identified as William Wayte Jr of Tittleshall, Norfolk, who is known to have served as an estate administrator and agent for the well-known Norfolk lawyer Sir Roger Townshend of Raynham (c.1430–1493). Certain provisions in Wayte’s will suggest that his interest in the carol may have been connected to a devotion on his part to the Trinity, which in late medieval art was often expressed through imagery drawn from the Te deum.

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BROOKE, ROSALIND B. „The art of the Franciscan order in Italy. Edited by William R. Cook. (The Medieval Franciscans, 1.) Pp. xxii+297+115 black-and-white and colour plates. Leiden–Boston: Brill, 2006. €139. 90 04 13167 1; 1572 6991“. Journal of Ecclesiastical History 58, Nr. 2 (28.03.2007): 331–32. http://dx.doi.org/10.1017/s0022046906000091.

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Puett, J. David. „Saint Agnes of Bohemia: A Thirteenth-Century Iconoclast and the Enduring Legacy of Her Convent as a Sacred Space for Religious Art“. Religions 12, Nr. 10 (01.10.2021): 826. http://dx.doi.org/10.3390/rel12100826.

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Refusing to accept her expected role of becoming an item of negotiation in an arranged marriage to strengthen a political alliance, Agnes of Bohemia (1211–1282), daughter of King Přemysl Otakar I of Bohemia and Queen Constance of Hungary, chose to use her royal dowry to finance construction of the first hospital, convent, monastery, and church in Prague committed to the teachings of Saint Francis. Her youth was influenced by nuns providing her education, by a strong familial precedent in the support of churches and convents, and by religious contemporaries. Joining the fledging Franciscan movement, this remarkably well-educated and deeply committed woman entered as abbess of the convent in 1234, dedicating her life to poverty without endowment, devotion, and service to the sick and poor. Agnes was beatified by Pope Pius IX in 1874 and canonized by Pope John Paul II in 1989. Her legacy remains in Prague today with the Gothic convent she constructed now serving as a premiere museum devoted to the Medieval and Renaissance religious art of Prague and Central Europe. Thus, the original goal of building a sacred space for sisters in order to foster spiritual mediation has now been redirected to provide the public the opportunity to become immersed in ecclesiastical reflection viewing the works of artists such as Master Theodoric, the Master of Vyšší Brod, the Master of the Třeboň Altarpiece, and others.

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Борисов, В. А. „Evolution of an Image of Crucified Christ in Italian Painting of the XII–XIV Centuries, “Unimaginative” Prayer and Sensual Imagination“. Вестник церковного искусства и археологии, Nr. 1(6) (19.04.2023): 58–74. http://dx.doi.org/10.31802/bcaa.2022.6.1.004.

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Статья посвящена изучению соотношения духовной практики и характера изобразительного искусства на примере рассмотрения эволюции образа Распятия Христова в итальянской живописи XII–XIV вв. Автор показывает зависимость изменений в стиле и иконографии образа от изменений в духовной жизни западной Церкви, появления францисканской молитвенной практики compassio. Разделение восточной и западной Церквей основывалось не только на догматических расхождениях, но и на принципиальных различиях в практике духовной жизни. Св. Отцы восточной Церкви учили «безвидной», «безОбразной» молитве, предупреждали об опасности воображения и мечтательности в молитвенном делании. Св. Франциск Ассизский, в противоположность восточным Отцам, наставлял своих последователей опираться в молитве именно на чувственное воображение. Стремление к визуализации религиозного опыта приводило к изменению роли изобразительного искусства в духовной жизни. The article dedicated to the study of the relationship between spiritual practice and the nature of fine art considering an evolution of the image of Crucified Christ in Italian painting of the XII-XIV centuries. The author shows a correlation between some changes in style and iconography and a spiritual life of the Western church, for example, the appearance of a Franciscan prayer practice of compassio. The separation of the Eastern and Western churches was based not only on dogmatic differences, but also on fundamental differences in the practice of spiritual life. The Holy Fathers of the Eastern Church taught “formless”, “unimaginative “ prayer, warned about the danger of imagination and reverie in prayer. St. Francis of Assisi, in contrast to the Eastern Fathers, instructed his followers to rely on the sensual imagination in prayer. The desire to visualize religious experience led to a change in the role of fine art in spiritual life.

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Peters, Nathaniel. „Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy. Edited by Trinita Kennedy. London: Philip Wilson Publishers, 2014. Pp. iv + 244; color plates. $55.00.“ Religious Studies Review 42, Nr. 2 (Juni 2016): 119. http://dx.doi.org/10.1111/rsr.12454.

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Vitolo, Paola. „Joanna I of Anjou (1343–1382)“. Encyclopedia 1, Nr. 4 (08.12.2021): 1303–11. http://dx.doi.org/10.3390/encyclopedia1040097.

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Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.

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Jakšić, Nikola. „Minijature 15. stoljeća u psaltiru iz Franjevačkog samostana u Kamporu na Rabu“. Ars Adriatica, Nr. 3 (01.01.2013): 123. http://dx.doi.org/10.15291/ars.465.

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The paper deals with a 15 century psalter that was kept in Franciscan convent at Kampor on Rab Island. In 1986 it was stolen, thrown away and later found in the sea by local fishermen. It was entirely destroyed.In this way, another worthy historical testimony disappeared from otherwise opulent heritage of this Dalmatian island. Author has made an effort to reconstruct the destroyed manuscript through comparison with Dalmatian Franciscan manuscripts from both Zadar and Dubrovnik, chosen mostly because of their common contents. In literature, Kampor manuscript was concisely published long ago - in 1917 - by H. Folnesics, with a black-andwhite photo of a single figural initial (fig. 8). In 1995, A. Badurina published a colour photo of a whole folium 57’ with a figural miniature (fig. 1). In 2004, this was apparently enough for M. Medica to attribute these miniatures to Giovanni di Antonio da Bologna, active during the second half of the 15th century.On the basis of the thorough descriptions by H. Folnesics and A. Badurina, it was obvious that the codex contained eight figural miniatures in total, with few decorative ones in addition. Author had assumed that the legacy of A. Badurina could contain few more photos of Rab miniatures and began the quest in the photo archive of Zagreb Institute of Art History. Consequently, photos were found: four, previously unpublished black-and-white reproductions of figural initials allowed further understanding of the lost codex illuminations. One of theminiatures with the figure of Christ (fig. 3) entirely matched a figural initial (fig. 2) from a privately owned folio that was exhibited in 1998 and published in the catalogue La miniatura a Ferrara dal tempo di Cosmè Tura all’eredità di Ercole de’ Roberti, (ed. F. Toniolo), published in 1998. M. Medica has attributed this folium to Giovanni di Antonio da Bologna, unaware of psalter’s original context. All of the abovementioned led to conclusion that the the most valuable folios have been cut from the codex that was thrown in the sea in order to ease the trafficking. These new findings have facilitated an, at least partial, reconstruction of destroyed psalter’s figural contents. Miniatures have been distributed according to the liturgical division of psalter, in the way that the initialpsalm for each of the weekdays began with an initial adorned with a figural miniature, as was usual with contemporary examples.The distribution of the miniatures: first image is related do Psalm I (ff: Ps I) on f. 4, illustrating the beginning of text Beatus vir, (fig. 5), related to Sunday. It is followed by Monday, on f. 29 Dominus illumination mea, Ps XXVI, with no preserved reproduction. On f. 44, there is a Tuesday text: Dixi: custodiam vias meas, ut non delinquam in lingua sua from Ps XXXVIII. Its reproduction has not been preserved. Wednesday’s f. 57’: Dixi insipiens in corde suo, Ps LII, with a colour representation of the entire folium (fig. 1), showing a figure of a reckless man. On Thursdayf. 70: Salvum me fac, Deus, quoniam intraverunt aque usque ad animam mea, Ps LXVII (fig. 8). The Friday f. 88: Exultate deo adiutori nostro: jubilate deo Jacob, Ps LXXX (fig. 9), and the Saturday f. 101’ Cantate dominon canticum novum, Ps XCVII (fig. 10). The eighth miniature is related to Ps CIX, with verses Dixit Dominus Domino meo, used to commence the vespers. This folium is the only one that has been preserved (fig. 2) and whose original context is proved by a black-and-white photo from Zagreb Institute of Art History (fig. 3).Except for a general confirmation of the suggested attribution to Giovanni di Antonio da Bologna, author points out to some of the corresponding miniatures from codices illustrated by that miniaturist, particularly thecompositions that haven’t been preserved in the photoarchives of Rab codex (figs. 4, 6, 7, 11).Finally, author dates the psalter before 1445, year of the foundation of Kampor Franciscan convent in which it had been used, furthermore pointing out that the name of the Rab aristocrat who financed theconstruction was Petrus de Zaro, and not Car as was generally accepted in the literature.

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Gardner, Julian. „From St. Francis to Giotto. The influence of St. Francis on early Italian art and literature. By Vincent Moleta. Pp. xii + 120 incl. ills. Chicago, Ill.: Franciscan Herald Press, 1983. $25.“ Journal of Ecclesiastical History 36, Nr. 2 (April 1985): 324. http://dx.doi.org/10.1017/s0022046900038902.

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Hugenschmidt, Johannes, Sophie Wolf und Christophe Gosselin. „Non-Destructive Testing of Dalle de Verre Windows by Fernand Léger and Alexandre Cingria in Switzerland“. Heritage 6, Nr. 9 (09.09.2023): 6311–27. http://dx.doi.org/10.3390/heritage6090330.

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Dalle de verre windows consist of thick slabs of coloured glass set in a matrix of reinforced concrete. The invention of this special art form is closely linked to the developments in modern architecture in the first half of the 20th century that are characterized by using new technologies such as steel-frame construction, reinforced concrete and the increasing use of glass. Many of these windows are showing damage, some of it severe. Until now, the causes of damage have hardly been investigated and there is still no practical and suitable approach to the analysis of the state of conservation of dalle de verre glazings. One of the main objectives of an interdisciplinary project (2019–2021) was therefore to evaluate the potential of non-destructive techniques for the characterisation of and identification of damage of dalle the verre windows in their structural, physical and climatic context. Various non-destructive methods (Ground-Penetrating Radar, Electric resistivity, Half-cell potential, Ultrasonics, Induction, Magnet and Thermography) have been tested on two prominent dalle de verre examples: the windows created by Fernand Léger for the church of Saint-Germain d’Auxerre in Courfaivre (Swiss Jura mountains) and the large tripartite by Alexandre Cingria once decorating the choir window church of the Franciscan monastery at Fribourg, Switzerland. The results of the analyses presented in this paper provide valuable information on the advantages and limitations as well as the costs of the methods used.

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Marinković, Čedomila. „Helen Nemanjić (1250–1314)“. Encyclopedia 2, Nr. 1 (22.12.2021): 14–25. http://dx.doi.org/10.3390/encyclopedia2010002.

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Queen Helen Nemanjić (1250–Brnjaci near Zubin Potok, February 8, 1314) was a Serbian medieval queen and consort of King Stefan Uroš I (r. 1243–1276), the fifth ruler of the Serbian Nemanide dynasty. She was the mother of the kings Stefan Dragutin and Stefan Uroš II Milutin. Today, she is known as Helen of Anjou (Jelena Anžujska in Serbian) although her real name was most probably Heleni Angelina (Ελένη Aγγελίνα). She was the founder of the Serbian Orthodox monastery of Gradac as well as four Franciscan abbeys in Kotor, Bar, Ulcinj, and Shkodër. Together with her sons, Kings Stefan Dragutin and Stefan Uroš II Milutin she helped renovation of Benedictine abbey of Sts. Sergius and Bacchus near Shkodër on Boyana river in present-day Albania. After the death of her husband, she ruled Zeta and Travunija until 1306. She was known for her religious tolerance and charitable and educational endeavors. She was elevated to sainthood by the Serbian Orthodox Church. Along with Empress Helen, the wife of Serbian Emperor Stefan Uroš IV Dušan, Queen Helen was the most frequently painted woman of Serbian medieval art. Six of her portraits can be found in the monumental painting ensembles of the Serbian medieval monasteries of Sopoćani, Gradac, Arilje, Đurđevi Stupovi (Pillars of St. George), and Gračanica, as well as on two icons and one seal. Queen Helen is also the only female Serbian medieval ruler whose vita was included in the famous collection of the “Lives of Serbian Kings and Archbishops” by Archbishop Danilo II, a prominent church leader, warrior, and writer.

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