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1
Grzanka, Bartłomiej. "Parafia pod Wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Kłodawie w latach 1939-1958 w świetle źródeł proweniencji kościelnej." Polonia Maior Orientalis 2 (2015): 101–18. http://dx.doi.org/10.4467/27204006pmo.15.008.16915.
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Parafia rzymskokatolicka pw. Wniebowzięcia Najświętszej Maryi Panny w Kłodawie doznała podczas drugiej wojny światowej dużych strat duchowych (zwłaszcza tragiczne były losy proboszcza i wikariusza) oraz materialnych. W artykule przedstawione zostały dzieje parafii w latach 1945-1958, kiedy to pod przewodnictwem bardzo zaangażowanego proboszcza, ks. Lucjana Kurzawskiego, nastąpiła odbudowa duchowa, moralna i materialna lokalnego kościoła. THE PARISH DEDICATED TO THE ASSUMPTION OF THE BLESSED VIRGIN MARY IN KŁODAWA IN 1945-1958 IN THE CONTEXT OF SOURCES OF ECCLESIASTICAL PROVENANCE Roman catholic parish church dedicated during the second war the assumption of the Blessed Virgin Mary in Kłodawa suffered large spiritual and material losses (especially the tragic fate of the former paris-priest and vicar). In the article this parish history from 1945 to 1958 is presented when it was under the leadership of a committed priest Lucjan Kurzawski and there was a spiritual, moral and material restriction of the local church.
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Miletić, Drago, and Marina Valjato Fabris. "Reconstruction of the Templar Phase of the Parish Church of the Assumption of the Blessed Virgin Mary in Gora." Portal 5 (2014): 49–70. http://dx.doi.org/10.17018/portal.2014.4.
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Škarić, Ksenija, and Vanesa Gjini. "Nove spoznaje o korskim sjedalima u crkvi Uznesenja Blažene Djevice Marije u Rabu." Ars Adriatica 9 (February 28, 2020): 45–60. http://dx.doi.org/10.15291/ars.2923.
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Research on the late Gothic choir stalls in the parish church of Rab, formerly the Cathedral of the Assumption of the Blessed Virgin Mary, conducted by the Croatian Conservation Institute in 2018, indicates a gradual construction of the benches, which took place in several stages and was completed by 1445. In addition to the stylistic and technical similarities between the choir stalls in Zadar and Rab, both of which have been attributed to the woodcarving workshop of Matteo Moronzon, significant differences in the concept of polychromy have been observed. Since their completion, the choir stalls in Rab have been purposefully modified at least twice. The renovation in the second half of the 17th century is particularly interesting as an attempt to modernize them by simplifying their form and introducing new elements that are convincingly integrated. Subsequent modifications have remained conspicuous as a foreign element.
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Krstulović, Nevena. "Glavni oltar Uznesenja Marijina iz župne crkve Uznesenja Blažene Djevice u Vrbniku: valorizacija primjene Poly(2-etil-2-oksazolina) kao zamjene za tutkalo." Portal 6 (December 21, 2015): 221–32. http://dx.doi.org/10.17018/portal.2015.15.
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Darcviev, Anzor V. "A Brief Essay on the History of the Lisri Parish of the Vladikavkaz Diocese." Vestnik of North Ossetian State University, no. 4 (December 25, 2022): 28–43. http://dx.doi.org/10.29025/1994-7720-2022-4-28-43.
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The article researches the history of the Orthodox parish of the Church of the Assumption of the Blessed Virgin Mary in the mountain village of Lisri. In late 19th/early 20th century . Russian Orthodox Church was very active in terms of missionary, cultural and educational work in the mountain parishes of Ossetia. For well-known reasons, this activity and its results had not been investigated for a while, resulting in a gap in the historiography of the region, and now it is crucial to fill it in. The novelty of the study consists in the wording of the problem: the object of the study is an Orthodox parish as a grass-roots structural unit of the church, while clergymen’s personalities are reserarched through the prism of the history of the parish they served in. In addition, the fact of the existence of the Lisri parish has not been reflected in any scientific work on the history of Christianity in Ossetia and has been traced back basing on documents that had not been researched for a long time. The objective of the work was to study the history of the development of one of the major Orthodox parishes in the mountainous part of Ossetia. The identities of priests and church servants from the parish of the Uspensky church at different times were identified based on on archive materials, and their activity aimed at the promotion of the Lisri parish was shown. It is the first time a foreign source containing data on the life of the parish of Lysr in 1909 is mentioned by the reaserchers. The tolerant character of interaction between the Orthodox Church and the traditional Ossetian community is noted. After analyzing a number of sources the authors conclude that the subtle missionary work and respectful attitude towards Ossetian culture that was noted in clergy of all levels (including the bishop) in many ways determined the success of Orthodoxy in the Lisri parish, which in just 10 years since being inaugurated had become one of the most significant church parishes in the mountainous part of Ossetia.
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Dzik, Janina. "The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 7–32. http://dx.doi.org/10.18290/rh.2019.68.4-1en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015).
The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763).
The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa.
The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
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Španjol-Pandelo, Barbara. "Prilog poznavanju djelovanja Mateja Andrijina Moronzona*." Ars Adriatica, no. 6 (January 1, 2016): 103. http://dx.doi.org/10.15291/ars.179.
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Matteo Moronzon, a member of the Venetian family of woodcarvers, was mentioned for the first time in 1407 according to the present known archival documents. Probably after being trained in his father's workshop in Venice, he moved to Zadar with his family – his wife Francisca and sons Pietro and Francesco. In 1418 he undertook the commission of furnishing carved choir stalls for the cathedral of St. Anastasia in Zadar. Various archival documents testify that Matteo lived and worked in Zadar for many years. Therefore it can be assumed that he probably founded his own workshop in Zadar where his son Francesco was trained too. Apart from the attempt to reconstruct Matteo's life and career, the aim of this paper is to interpret one important woodcarving work of art preserved in situ: choir stalls in the former cathedral of Rab, today the arch parish church of the Assumption of the Blessed Virgin Mary in Rab. Without doubt Matteo was the master carver in the production of the choir stalls in Zadar. Since he lived in Zadar it was not unusual that he had the main role in carving the stalls. In Zadar the selection of motives is more balanced and there are no significant differences in the modelling of decorative elements. However, the question whether Matteo carved absolutely everything or he had assistants arises. Considering the amount of work that had to be done it must be assumed that he had assistants who participated in work and helped him to shape the stalls. However, in literature Matteo was considered the only and undisputed author of the choir stalls in Zadar, mostly because of the preserved document. The analysis of the choir stalls in Rab by Ivo Petricioli as well as their evident formal and stylistic similarities with the stalls from the cathedral in Zadar have led to the general acceptance of the hypothesis that they were carved at the workshop of Matteo Moronzon. However, a comprehensive comparative analysis that could confirm that hypothesis was still missing. The analysis of the details and the whole led to the overall conclusion that there were a huge number of similarities between the choir stalls in Rab and Zadar. Therefore it was concluded that Matteo was the principal designer of the choir stalls in Rab who also carved the best parts in Rab, while others, less successful parts, were made by his apprentices and assistants who at the time lived on the island of Rab. In this respect, if Matteo was accepted as the author of the choir stalls of the cathedral in Zadar he must also be accepted as the author of the choir stalls from the excathedral in Rab.
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Vincent, Nicholas. "King Henry III and the Blessed Virgin Mary." Studies in Church History 39 (2004): 126–46. http://dx.doi.org/10.1017/s0424208400015047.
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Much has been written of the Marian devotions of King Louis IX of France. Louis, so we are told, would mortify his flesh on the vigils of the four principal feasts of the Virgin. Regular pilgrimages were made by the King to the great Marian shrines of France, most notably those of Chartres and Rocamadour. Day by day, in his own chapel, the King listened to matins, tierce and compline sung with the appropriate offices of Our Lady, and on Tuesdays and Saturdays the Mass itself was dedicated to the Virgin. When the King took communion, which he did on six principal feast-days each year, two of these feasts, the Assumption and the Purification, were those of the Virgin. Rather than listen to ribald or secular songs, Louis preferred the singing of the Ave Maria stella.
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Mironowicz, Antoni. "Najstarsze dzieje parafii mielnickich." Elpis 23 (2021): 147–53. http://dx.doi.org/10.15290/elpis.2021.23.18.
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The oldest history of the Orthodox parishes in Mielnik shows that they were closely related to the history of the city. The first brick temple was built in the Ruthenian stronghold in the 13th century. The tradition of the thirteenth-century temple was related to the wooden church of the Nativity of the Blessed Virgin Mary built in 1431 at Drohicka Street, and then another one erected on the Ruthenian hill in 1614 and the present one built in the years 1821-1823. The Orthodox Church of the Resurrection of Christ situated on Brzeska Street at the beginning of the 16th century was of great importance to the inhabitants of the city. Rebuilt after a fire in 1648, it survived until 1878. In 1777, in the parish of the Nativity of the Blessed Virgin Mary, a cemetery chapel of the Protection of the Mother of God was built, which housed the revered icon of the Mother of God of the Protection.
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Rymar, Dariusz A. "How German Marienkirche became Polish Cathedral of the Assumption of Blessed Virgin Mary." Przegląd Zachodniopomorski 36 (2021): 193–225. http://dx.doi.org/10.18276/pz.2021.36-07.
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FRYKOWSKI, Janusz A. "Dzieje parafii unickiej pw. Nawiedzenia Najświętszej Marii Panny w Maziłach w świetle osiemnastowiecznych wizytacji kościelnych." Historia i Świat 3 (September 9, 2014): 135–52. http://dx.doi.org/10.34739/his.2014.03.08.
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The work depicts the running of the Uniate Parish of the Visitation of the Blessed Virgin Mary, in Mazily since its formation until its liquidation in the 18th cen-tury. The introduction of the article specifies the geographical location of the parish, its size and the position within the hierarchical structure of the Church. Then, on the basis of an analysis of Chelm Bishops’ post-inspection protocols as well as statistical specifications, the appearance , fittings and ancillary equipment of the parish church and its affil-iated churches are described As far as possible, the author also attempts to make an ac-count of the appearance of the vicarage and its ancillary buildings. Moreover, not only is the list of 4 clergy recreated, but also the Orthodox church benefice is defined. The final part concerns the number of worshipers as well as the number of Holy Communion re-ceivers.
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Lichota, Piotr. "The Blessed Virgin Mary, Mother of the Church Parish in Warnice in the Years 1977–2018." Colloquia Theologica Ottoniana 1 (2019): 115–41. http://dx.doi.org/10.18276/cto.2019.1-07.
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Kireev, Felix S. "On the Issue of Organizing the Second Ossetian Orthodox Parish in Vladikavkaz." Vestnik of North Ossetian State University, no. 4 (December 25, 2022): 63–68. http://dx.doi.org/10.29025/1994-7720-2022-4-63-68.
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In the historiography of Vladikavkaz, there are many works devoted to the Ossetian settlement of the city, the Church of the Nativity of the Blessed Virgin Mary (Ossetian church) in Vladikavkaz, but almost no mention is made of the second Ossetian settlement and the construction of a church on its territory. Meanwhile, the history of the Ossetian population of the Vladimir (Novo-Ossetian) settlement is also worthy of attention. The article reveals the reasons for the creation of the second Ossetian Orthodox parish in Vladikavkaz, the issues of building a church in the name of the Holy Great Martyr George the Victorious. It is noteworthy that not only local Ossetians, but also Russian residents of the settlement actively participated in the organization of the Ossetian parish and the construction of the temple. The construction of the temple was also facilitated by retired and current officers. Assistance was provided by the city authorities and the Vladikavkaz and Mozdok diocese. Funds were allocated for the construction and improvement of the temple from the budget of the Holy Governing Synod. As in the Church of the Nativity of the Blessed Virgin of the city, only the Ossetian clergy served in the St. George’s Church in Vladikavkaz. At the same time, the temple provided nourishment to the entire Orthodox population of Vladimirskaya Slobidka, regardless of nationality. Despite the short history, the second Ossetian parish of Vladikavkaz played its missionary role in strengthening Orthodoxy among the Ossetian population of the city, in educating local residents. For writing this work, newspaper publications of that time and materials of the Central State Archive of the Republic of North Ossetia-Alania (TsGA RSO-A) were used.
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Płotkowiak, Maciej. "Concept And Its Implementation During The Reconstruction Of The Church Of Blessed Virgin Mary In Chojna." Civil And Environmental Engineering Reports 19, no. 4 (December 1, 2015): 87–98. http://dx.doi.org/10.1515/ceer-2015-0055.
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Abstract St. Mary's parish church in Chojna was erected at the turn of XIV and XVc. in a shape of three aisles, hall church without transept, completed from the west with a single tower and from the east with polygonal presbytery with an ambulatory attached. The convergence of characteristic structural and decorative features with employed ones in medieval churches being attributed to Hinrich Brunsberg's fabric resulted in such a way, that also authorship of St. Mary in Chojna was assigned to this legendary architect and master builder of late Middle Ages period. The church was destroyed by fire during WWII in February 1945 and since then had remained as an open ruin. In 1997 reconstruction procedure of the church was begun under the leadership of the author and it still continues. This text consists of the sum of experiences connected with confronting design ideas and solutions with their executions on the site during construction works.
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Legendziewicz, Andrzej. "creation and architectural transformation of the parish church of the Sacred Heart of Jesus in Żary from the early 13th to late 17th century." Archaeologia Historica Polona 29 (June 1, 2022): 113–34. http://dx.doi.org/10.12775/ahp.2021.007.
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This article presents architectural transformations in the parish church of the Sacred Heart of Jesus (originally the Blessed Virgin Mary) in Żary. The church is one of themost interesting brick churches in the borderland between Silesia and Lusatia. Unfortunately, the church has featured very little in the literature, and only its non-extant Romanesque west arm is discussed. Based on the scant written sources, and the results of architectural researchand archaeological excavations, the author discusses the formation and transformation of the parish church from the 13th century to the end of the 17th century. The Romanesque chancel and choir were built in the 13th century. The Gothic reconstruction of the choir was completed in 1309 and of the western arm in 1401. The next significant construction took place in the second half of the 17th century, when the Promnitz funeral chapel was built next to the choir and galleries were built in the aisles.
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Žeňuch, Vavrinec. "Obraz Užskej stolice na základe kanonickej vizitácie z roku 1734." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (February 24, 2022): 439–54. http://dx.doi.org/10.1556/060.2020.00034.
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Text kanonickej vizitácie sleduje farnosti Užhorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, dnes Сторожниця) a Ruská.V Užhorode bol chrám zasvätený svätému Jurajovi, ktorý sa nachádzal na soľnej ulici. Vo vnútri chrámu boli umiestnené tri väčšie a dva menšie oltáre. Väčšie oltáre boli zasvätené svätému Ladislavovi, sv. Štefanovi, sv. Jurajovi a sv. Panne Márii. Menšie oltáre boli zasvätené sv. Alžbete, sv. Kataríne a sv. Jánovi Nepomuckému so svätou Rozáliou a Kristom v uprostred.Farnosť Jovra mala farský chrám zasvätený Panne Márii Kráľovnej. Chrám bol murovaný a mal tri oltáre. Prvý bol zasvätený Panne Márii, menšie boli zasvätené sv. Barbore a sv. Šebastiánovi. V Jovre vyučoval učiteľ Michal Kertés, ktorý bol platený v naturáliách a jedným florénom.Farnosť Ratovce mala murovaný chrám v hroznom stave. Chrám sa rekonštruoval v roku 1734 a oltár bol bez obrazu či patrocínia. Správcom farnosti bol Ján Enickej jeho rekatolizačná činnosť bola zameraná na modlenie litánii s umiestnení obyvateľmi v ich jazyk.Farnosť Ruská sa nachádzala v nábožensky zmiešanom regióne. Chrám bol murovaný z tehál nachádzali sa v ňom dva oltáre. Tretí oltár sa začal vyrábať, mal byť zasvätený sv. Krížu. Farnosť spravoval Andrej Moštenský, ktorý sa modlí s miestnymi v ich jazyku modlitby ako Otče náš, ruženec, krédo alebo litánie.Vo farnosti Pavlovce nad Uhom stál murovaný chrám s jedným oltárom. Oltár nemal patrocínium, preto nemôž chrám v minuloti používali kalvíni. Správcom miestnej farnosti bol Mikuláš Berekovič.Farnosť Senné spravoval Ján Ziffian. Miestny chrám bol tehelný a nachádzali sa v ňom tri oltáre. Hlavný bol s titulom Nanebovzatia Panny Márie. Na menšom oltári boli na okrajoch vyobrazenia evanjelistov a v strede sa nachádzali obraz sv. Panny Márie, sv. Juraja a Baránka Božieho. Ako tretí oltár bol zasvätený sv. Jurajovi. Titul chrámu bol sviatok Navštívenia Panny Márie.Onokovská farnosť sa nachádzala severnej od Užhorodu. Chrám v Onokovciach bol drevený, zasvätený Nanebovzatiu Panny Márie. Patrocínium chrámu bolo totožné s titulom chrámu, ďalšie obrazy sa v kostole nenašli. Farnosť spravoval Sebastián Kašaj, ktorý mal 40 rokov. V jeho okolí boli hlavne obyvatelia gréckeho rítu.Najšpecifiskejšou farnosťou bola Vojnatina. Farnosť bola misijným územím, kde pôsobil Ján Patkovič. Medzi Užhrorodom a Michalovcami, bolo veľké množstvo rozbitých alebo zdevastovaných chrámov. Ako prvý bol obnovených chrám vo Vojnatine. Chrám bol tehelný, vo vnútri sa nachádzal len jeden oltár, ktorý bol zasvätený sv. Krížu a bol presunutý z Užhorodu.The canonical visitation focused on parishes Uzhgorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, today Сторожниця), and Ruská.In Uzhgorod, there was a temple dedicated to Saint George, which was situated on the salt street and inside were three bigger and two smaller altars. The bigger altars were dedicated to Saint Ladislaus and Saint Stephen, Saint George, and Saint Mary the Virgin, while the smaller altars were dedicated to Saint Elisabeth and Saint Catherine, Saint John of Nepomuk with Saint Rosalie, and Christ in the middle.The parish Jovra had a parish temple dedicated to Virgin Mary Queen. The local temple was from brick and had three altars. The first one was dedicated to Virgin Mary, the smaller ones were dedicated to Saint Barbara and Saint Sebastian. In Jovra, there was a teacher named Michal Kertés, who was paid in kind and with one florin.The parish Ratovce had a brick temple in a horrible condition. The temple was being under reconstruction in the year 1734 and there was an altar without a picture or a patron. The administer of the parish was John Enickei, his re-Catholic activity was focused on praying litany with the locals in their language.The parish Ruská was located on a confessionally mixed territory. The temple was made from brick and there were two altars. The third one was being produced, it should have been dedicated to Holy Cross. The parish was administered by Andrej Moštenský, who prayed prayers such as Our Father, Hail Mary, I believe in God, or Litany with the locals in their language.In the parish Pavlovce nad Uhom, there was a brick temple with one altar. The altar did not have a patrocinium since the temple had been used by the Calvinists. The administer of the local parish was Nicolas Berekovič.The parish Senné was administered by John Zaffian. The local temple was made from brick and inside there were three altars. The main was with the title of Assumption of Virgin Mary. The smaller altar had depictions of Evangelists in corners, and in the middle, there was a picture of Virgin Mary, Saint George, and Lamb of God. The third altar depicted John the Baptist. The title of the temple was Visitation of the Virgin Mary’s holiday.Onokov’s parish was located north of Uzhgorod. The temple in Onokovce was made from wood and dedicated to the Assumption of Virgin Mary. The title of the temple was depicted on an altar, other altars or pictures were not found in the church. The parish was administered by Sebastian Kašaj, who was 40 years old. In his surroundings, there were mainly presbyters orientated to Greek ceremony.The most specific parish was Vojnatina. The parish was a mission village where John Patkovič worked. Between Uzhgorod and Michalovce, there was a big amount of broken or devastated temples. As the first one, the temple in Vojnatina was renewed. The temple was from brick and inside there was one altar with the title of Holy Cross brought from Uzhgorod.
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Kopiczko, Andrzej. "Catholic churches and ministry in Malbork in the years 1525–1772." Masuro-Warmian Bulletin 287, no. 1 (April 15, 2015): 35–59. http://dx.doi.org/10.51974/kmw-142669.
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The article presents the history of the Catholic churches, operating in Malbork in the early modern period. Most attention was paid to the parish St. John the Evangelist, which – with short breaks in the second half of the sixteenth century and during the First Swedish-Polish War – remained in the hands of Catholics. With post-visit protocols learn about repairs carried out, the order of worship and involvement of the clergy. On the basis of the preserved since 1700 year vital records we can conclude that each year about 200 children was baptized and was contained from 50 to 150 weddings. Since the second half of the eighteenth century there are also records of marriages concluded by Lutherans in the Catholic Church, even when both spouses were not Catholics.Apart from the parish of St. John the Evangelist churches still functioning: the castle of the Blessed Virgin Mary, St. Lawrence and the hospital of the Holy Spirit and Chapels.A major role in the pastoral care in the modern era played the Jesuits, who have taken the ministry in 1618.
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Sargent, Michael G. "Nicholas Love as an Ecclesiastical Reformer." Church History and Religious Culture 96, no. 1-2 (2016): 40–64. http://dx.doi.org/10.1163/18712428-09601003.
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Nicholas Love was the prior of the Carthusian house of the Assumption of the Blessed Virgin Mary at Mount Grace from its incorporation into the Order at the General Chapter of 1410 until shortly before his death, which occurred between 15 March and 28 July, 1423. He is most commonly known to present-day scholarship as the author of The Mirror of the Blessed Life of Jesus Christ and because of the licensing of the Mirror by Archbishop Thomas Arundel in accordance with the stipulations of the Lambeth Constitutions of 1409, as an agent in the archbishop's campaign against the followers of John Wyclif, and against Wycliffite translation of the scriptures into the vernacular. It would be better, however, to see him as an actor in his own right, a promoter, like his continental European Carthusian confrères, of the reform of the western Church in the fifteenth century.
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Matulić Bilač, Žana. "High Altar of Split Cathedral of the Assumption of the Blessed Virgin Mary – Technological and Chronological Analyses." Portal 7 (December 28, 2016): 49–84. http://dx.doi.org/10.17018/portal.2016.4.
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Chernov, Anatolii, Dariusz Dziubacki, Martina Cogoni, and Alexandru Bạ̌descu. "First conclusions about results of GPR investigations in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland." Geoscientific Instrumentation, Methods and Data Systems 7, no. 1 (March 27, 2018): 123–28. http://dx.doi.org/10.5194/gi-7-123-2018.
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Abstract. The article presents results of a ground penetrating radar (GPR) investigation carried out in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland, dating from the 14th to 16th centuries. Due to the 20th century wars, the current state of knowledge about the history of the church is still poor. Under the floor of the Catholic temple, unknown structures might exist. To verify the presence of underground structures such as crypts and tombs, a GPR survey was carried out in chapels and aisles with 500 and 800 MHz GPR shielded antennas. Numerous anomalies were detected. It was concluded that those under the chapels were caused by the presence of crypts beneath the floor.
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Motuzas, Alfonsas. "The Feast of the Assumption of the Blessed Virgin Mary in Lithuania: local peculiarities and links with Latvia." SOTER: Journal of Religious Science 59 (2016): 65–78. http://dx.doi.org/10.7220/2335-8785.59(87).5.
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Stefański, Krzysztof. "Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”." Porta Aurea, no. 19 (December 22, 2020): 294–310. http://dx.doi.org/10.26881/porta.2020.19.15.
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The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciechowski re-Gothycized the building, giving it a ‘cathedral’ form featuring a magnificent façade with two high towers. These works coincided with the growing popularity of the idea of the ‘Vistula-Baltic Gothic’ as the Polish national style in church construction. The Warsaw architect used the forms of the cathedral he rebuilt to develop his own vision of the church in the ‘Vistula-Baltic style’, competitive to the solutions used by Józef Dziekoński. The incarnation of this vision was the church of the Assumption of the Virgin Mary in Łódź, followed by a series of smaller buildings erected in villages and in small towns within the Russian partition, in which the architect repeated his pattern on a smaller or larger scale. The culmination of Wojciechowski’s creative path was the Church of the Holy Family in Częstochowa (the current Cathedral), built from 1901.
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SYGULSKA, Anna, Tomasz CZERNIAK, and Adrian CZARNY-KROPIWNICKI. "EXPERIMENTAL INVESTIGATIONS AND COMPUTER SIMULATIONS TO SOLVE ACOUSTIC PROBLEMS IN THE MODERN CHURCH." Engineering Structures and Technologies 10, no. 1 (April 27, 2018): 34–45. http://dx.doi.org/10.3846/2029882x.2018.1445037.
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Architectural acoustics of contemporary sacred buildings is still an under-appreciated issue. Many contemporary churches are not functional enough due to acoustic defects which occur there. The study discusses issues of the modern Catholic church, where acoustic problems surface as high reverberant noise levels. The building under investigation, i.e. the Church of the Visitation of the Blessed Virgin Mary, is the biggest contemporary church in Poznań, Poland, as its internal volume amounts to 16,800 m³. On the basis of in situ investigations, a computer model of the church was built and a series of simulations were carried out to determine correct treatment in order to achieve satisfactory acoustic conditions. The main assumption was to find such a solution as not to affect the modernist architecture of the church.
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Bomko, Liliia. "The image of Paradise in «The Sermon on the Annunciation to the Holy Virgin» by Ioanikii Galiatovskii." Text and Image: Essential Problems in Art History, no. 2 (2019): 44–50. http://dx.doi.org/10.17721/2519-4801.2019.2.03.
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The article attempts to analyse the image of paradise in “The Sermon on the Annunciation of the Holy Virgin" from the collection "The Key of Understanding" (1659) by Ioanikii Galiatovskii. Paradise in his sermon is depicted as a hierarchical structure of the nine Angelic Choirs: the Angels, the Archangels, the Principality, the Authority, the Mastery, the Parish, the Throne, the Cherubim, and the Seraphim. Comparing the angelic choirs of Galiatovskii and the depiction of celestial choirs in «The Mirror of Theology» (1618) by Cyryl Trankvylion Stavrovetskyi, one can see some differences, including a change in the sequence of arrangement of angelic choirs and in the semantics of names, which Galiatovskii supplements with explanations of the saints' presence on all choirs. The theme of the Annunciation that becomes the beginning of the salvation of the human soul is brought closer to the understanding of paradise. If one compares the preaching on Gospel with a painting one can easily grasp substantial differences in the interpretation. Galiatovskii does not follow the biblical story of the Annunciation, which tells how did the Archangel Gabriel appear to the Holy Virgin and inform her of the birth of Christ. Instead, he interprets this event in anagogical (spiritual sense), describing paradise and the Blessed Virgin in a similar way. Visual art closely follows the biblical text when depicting the Annunciation – the Holy Virgin and the Archangel, who holds a white lily that means god news, are surrounded by several tiny angels that are holding a white lily flower (like in the painting by the French artist Philip de Champaign "Annunciation", 1644). Interestingly, the interpretation of the Annunciation in Ioanikii Galiatovskii’s writing is close to the theme of the Assumption. One might mention the painting "Assumption of the Virgin" (1475 - 1476) by the Italian artist Francesco Botticini, who depicted the Holy Virgin standing next to the hierarchical structure of the nine Angelic Choirs.
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Krudysz, Leszek. "A Unique 14th Century Seal Matrix from Giebło, Zawiercie District." Archaeologia Polona 59 (December 20, 2021): 139–54. http://dx.doi.org/10.23858/apa59.2021.2755.
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A unique lead seal-matrix with majuscule legend: LUCIANI PRESBITERI belonging to a priest was found by the Romanesque castle church in Giebło. The name of its owner is mentioned in written sources from the years 1325–1327 as plebanus ecclesie de Kebel. As PRESBITER he probably didn’t enjoy all privileges that the collator usually bestows on a parish priest on his property. Possibly for that reason he had his matrix made in an easy-to-process material, infrequently used for such objects in this part of Europe. The use of this raw material suggests someone who tried avoid the high costs of making the item. Special attention is merited by the composition of a fleur-de-lis crowned with the cross engraved on the seal face that resembles a heraldic device. The repetition of a schematic lily flower on the reverse of the matrix shows the special importance of this sign (identified in medieval time with the Blessed Virgin Mary); this symbol was treated in this way by, for example, Cistercians. By presenting his name in the company of these symbols, Lucianus gave his seal strength and credibility.
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Shashkova, Agneta. "PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 170–79. http://dx.doi.org/10.33838/naoma.28.2019.170-179.
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This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the painting layer features of the author icon painting style of Mr. Yizhakevych and stylistic features that are typical for his late creative period between 1940 and 1960 have been analyzed.Based on the comparative analysis between the above icons and other icons painted by Mr. Yizhakevych we have specified the attribution and considered the possibility of author icon finishing painting in a given period in order to return brightness to faded areas and restore partially lost ones. The possibility of repainting of separate parts of icons in order to specify dimensions of separate fragments or change in the compositional position of figures is also studied.In this paper we have specified typical techniques of the author style of Ivan S. Yizhakevych used by him for the primary layer of icons and author renewal and the assumption has been made that his students had likely helped him in preparation activities and painted parts of painting that are secondary according to their composition. Based on the analysis of the painting technique and features of Mr. Yizhakevych’s style the assumption have been made that the non-author finishing painting had been made approximately between 1990 and 2000 during one of the thorough repairs of the church.In this paper it has been established that the latter non-author renewals had significantly damaged the appearance of both icons by adding the rude and unprofessional performance to their separate elements which is not typical for the artist; this fact causes major difficulties when considering these icons to be integral works of Ivan S. Yizhakevych.This paper is illustrated by pictures of icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” as well as their schematic images including the analysis of author and non-author renewals.
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Helytovych, Mariia. "Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 73–88. http://dx.doi.org/10.37131/2524-0943-2019-39-05.
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The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century
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Kaczmarek, Łukasz, Radosław Mieszkowski, Marcin Kołpaczyński, and Grzegorz Pacanowski. "Application of Electrical Resistivity Tomography (ERT) in the investigation of quaternary landslide zones, based on the selected regions of Płock slope." Studia Quaternaria 31, no. 2 (December 1, 2014): 101–7. http://dx.doi.org/10.2478/squa-2014-0010.
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Abstract The article shows the results of geophysical surveys performed by using Electrical Resistivity Tomography (ERT) method on selected region of Płock slope of a Tumski hill near Basilica of Assumption of the Blessed Virgin Mary in Płock and in Maszewo by the Vistula River a few kilometers north of Płock. The above-mentioned sections were selected due to landslide phenomena observed there. Geophysical surveys were conducted in order to verify the state of the distribution of electrical resistivity in the sectors where mass movement was identified. The electrofusion cross-section near Cathedral Basilica shows clays and sands. Also in ERT prospection a zone of loose soils with high resistance is clearly visible. The results of the ERT method from Maszewo, indicates historical land surface of a landslide and that the slope in Maszewo consists of cohesive deposits. In order to describe these particular issues, geological cross-sections and safety factor obtained by calculation are presented for the analyzed parts of the slope. The safety factor shows that probability of landslide activity near Cathedral Basilica is very unlikely and in Maszewo is very high
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Szkobodziński, Marcin, and Czesław Miedziałowski. "Vaults, roof truss and walls interaction issue in monumental masonry structures." E3S Web of Conferences 49 (2018): 00113. http://dx.doi.org/10.1051/e3sconf/20184900113.
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The paper discusses the subject of interaction between a roof truss, vaults and load-bearing walls in a masonry monumental structure. The static structural analysis of the Assumption of the Blessed Virgin Mary Basilica in Bialystok, as an example of Polish neogothic architecture from the turn of the 19th and 20th centuries has been carried out. The building consists of a three-aisled masonry walls system, which in cooperation with cross-ribbed vaults and a timber roof truss determine the spatial rigidity of the structure. Lack of concrete ring-beams and horizontal oriented ceiling slabs cause global stiffness reduction to the horizontal loads. In the past, it could have been one of the main reason for the appearance of cracks in the structure. The basic aspect having a real influence on building global behaviour is interaction of load-bearing structural parts. This structure was subjected to the static analysis with an investigation about the influence of interaction between the roof truss, vaults and walls. The values of horizontal displacements of walls were compared as a result of wind pressure acting on the structure. Numerical calculations were carried out using finite element method.
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Dumsday, Travis. "How Modern Biological Taxonomy Sheds Light on the Incarnation." Journal of Analytic Theology 5 (April 12, 2017): 163–74. http://dx.doi.org/10.12978/jat.v5i1.157.
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One question asked repeatedly in the history of Christology is the following: given that the incarnation was God’s chosen method of redeeming us, why did God become human by the cooperation of the Blessed Virgin Mary? Why not just create a human body and soul ex nihilo and simultaneously with that creation have God the Son assume this new instance of human nature? In answer, Augustine for instance (De Trinitate, bk. 13, ch. 18) argues that the latter option would have been a legitimate means of incarnation, but that it was not as fitting as the method actually employed. Aquinas agrees (Summa Theologica IIIa, q. 4, art. 6). By contrast, John of Damascus (De Fide Orthodoxa, bk. 3, ch. 12) seems to think that the ex nihilo option would not have constituted a genuine assumption of human nature, such that redemption required the cooperation of the Theotokos. I argue that insights provided by contemporary biology support St. John’s perspective, insofar as modern biological taxonomy suggests that lineal descent is a necessary condition for belonging to a species. As such, to take on a genuinely human nature God had to enter into the existing human lineage; creating a new ‘human’body and soul ex nihilo would not have sufficed.
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Burkovska, Liubov. "Ukrainian Icons Theotokos Mother of Mercy (New Iconographic Interpretation of Traditional Plot)." Folk art and ethnology, no. 3 (September 30, 2021): 50–57. http://dx.doi.org/10.15407/nte2021.03.050.
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Baroque trends, which have been extended in the Ukrainian religious art of the late 17th – early 18th centuries, contributed to the expansion of its thematic composition, stylistic changes and the emergence of new iconographic plots. The icons Theotokos Mother of Mercy, or the Cossack Intercession, as they are also called, are a clear example of the renewal of themes in Ukrainian religious art during the Baroque period. This iconographic version of the Intercession, apparently, is borrowed from Western European painting; it is correlated with the compositional type of the image of the Intercession of the Theotokos – Madonna della Misericordia – popular in Italian art. It is supposed, that the image of the Blessed Virgin, covering the parish with the mantle, has been inspired by the vision of the Cistercian monk, theologian and writer Caesar of Geisterbach, who describes it in his Dialogus Miraculorum (1221). Formation of the iconography Madonna della Misericordia in Western European art has started in the 13th century. The Virgin usually stands on the early images. The Christians staying under the protection of the Virgin Mary are depicted on their knees and in a much smaller scale. The icons Madonna della Misericordia have been often ordered by specific groups of believers, such as fraternities, professional guilds, monasteries and abbeys. The theme of the Intercession of Theotokos of the iconographic version Theotokos Mother of Mercy has taken a special place in the Ukrainian iconography of the Baroque period. The image of the Patroness, blessing and covering the faithful with her mantle, has attracted Ukrainian masters with the realism and majesty of the compositional plan. The popularity and rapid dissemination of this iconographic variety of the Intercession have been caused also by the fact that it presents individualized images of people from different layers of the that time society with special penetration. Contemplating the icons of the Intercession in the temples, the believers have seen obviously a powerful and merciful patroness in the image of the Mother of God. Ukrainian icons Theotokos Mother of Mercy of the 17th – early 18th centuries are filled with the search for a new artistic expressiveness, reveal the nature of the transition period and the peculiarities of the process of formation of a new stylistic system of sacred painting.
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WOŹNICA, Kamila. "Wieś Siedlce w ziemi łukowskiej." Historia i Świat 3 (September 10, 2014): 73–97. http://dx.doi.org/10.34739/his.2014.03.05.
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Although it has been a settlement since the ninth century, the sources regarding Siedlce before it was granted the town charter are few. The town was situated at the northern edge of the Łuków district, which was a part of the Kingdom of Poland. . The first houses were (found?) on the grounds of the present day palace and the town hospital. The first mention of Siedlce in the written records comes from 1441, when Wojciech of Michów from the Rawicz family exchanged his property with that of his relative Elżbieta, wife of Jan from Oleksów. He gave her half of Siedlce as well as half of Golice, Wola Siedlecka and Wola Golicka in the Łuków district and received in return half of Rudno and half of Składów in the Lublin district. . Elżbieta was in all probability the grandmother of Daniel Gniewosz Siedlecki, the owner of Siedlce at the turn of 16th century. In the early 16th century, Daniel Gniewosz's properties, and subsequently his son's, Stanisław Gniewosz’s, properties, flourished. In addition to Siedlce, they owned between ten and twenty other villages and ironworks by the Muchawka and Liwiec rivers. In 1532, a parish was established and a church under the name of the Blessed Virgin Mary and Stanislaus of Szczepanów, the bishop and martyr, was erected. Another success of Stanisław Siedlecki was the granting of the town charter by Sigismund I the Old in 1547 on the basis of which a e town, named Nowa Siedlcza, was established a little further west from the village.
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Dudkiewicz, Margot. "Application of PiCUS® Sonic Tomograph 3 in studies on the cultural heritage of the Lublin region – restoration of the Eastern Orthodox church of the Dormition of the Blessed Virgin Mary in Uhrusk." Annals of Warsaw University of Life Sciences - SGGW - Horticulture and Landscape Architecture, no. 40 (January 15, 2020): 3–14. http://dx.doi.org/10.22630/ahla.2019.40.1.
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Uhrusk is a small town located in eastern Poland, in the Lublin region, along the border river, the Bug. The temple is situated on the outskirts of the village, on a low hill, where there was a castle founded by Prince Daniel Halicki in the Middle Ages. The Orthodox church existed here before 1220, and for the first decades of its functioning it had the status of a council. Today, the existing church building was erected in 1849 as a Greek Catholic temple founded by the owner of local estate, Laura Kirsztejnowa. In 1915, the church was abandoned when the Orthodox residents of Uhrusk became refugees. In the years 1920-1927, it was renovated, due to significant losses suffered during the First World War and the Polish-Bolshevik war. The building was open again from 1920 to 1947, after which it was closed following the deportation of Orthodox Ukrainians as part of the “Wisła” Operation. At the end of the 1950s, the Orthodox church was restored for liturgical use as a branch of the parish in Włodawa. The style of the building is defined as classicist-Byzantine with neo-Romanesque and neo-Gothic elements. In 2017, on the initiative of the Dialog Foundation in Lublin, a general renovation of the temple building and its surroundings began. Studies conducted with the use of specialized diagnostic equipment in the form of a Picus 3 sonic tomograph were important for the dendrological inventory. Within the boundaries of the property, 11 trees are growing, at different ages and in a healthy state. On the basis of the material collected, possible directions for the restoration of the Orthodox church’s surroundings were presented.
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Zinko, Yuriy, Marta Malska, and Taras Hrynchyshyn. "Religious-pilgrim tourism in the west of Ukraine: main centres and shrines." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 144–66. http://dx.doi.org/10.30970/vgg.2019.53.10671.
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This study analyzes the formation factors and major centres and shrines of pilgrimage and religious tourism in the Western region of Ukraine. The article presents structure of the religious space of 8 regions of Western Ukraine in the context of major Christian denominations. According to the latest statistics in the West of Ukraine, among the Christian denominations we can see dominance of believers and communities of the Ukrainian Greek-Catholic Church, the Orthodox Church of Ukraine, the Ukrainian Orthodox Church of the Moscow Patriarchate and the Roman Catholic Church. The main pilgrimage centres that represent the Christian denominations of the region are characterized by attracting their faithful and at the same time serving as religious tourism centres for a wider range of people. These include, among others: Univ Lavra, Krekhiv and Hoshiv Monasteries, the Marian Spiritual Centre in Zarvanytsia (Greek-Catholic Church); Maniava Skete, St. George Monastery on the Cossack Graves (Orthodox Church of Ukraine); Pochayiv Lavra, Zymne and Mezhyrich Monasteries, Monasteries in Bukovyna and Transcarpathia (Orthodox Church of the Moscow Patriarchate). At the same time, the Roman Catholic Church is represented by sanctuaries: Basilica of the Assumption of the Blessed Virgin Mary in Lviv, churches in Stryi, Bilshivtsi, Chortkiv, Letychiv and other settlements. The annual number of visitors to these major centres is between 30 and 100 thousand people a year. Regarding non-Christian religions, there are important shrines in the region for Hasidic pilgrims in Belz, Medzhybizh and other towns. At the same time, a number of regional centres are important destinations. There are many temples in Lviv, Ivano-Frankivsk, Lutsk, Ternopil, which, given the presence of objects of religious worship and significant architectural appeal, perform both a pilgrimage and a religious-tourist function. Religious shrines, which are primarily of natural origin, are often an important component of the pilgrimage-tourist movement in the West of Ukraine. These include the appearance of the Virgin Mary, including individual hills or springs, as well as ancient cave monasteries. Numerous pilgrimage and travel agencies actively promote visits of believers and tourists to them. Development of religious and pilgrimage centres is related to the development of service infrastructure, service complexes and a network of different types of accommodation. It may be recommended to organize more educational and scholarly events of ecumenical nature and meetings of faithful of different denominations in the well-known religious centres of the region. Key words: pilgrimage, religious tourism, denominations, temple, shrine, pilgrimage centre, infrastructure.
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Witkowska, Kasandra. "From Munificentissimus Deus to the Catechism of the Catholic Church – the evolution of the dogma of the Assumption of the Blessed Virgin Mary for the 70th anniversary of its proclamation." Studia Koszalińsko-Kołobrzeskie 28 (2021): 267–83. http://dx.doi.org/10.18276/skk.2021.28-13.
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Markovic, Miodrag. "An example of the influence of the gospel lectionary on the iconography of medieval wall painting." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 353–62. http://dx.doi.org/10.2298/zrvi0744353m.
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The influence of the Gospel lectionary (evangelistarion) on the iconography of medieval wall painting was rather sporadic. One of the rare testimonies that it did exist, nevertheless, is the specific iconographic formula for the scene of Christ in the house of Martha and Mary, preserved in a number of King Milutin's foundations - Gracanica (ca. 1320), Chilandar katholikon (1321) and St. Nicetas near Skopje (ca. 1324). In all three churches, the iconographic formula corresponds for the most part to the description in the Gospel (Lk 10, 38-42). A large number of figures were painted against an architectural background, intimating that the action in the event was taking place indoors (draw. 1, figs. 1, 2). Among the figures, only Christ is marked by a halo. He is sitting on a small wooden bench, and addressing a woman, who is standing in front of him. This is certainly Martha. Her sister Mary is sitting at the feet of Christ. Next to Christ is Peter, and one or two more disciples, while numerous onlookers, men and women, are depicted behind Martha. There is no mention of either them or the apostles in the Gospel of Luke. The appearance of the disciples' figures, however, is easy to explain because they appear usually in greater or lesser numbers with Christ, in the scenes from the cycle of Christ's Public Ministry. In addition to this, this passage from the Gospel intimates that Christ entered the village in the company of his disciples. As for the figures behind Martha, at a first glimpse, one would assume that they are Judeans, the same ones that sometimes, according to the Gospel of John (11:19-31), appear in the house of Martha and Mary in the episodes painted next to the Raising of Lazarus. Still, such an assumption is not plausible because among the mentioned figures in the depictions in Gracanica, Chilandar and St. Nicetas, one can distinguish a woman above the other figures, her right arm raised, addressing Christ. This figure enables an explanation for the unusual iconographic formula and indicates its connection with the evangelistarion. The section of the Gospel that speaks of Christ's visit to Martha and Mary (Lk 10:38-42) is read out during the liturgy of the feasts of the Birth and the Dormition of the Virgin and, in the lectionary, these five verses are accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The two verses recount the conversation of Christ and a woman during the Saviour's address to the assembled crowd who tempted him, demanding a sign from Heaven. Recognizing the Lord, the woman raised her voice so as to be heard above the crowd and said: 'Blessed is the mother who gave you birth and nursed you'. Two different events and two separated passages from Luke are joined in the lectionary in such a way that from the combination of the readings, it proceeds that the mentioned woman is addressing Christ while he is speaking to Martha. As a result, an iconographic formula emerged that was applied in Gracanica, the Chilandar katholikon and in St. Nicetas near Skopje. Judging by the preserved examples, this formula was characteristic only of the painting in the foundations of King Milutin. None of the other known depictions of Christ's visit to Martha and Mary, Byzantine or Serbian included the figure of a third woman, singled out from the mass of onlookers speaking to Christ. With minor variations, the text of the closing verses of Chapter 10 of the Gospel of Luke was, in the main, almost literally illustrated. The origin of this unique iconographic formula in several of King Milutin's foundations remains unknown. The most logical thing would be that the combined illustration of the two separate passages from Luke's Gospel came from an illuminated lectionary of Byzantine origin. However, the quests for such a manuscript so far have not confirmed this assumption. In the only lectionary, known to us, which depicts Christ in the house of Martha and Mary - the Dionysiou cod. 587 - the iconographic formula is the pictorial expression of the last verses of Chapter 10 of the Gospel of Luke. The two verses of Chapter 11 in Luke's Gospel, which are also included in the text of the lection, read out during the liturgy of the Birth and of the Dormition of the Virgin, had no effect on the iconography of the scene of Christ in the house of Martha and Mary in the famous Dionysiou lectionary, even though in it, the mentioned scene illustrate this very lection. The scene is located in the place where the said lection appears for the first time in the lectionary, within the framework of the readings envisaged for the feast of the Birth of the Virgin (September 8). The second part of the lectionary which refers to the same lection, i.e. to its reading for the feast of the Dormition (August 15), is illuminated with the representation of the death of the Virgin. The Dormition of the Virgin is painted in the corresponding place in several more lectionaries, while beside the pericope that is read during the liturgy of the feast of the Birth of the Theotokos, sometimes there was an appropriate depiction of the Birth of the Virgin, or simply a single figure of the Virgin. Most often, however, that part of the lectionary was left without an illustration, which can be explained by the fact that the vast majority of illuminated Byzantine lectionaries either did not have any figural ornamentation or merely contained the portraits of the evangelists. The absence of narrative illustrations is particularly characteristic of the Byzantine lectionaries that originate from the Palaeologan era. The illumination of Serbian lectionaries from that epoch is also reduced to ornamental headpieces, initials, and, in some cases, the evangelist portraits. Nevertheless, one should not altogether exclude the possibility that in some unknown or unpublished Byzantine or Serbian manuscripts of the evangelistarion, there was an iconographic formula that was applied in the painting of King Milutin's foundations. In any case, it does not seem plausible that this unusual iconographic formula may have arrived from the West. The scene of Christ's visit to Martha and Mary was also presented in the Latin lectionaries based on the five Gospel verses in which it was described (Lk 10:38-42) even though, in the appropriate pericope of the lectionaries of the Roman Church, these five verses are also accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The influence of the lectionaries is not visible even in the presentations of Christ's visit to Martha and Mary that are preserved in the medieval wall painting of the western European countries.
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Czyż, Anna S. "Program ikonograficzny wystroju wnętrza kościoła pw. Wniebowzięcia Najświętszej Maryi Panny i św. Augustyna w Kraśniku (wiek XVII i XVIII)." Archiwa, Biblioteki i Muzea Kościelne 108 (December 20, 2017): 63–98. http://dx.doi.org/10.31743/abmk.12169.
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Modern furnishings of the church dedicated to the Assumption of the Blessed Virgin Mary and St. Augustine in Kraśnik were created over three hundred years. However, the oldest trace of the decor from the 16th century is scant. In the first half of the 17th century they were exchanged, and it was at the time when the monastery in Kraśnik joined the Cracow Congregation. The 1630s were particularly important in the creation of the new decor of the church as the following things were founded: choir stalls, including collator ones, paintings by Dolabella as well as the high altar and brotherhood’s one. The above-mentioned elements of the interior were means of conveying the most important themes: canonic (Ordo apostolicus, the patrons of the Cracow Congregation), Passion, Eucharistic, Marian (including SalvatorMundi and MaterMisericordiae) as well as patronal. It cannot be ruled out that intensive artistic investment was connected with the plan to convene the General Chapter in Kraśnik in 1635. In the following decades, especially in the mid-eighteenth centuries, the interior was supplemented and developed, within the aforementioned themes, through the foundations of new altars, a pulpit and paintings in the chancel. Comparing the themes of the church decoration in Krasnik with other churches of the Canons Regular of the Cracow Congregation, it should be noted that they are typical. They referred to monastic life, including the spirituality of the canons and the "primacy" of the congregation, as well as the pastoral ministry being developed on the basis of Passion, Eucharistic and Marian themes. They were presented in the context of the changes taking place in the life of the Church after the Council of Trent, the trend which was also adopted by the Cracow Congregation of Corpus Christi, which co-created a new model of the sacred art in the Republic of Poland.
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Smilgevičius, Vytautas. "Raguvos parapijos demografiniai aspektai 1700–1800 metais." XVIII amžiaus studijos T. 7: Giminė. Bendrija. Grupuotė, T. 7 (December 31, 2021): 170–98. http://dx.doi.org/10.33918/23516968-007007.
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DEMOGRAPHIC ASPECTS OF RAGUVA PARISH IN 1700–1800 This article uses a demographic method to study the parish register of births at Raguva Church of the Assumption of the Virgin Mary. Most of these parish register records are stored in the Rare Books and Manuscripts Department of the Martynas Mažvydas National Library of Lithuania. Some of them have been digitized and published on the website www.epaveldas.lt. The chronological sample of the study consists of the eighteenth century (1700–1800) parish register records data, which recorded 10,071 individuals born during the analysed period: 4,891 women and 5,180 men. The tasks of the research are: to determine the distribution of births by gender and class, to determine the number of children born to married or unmarried women; identify the most popular names for each class and gender by separately examining individuals baptized with two or more names. Of the 10,071 births recorded during the period in analysis, 4,891 women and 5,180 men were identified. The distribution of children born by class is as follows: peasants – 9,688 (of which 4,715 girls and 4,973 boys), nobles – 383 (of which 176 girls and 207 boys). The names of 57 peasant women and 67 peasant men were identified during the study. The names of 48 women and 46 men of the nobility were identified. The most popular Christian names of peasant women were Kotryna, Ona, Dorotėja, Marijona, Elžbieta, Ieva, Barbora, Apolonija, Kristina; men – Jonas, Kazimieras, Juozapas, Jurgis, Jokūbas, Motiejus, Mykolas, Simonas, Stanislovas. The most popular names of noblewomen: Ona, Marijona, Kotryna, Teresė; men – Juozapas, Mykolas, Jonas, Ignotas, Antanas, Kazimieras. 95% names of the baptized individuals were common to both classes. Analysis of the sources revealed that 434 individuals were given 2 or more names. These are 225 peasant children (104 girls and 121 boys) and 204 nobility children (85 girls and 119 boys). Most actively two and more names were given in 1781–1800. Two names are common to both nobles and peasants; three names – more common among nobility. After analysis of the problem of giving a Christian name it can be concluded that only in 10% of cases the choice of a Christian name was determined by the names of godparents, 7% by parents' names and only 3% by the names of the saints of that day. Other reasons accounted for 0.1% of all naming cases. In as many as 80% of all cases the reasons for choosing the names have not been identified. After examining the data on the number of illegitimate children it was concluded, that in 1700 to 1800, 113 illegitimate children were registered in Raguva: 108 peasant children (50 girls and 58 boys) and 5 nobility children (2 girls, 3 boys). Most illegitimate children were born between 1761 and 1800. Keywords: demographics, births, metrics, name.
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Woźniak, Robert J. "Stanisław Ludwik Piech, Parafia na świętojakubowym szlaku. Dzieje parafii Najświętszej Maryi Panny Matki Kościoła i św. Jakuba Apostoła w Brzesku 1385-2010 [Parish on the St. James' Way: The History of the Parish of Blessed Virgin Mary, Mother of the Church and St. James the Apostle in Brzesko 1385-2010], Brzesko 2012." Roczniki Teologiczne 64, no. 4 English Online Version (2017): 174–75. http://dx.doi.org/10.18290/rt.2017.64.4-11en.
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Motušić, Eugen. "Porušena crkva Rođenja Blažene Djevice Marije u Silbi." Ars Adriatica, no. 4 (January 1, 2014): 347. http://dx.doi.org/10.15291/ars.508.
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It is known that the Church of the Nativity of the Blessed Virgin Mary at Silba was demolished in 1828 so as to provide the necessary building material for the completion of the new parish church which inherited the dedication from the old one. As we learn from the archival records, the demolition was authorized by the Archbishop of Zadar Josip Nowak who stipulated that the Franciscan Church of Our Lady of Carmel would function as the local parish church while the new one was being built. All that remains from the old church today is the bell tower which continued to be used by the new parish church. It is obvious from the schematic ground plan and the dimensions of the demolished church, recorded in the now lost document from the parish church archive, that it was a single-nave longitudinal structure with a rectangular sacristy to the east, two shallow chapels extending from the lateral walls and a porch of the lopica type (resembling a loggia) at the front which abutted onto the corner of the bell tower with its own south corner. Apart from the high altar, placed against the back wall, the church had three pairs of side altars. The analysis of the canonical visitations carried out during the second quarter of the seventeenth century demonstrates that the church, recorded for the first time in 1579, was a modest building in which the oil for the anointment of the sick was being kept because the local parish church of that time, dedicated to St Mark, was too far from the village. The church was provided with five side altars put up by the more distinguished individuals and members of the lay fraternities the most prominent of which was that of Our Lady of the Rosary after which the church was called by eighteenth-century locals. Based on the analysis of the 1670 visitation of Archbishop Evangelisto Parzaghi who described the renovation during which certain altars changed their places, the article argues that the church was completed just before this visit. The bell tower was mentioned as a campanile for the first time in 1678.By means of comparative analysis, it can be established that the Church of the Nativity of the Virgin at Silba belonged to the same architectural type as a large group of simple yet spacious churches which were built in rural communities along the east Adriatic coast by local masters during the seventeenth and eighteenth centuries. The activity of such masters on the island of Silba is corroborated by contemporary birth, marriage and death records as well as a number of monuments such as a tombstone in the Church of St Mark and the door lintel in the house of master builder Franić Lorencin (1660), both of which depict building and carving tools. The analysis of the land registry maps and topographical drawings of 1824 and 1833 shows that the church’s south wall, to the east of the chapel of Our Lady of the Rosary, was laid in a different direction compared to that of the rest of the wall, indicating that this portion belonged to an earlier layer of the building which, judging from everything, seems to have been medieval. Therefore, the wall was widened and extended towards the west during the rebuilding documented in the visitation of 1670. This possibility, which a future excavation of the site ought to be confirm, is strengthened by the frequency of such alterations as can be seen on the seventeenth- and eighteenth-century churches on the island of Ugljan and in particular on the Church of St Lawrence at Lukoran, built in 1632, which is the best example of that architectural type.Another feature of these churches is the lopica-type porch which stands out as an architectural element typical of Istria and the Quarnero gulf to which, geographically speaking, the island of Silba gravitates. The lopica porch of the Church of the Nativity at Silba had a particularly elongated plan and featured two symmetrical sets of three supports and an axial main entrance into the porch, that is, the church. It is unlikely that the porch was added prior to the late seventeenth century because during that time, Silba was exposed to the raids of the Turkish pirates who threatened it directly. It is certain that the bell tower was used for defensive purposes and the addition of a porch would have diminished its importance as a fortification structure and hampered the visual communication with the entrance to the church.The examination of the architecture of the bell tower revealed two different building phases: an earlier one which included the body of the bell tower and a later one which saw the addition of the pyramidal structure together with a shallow square drum. In its original form, the bell tower had a compact body featuring a round-headed opening at the centre of each side of the two topmost storeys. Their stylistically undefined morphology corresponds to modest bell towers which were built in this area from the late sixteenth to the eighteenth century. The original pyramidal top had to be dismantled in 1858 due to wear and tear and it was replaced by the present one which has oval openings at the bottom of each side of the drum. This structure is almost identical to the top of the bell tower of the Church of Our Lady of the Rosary at Preko on the island of Ugljan which was built in 1844.Based on the archival records, the article also establishes that the substantially repainted image of the Virgin and Child with SS Mark and Matthew, today at the high altar of the parish church, was originally larger. It was the object of ex-voto veneration and numerous offerings had been placed in its glass case. The painting was cropped so that it could be inserted into the niche of the marble altar piece designed by Ćiril M. Iveković (1898) which meant the loss of the two evangelists. According to the preserved contract and drawing, the lower part of the altar was set up in 1860 by Giovanni dalla Zonca, an altar maker from Vodnjan, and it featured the still preserved wooden statues of SS Peter and Paul which are dated to the mid-seventeenth century on the basis of their stylistic features. Therefore, it can be concluded that painting and the statues were taken from the high altar of the demolished church.
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Borodenko, Olena. "Metric books as a source in the study of the marriage of the second half of the XVIII – the first half of the XIX century: possible research risks." Universum Historiae et Archeologiae 2, no. 2 (October 11, 2020): 185. http://dx.doi.org/10.15421/26190213.
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The aim. The author studies metric books as church sources of the second half of the 18th ‒ the first half of the 19th century, which were compiled by representatives of the parish clergy and therefore some certain errors and inaccuracies are presented. Research methods. Data sources determined the range of general scientific and special-historical methods used in the research, first of all they are deconstruction, historical and comparative, critical methods, etс. Scientific novelty based on the analysis of the directive and administrative, statutory, accounting and statistical documents, and metric books, the author for the first time made an attempt to reveal a number of violations of the executive discipline in some parishes in terms of maintaining some church documents, mostly marriage records. Main results. In order to avoid research traps, possible informative inaccuracies of the mentioned accounting and statistical documents were found out, fragments of the primary sources were cited, examples of individual married couples were given. We focus on the importance of correct records about the age of people who determined the minority/majority, readiness for recruitment, the acquisition of property rights, the person’s legal responsibility for the crimes committed, the choice of guardian, etс. The metric book and the marriage searches of the Nativity of the Blessed Virgin Mary (Rizdvo-Bohorodytska) Church of the village of Mykolaevka, Romny povit, Poltava province were analyzed, the calculated quantitative indicators of marriage are presented in the table, a comparative analysis of the content is made and the differences in the records of the two church registries are shown, and the quantitative indicators of the matrimonial unions for certain years are compared. At the same time, the probable reasons for the lack of registration of persons for certain years in metric books, as well as factors that could cause dynamic fluctuations in the number of weddings annually and in leap years are emphasized. The author indicates the possible reasons for omitting some entries in the metric books of certain periods, and analyzes the factors that determined the violation of the registration procedure by representatives of clergymen in the church documentation. The following violations were revealed: the discrepancy in the entries in some metric, auditing and marriage-search books; omitting the marital registration between landowners or officials with their serfs; brides’ age fabrication in the church documents; mistakes and corrections in the anthroponomic data, topographical errors in entering brides’ origin etс. The average number of marriages registered in 1763–1858 in the village of Mykolaevka is 11.3. The number of weddings registered in different years including leap years is from 3–4 to 26–28 per year. Originality. The author used the unique metric books, church searches and analyzed church documents previously studied by some Polish and Ukrainian scholars. Practical significance. It is recommended for publishing in scientific journals, historical, demographic, gender and local research, for educational and methodological manuals, and further investigation in social history of Ukraine. Article type: analytical.
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Karkocha, Małgorzata. "The painting Assumption of the Blessed Virgin Mary in the parish church in Rembieszyce. The history of one artefact." Przegląd Nauk Historycznych 16, no. 3 (November 5, 2017). http://dx.doi.org/10.18778/1644-857x.16.03.13.
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Klietkutė, Jolanta. "About the first half of the 19th c. painter Roza Parczewska: some fragments of biography and works." Menotyra 25, no. 1 (May 3, 2018). http://dx.doi.org/10.6001/menotyra.v25i1.3687.
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The article reviews the biography and works of the painter Roza Parczewska. The life of the painter presented in the publication was picked up crumb by crumb from various sources of the 21st century. However, these are only small light flashes in the surface layers of the history, which passed into silence. Her life is worth a much more detailed historical research, or maybe even a pen of the novelist. Roza Parczewska (15 September 1799 – 20 October 1852, Raudondvaris Manor of Nemenčinė) was born in the family of colonel Ignacy and Salomea Dziewońska Parczewska. The painter devoted her life to the family, charity work and painting. At the end of the 18th – beginning of the 19th century, a number of people of the manor made attempts in the fine arts, although they did not have appropriate education. It is not known where and when Parczewska studied painting. However, it is likely that she was acquainted with it during her general education. She painted miniatures early in her life. Later she moved to the large-scale oil paintings of religious motives in churches. Parczewska participated actively in the artistic life. She was the first woman in Lithuania who participated with her own works in exhibitions. Her miniatures painted on ivory received an extremely high recognition. The painter created in the spirit of that time and was employed to make copies of popular miniatures of that time. She painted very thoroughly, perfectly repeating the original images. Therefore, her works were especially popular and wide-spread in Lithuanian manors. Alexander Parczewski recorded eight miniatures and fifteen paintings painted by his sister. However, a complete creative heritage of the painter is unknown. It is obvious that her brother Alexander mentioned not all of her works. A part of her paintings were lost in church fires (for example, in 1842 and 1947 all her paintings were lost in the fire of Nemenčinė church). The religious painting of Parczewska was inspired by the tendencies and traditions characteristic of this field of art. The painter brilliantly and thoroughly copied the works of the well-known painters. For example, in 1831 R. Parczewska created a painting of the Immaculate Conception of the Blessed Virgin Mary in the Kretinga Franciscan Church according to the painting by Szymon Czechowicz from the Assumption of the Blessed Virgin Mary Parish Church in Węgrów (Poland). Another painting of R. Parczewska created in 1837 according to the same work by S. Czechowicz is kept at the altar of Our Lady in Grodno Cathedral (Belarus). R. Parczewska as an amateur painter reached very satisfactory results. She was one of the first women painters who participated in the exhibitions where her works gained praise words. However, the modern art critics estimate her ability of painting as average. Nevertheless, the preserved paintings are considered to be an interesting and valuable example of the specific phenomenon of amateur painter’s creation of the 19th century in Lithuania.
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Bence, Gorazd. "Katarina Elizabeta baronica Raumschüssl, rojena Sauer, in njena loretska kapela pri celjskih minoritih." Studia Historica Slovenica 21 (2021), no. 3 (December 20, 2021). http://dx.doi.org/10.32874/shs.2021-17.
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On 30 June 1692, the widowed Baroness Katharina Elisabeth Raumschüssl from the family of Counts Sauer of Borl established the sung Litany of the Blessed Virgin Mary in the Celje Minorite monastery. This previously overlooked deed of gift is important not only as a testimony to the Baroness's pious intentions and the connections between the Sauers and the Celje Minorites but also because of its reference to the Loreto chapel in the monastery church, whose extension and furnishing the Baroness financed as well, according to the deed. The chapel is another in a series of copies of the Holy House of Loreto, Mary's house from Nazareth, many of which were also constructed in Styria by the end of the 17th century, especially by noble patrons. The article presents the Baroness's family background, related to the veneration of Our Lady of Loreto, and discusses the most probable location and reconstruction of the chapel. Based on the interpretation of Ignacij Orožen's record and the 1813 plan of the monastery, the present article presents a well-argued thesis that the Loreto chapel was once located on the site nowadays occupied by the chapel of Our Lady of Lourdes in the succursal (formerly Minorite) Church of the Assumption of Mary in Celje.
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Rábik, Vladimír, and Michal Franko. "The Church and the Settlement: Church and Settlement Interaction in Medieval Pezinok." Mesto a dejiny 11, no. 1 (2022). http://dx.doi.org/10.33542/cah2022-1-05.
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The development of many settlements was not only determined by regional and economic factors, but could rely on a quite different motivation, when it was firmly tied to an important magnate family, for whom the town would become a residential and memorial environment. This was, of course, linked not only to the construction of a representative family residence, but also to the appertaining ecclesiastical centre, which usually functioned in the already existing, older local church. Therefore, in our study we will take a closer look not only at the settlement of Pezinok itself and its military guard, toll and market functions, but also at the formation of its ecclesiastical centre – the parish and the Parish Church of the Blessed Virgin Mary – because the factor of the magnate’s residence gave it a distinct position in the territory of the Bratislava Provostry. Pezinok was already of considerable importance in Great Moravian times, as it was a settlement situated in the immediate vicinity of a strategic pass through the Little Carpathians. It was this location that resulted in the fact that even after the establishment of the Kingdom of Hungary, its importance was preserved and by the eleventh century at the latest, a Hungarian guard garrison settled here, in the vicinity of an older Slavic settlement with a market and toll function. The settlement situation and archaeological findings make it possible to express the opinion that there must have been a sacral building here already at this time, which survived until the major rebuilding in the fourteenth century. From 1207 Pezinok became the property of the noble Hont-Poznan family, the ancestors of the local counts. After being settled by a German population, it developed towards urban agglomeration, as a result of which it has been called a town since the fifteenth century. Throughout the period, its parish church was an important centre of the settlement.
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Mickienė, Ilona, and Jolanta Petrūnaitytė. "Male Personal Names in the 1813–1814 Church Register of Births of the Church of the Nativity of the Blessed Virgin Mary in Radviliškis." Lituanistica 65, no. 3 (November 28, 2019). http://dx.doi.org/10.6001/lituanistica.v65i3.4092.
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The analysis of nineteenth-century personal names in Radviliškis parish was accomplished by selecting personal names from the church register of births of 1786–1798 and 1813–1814 periods. From the period of 1786–7188, 150 names of baptised boys, 292 names of fathers, and 302 names of godfathers, as well as 588 male surnames were selected. The period of 1813–1814 was represented by 199 names of baptised boys, 281 names of fathers, and 307 names of godfathers and by the surnames of 581 males. The analysis of the 1786–1798 period showed that adults were identified by a binomial personal name consisting of a name and a surname. Male names have Latin, Slavic, Germanic, Greek, Hebrew, Egyptian, Latvian and Celtic origin. At baptism, the boys were usually given the names of Latin origin. Their fathers mainly had names of Hebrew origin, and godfathers – names of Latin origin. We analysed 588 male names: 103 names had Slavic patronymic suffixes, 28 surnames Lithuanian suffixes, and 307 surnames had no clear suffixes, which allowed assigning them to any of the categories mentioned above. The analysis of the 1813–1814 period revealed that adults were identified by a binomial personal name – a name and a surname. The baptised children were given monomial names. We found 44 different names of boys, 48 different names of fathers, and 47 different names of godfathers in the analysed source and divided them by their origin. Latin names made the largest part of the male names. We found many names of Greek, Hebrew, and Germanic origin. The 588 male surnames located in the records were grouped by the available suffixes: 158 surnames had Lithuanian suffixes, 118 surnames had a Slavic suffix -sk, and 86 surnames had the Slavic patronymic suffixes -owicz, -ewicz; 186 surnames had no suffixes. This study aimed to encourage further research into the anthroponymy of Radviliškis. Hopefully, not only registers of birth will be analysed, but also other ecclesiastical books containing records essential for the study of personal names.
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Tulić, Damir, and Mario Pintarić. "Antonio Michelazzi i Francesco Cabianca: nova djela u Italiji i Hrvatskoj." Ars Adriatica 10, no. 1 (December 30, 2020). http://dx.doi.org/10.15291/ars.3196.
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New scholarly insights about the sculptor and altar builder Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771) have revealed him as a far more complex creative personality than it has been known so far. In this paper, the authors have attributed to him the marble statues of St John the Baptist and St Mark on the high altar of the parish church of San Biagio in Cinto Caomaggiore. Michelazzi’s authorship of the marble altar of the Holy Cross in the parish church of the Assumption of Mary in Rijeka has also been confirmed, based on a certificate from 1740 on the receipt of 150 gold coins for work on this altar. Besides Michelazzi’s statues in Cinto, there is a statue of Faith on the high altar, identified as work of the Venetian sculptor Francesco Cabianca (Venice, 1666-1737). A number of other sculptures have been attributed to him, including two marble angels in the parish church of Preganziol, which have been dated in 1697 and were originally located in the church of San Cristoforo in Udine. Cabianca is the author of four marble statues of the Evangelists (auction house), as well as of sculptural decoration on the high altar of the parish church of Sant’Andrea in Cereda. His catalogue of private commissions has been enriched with five newly attributed marble busts from the second decade of the 18th century. These include the busts of Flora and Apollo in the Winter Garden of Saint Petersburg, a bust of a girl (auction house) and two busts of girls from the convent of San Lazzaro degli Armeni in Venice. The marble relief of Ecce Homo in the church of Il Redentore in Venice and the angels on the altar of the Blessed Sacrament in the church of St Simeon in Zadar have also been attributed to Cabianca. Finally, a terracotta sculpture of St John the Evangelist (auction house) has been identified as the first model for a large marble statue of the same saint at the Scuola Grande di San Giovanni Evangelista in Venice.
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Janonienė, Rūta. "New Findings about the History of the Church of Riešė." Menotyra 1, no. 29 (April 1, 2022). http://dx.doi.org/10.6001/menotyra.v1i29.4690.
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The present church of St Stanislaus the Bishop in Riešė (Pol., Rzesza) was built in the first half of the twentieth century, but its history reaches the fifteenth century. In those years, there were several wooden Catholic churches or chapels in the area of Riešė. The article describes the history of the Church of the Name of the Blessed Virgin Mary, which was built in 1790 in the territory of the manor of Didžioji Riešė. Only some details have been mentioned in scholarly literature so far. The church, which was built on private property, actually belonged to the parish of the Dominicans of Verkiai. Between 1868 and 1906, the small church of Riešė was unable to provide services because of the tsarist colonial policy. At the beginning of the twentieth century, it became a filial church of Verkiai, and in 1919 the parish of Riešė was established. Early in the twentieth century, the church was renovated and extended, but it was burnt to ashes by the Wehrmacht in 1944. Thus, the photographs by Jan Bulhak, which are kept at the Lithuanian State History Archives, is all that can give us a picture of the past. These photographs depict the painting The Vision of St Stanislaus Kostka by Szymon Czechowicz (1689–1775) from the high altar of the old church, which is actually a copy of the altarpiece painted for the church of Sant’Andrea al Quirinale in Rome by Carlo Maratta in about 1686. This piece of art has never been mentioned in any article on Czechowicz. The presumption made in the article is that the piece of art could have arrived to Riešė some time between the eighteenth century and the first decades of the nineteenth century, when the manors of Didžioji Riešė and Gulbinų Raudondvaris belonged to Jan Kazimierz Zyberk (Sieberg zu Wischling, 1742–1820), a general lieutenant of the Grand Duchy of Lithuania, and his wife Jadwiga Plater (c. 1780–1833).
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Stankevičienė, Regimanta. "The origin of the miraculous painting of Our Lady in Krekenava Church: iconographic sources and their contexts." Menotyra 25, no. 1 (May 3, 2018). http://dx.doi.org/10.6001/menotyra.v25i1.3686.
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The article presents a high altar painting of “Our Lady with the Child” in the Krekenava Basilica of the Assumption of the Virgin Mary (Our Lady of Krekenava; pine, canvas, oil; size: 172 × 111 cm). Parsons of Krekenava Church were Samogitian archdeacons. The picture was donated by Nicolao Povetrius (Mikalojus Povetrijus), a parson of the church in 1622–1634. It was announced that he brought the picture from Rome. However, the fabrics and artistic features of the painting show that it was created by a Lithuanian painter instead. Iconographic analysis suggests that the painting was painted on the basis of three old prototypes related to St. Luke authorship. These are icons from two very famous churches of Rome (S. Maria Maggiore (Salus Populi Romani) from the Basilica of the same title and S. Maria del Popolo from the church of the same title) and one from Poland and Lithuania, which is highly respected (Our Lady of Częstochowa from Jasna Góra Pauline Monastery Basilica). It was noticed that from the end of the 16th century, the copies of S. Maria Maggiore icon were created on the basis of the original image, e.g. a Jesuitic copy of 1569, which transferred the original painting into the image of the modern times (at present, in S. Andrea al Quirinale monastery). Such copies very quickly spread in Lithuania, where representations of Our Lady of Częstochowa became more and more popular. The derivations of the icon of S. Maria del Popolo were also created. This is testified by the altar painting of the Zarasai Parish Church (until 1610). The combination of several important aspects of origin (St. Luke authorship), cult and iconography of miraculous images of Our Lady in one painting are considered to be an aspiration to create the most suitable ideal image of Our Lady. Applying this method by combining the iconography of S. Maria Maggiore and Our Lady of Częstochowa, a high altar painting of Our Lady of Tytuvėnai Church was created at the same period and benefited by Vilnius Bishop Eustachy Wołłowicz (Eustachijus Valavičius). Krekenava and Tytuvėnai paintings are among the earliest images of the miraculous derivations of Our Lady in Lithuania. The iconography taken from prototypes was supplemented by crowns. The derivation of venerable archaic images of Our Lady was a process of re-evaluation and innovative expose, which took place in the post-Tridentine Church. The process was launched in Rome, and customers of the Krekenava image and other mentioned paintings of Our Lady in Lithuania were high or higher Catholic priests who studied or visited Rome and other Italian cities for other purposes. It is likely that they visited famous paintings and brought their copies. The paintings of Krekenava and Tytuvėnai because of oil painting technique and style are examples of the New Times painting, which was called “Latin” in Lithuania. They have archaic features taken from the prototypes. However, the origin of prototypes dissociates them from the Eastern Orthodox tradition of sacral paintings of the Grand Duchy of Lithuania, to which they are often wrongly attributed. Only wood panels and selection of symbolic gold plating background (golden colour in the Krekenava image) testifies to the impact of the latter tradition.