Academic literature on the topic 'Chapelle du rosaire'

While I was doing fieldwork in a Montreal women’s jail an unexpected detail emerged that intrigued me as a sociologist: the striking presence of the rosary. This detail is at the core of the present article. Conspicuous and discreet, exotic and trivial, the white plastic rosary given by volunteers to incarcerated women was everywhere. Without assuming an inherently religious character, and resisting the temptation to make of it something profound or curious, I ask in this article two simple questions: What is the rosary as an artefact? And how much about chaplaincy at the women’s jail and Catholicism in contemporary Quebec is condensed in this detail? The answers to these questions instruct us on the context of the jail, the study of religion today, and the importance of artefacts.

The participants in the festivals of the rosary in Minas Gerais tell a story about the beginning of the devotion of the blacks to Our Lady of the Rosary. In the story, a black slave sees Our Lady of the Rosary out in the sea rocking on top of the waves. When he tells his master, the master and the priests rush down to the water, but are unable to coax her to come to shore. In frustration, they leave the task to the blacks. Blacks from different African nations, or different groups of congados in the vernacular, go one by one to the edge of the sea (or a river) and play their instruments, dance and sing to try to convince Our Lady of the Rosary to come ashore. Their efforts only become successful when the most traditional group goes to the shore and begins to play their music. Even this most traditional group has no success, however, until all the other groups return and join them to sing together. Only then does Our Lady of the Rosary come to the shore and sit on the largest drum, showing her acceptance of the devotion of the blacks. Even when the whites take her to their own chapel and lock the door, she escapes and returns to the sea, waiting for the blacks to call her out again and put her in their own chapel.

The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.

The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.

Provost Skene’s House, Aberdeen, is home to a painted ceiling depicting scenes from the lives of both Christ and the Virgin. This decoration has intrigued scholars and visitors alike for around sixty years since it was renovated and unveiled to the public in the early 1950s. The ceiling, painted in the seventeenth century, has suffered a considerable amount of damage. Unfortunately, half of the original decorative scheme has been lost. In addition to this, panels that do survive have been modified slightly during restoration. This article examines some of the early-modern continental prints used as sources by the original painters in order to determine that they were Scottish, and not travelling artists from the Low Countries. It also reconstructs the majority of the historic layout of the ceiling, by examining pre-restoration photographs of lost details in conjunction with further early-modern print sources. The article will attempt to identify some of the images which have been lost from the ceiling and argue that the original cycle of images depicted The Mysteries of the Rosary. It will also examine how the painted ceiling, created in the aftermath of the Reformation, survived both the effects of anti-Catholic legislation in Scotland and time. Finally, the relationships between the patron and his local recusant community are discussed in conjunction with the significance of the deliberate inclusion of the IHS monogram within the ceiling’s design.

The article assesses recent research which sheds light on the devotion to the Virgin Mary in Provence during the Counter- Reformation, and was spread by religious orders, and taken up by the secular clergy and pious laymen grouped together into brothe rhoods, Provence, which is close to Italy and the papal enclaves, was the favourite area for the blossoming of the cult of the Virgin Mary, the mainspring of pious fervour in the second half of the seventeenth century. This is shown by the number and naming of the brotherhoods (of the Rosary, of penitents...), the changing of the paintings in churches and chapels, which, from retable to ex- voto, give the Virgin a privileged position, and the setting up of new chapels of pilgrimage dedicated to Mary who is regarded as the universal protector in contrast with the very specialized thera peutic saints. The success of the devotion to the Virgin Mary in Provence during the last century of the Ancien Régime, significantly affects the choices made at important passages in life: an increase passages in the number of baby girls christened Mary, the genera lization of invocations to the Virgin Mary in the testaments, which declines however in the second half of the eighteenth century. But the devotion to the Virgin Mary will prove one of the main sup ports for the Catholic come-back in the nineteenth century

Henryk Buszko and Aleksander Franta were among the most outstanding figures in the post-war architectural community. They designed not only housing estates and secular public buildings, but also temples, including the church dedicated to the Exaltation of the Holy Cross and Our Lady of Healing the Sick in Katowice, recognized as one of the best contemporary religious projects. Fortunately, at the Institute of Architecture Documentation of the Silesian Library in Katowice, there are documents on the history of its construction, but also the ideological premises. Architecture is a field between art and technology that combines two approaches: rational and ideological. In the article were presented the creative profiles of Henryk Buszko and Aleksander Franta, the history and form of the temple as well as the ideas guiding architects during its design.

This study aims to determine the meaning and description of the accessories for the statue of the Virgin Mary in the Chapel of the Graha Annai Velangkanni. The sampling technique used in this research is total sampling, which is a whole sampling technique, so the samples in this study are 11 accessories worn on the statue of the Virgin Mary. The results of this study indicate that the accessories on the statue of the Virgin Mary still show the impression of mixing Indian culture with the Catholic Church. For the accessories of the statue of the Virgin Mary, the aesthetic value has aesthetic value, it can be seen in the form of the sculpture itself which has a good composition and a harmonious combination of colors according to the visual elements contained in the fine art. Types of accessories worn on the statue of the Virgin Mary has its own meaning, this can be seen in the use of accessories. There are 11 accessories worn on the statue of the Virgin Mary, namely: 12 Sea Stars (a sign of hope), the Golden Crown of Our Lady (a sign of the glory of a mother's heart), the Golden Crown of Jesus (a sign of prosperity), a Stola (a holy and clean symbol), the Pastor's Staff. (symbol of directing), Mangalsutra Necklace (symbol of love), Ring of Our Lady (symbol of dignity), Rosary (meditation instrument), Indian Flower Necklace (sign of respect), Saree (Indian traditional dress), and Crescent Moon (snake tread) .

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.

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.

The aim of this thesis is to bring together two different approaches on the concept of sketches in an attempt to broaden the understanding of what a sketch is and does. The first of these approaches is based on a notion of generative art presented by professor of art history and founder of Skissernas museum in Lund Ragnar Josephson (1891-1966). The second approach is situated in philosopher Marcia Sá Cavalcante Schubacks collection of phenomenological essays Att tänka i skisser: essäer om bildens filosofi & filosofins bilder (2011). By letting these two theories and Henri Matisse’s Chapel du rosaire and some of his sketches speak with each other my thesis establishes that the sketch is a non static motion towards shape.