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Journal articles on the topic 'Church of the Archangels'
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1
Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia." Zograf, no. 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.
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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.
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Cvetkovski, Saso. "The vision of Saint Peter of Alexandria, from the Church of St. Archangels in Prilep: Iconographical research." Zograf, no. 36 (2012): 83–88. http://dx.doi.org/10.2298/zog1236083c.
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This text is dealing with a rare thematic innovation that appeared in Byzantine wall painting of the thirteenth century. In particular, the author explores the iconography of the Vision of Saint Peter of Alexandria as found in the Church of St. Archangels in Prilep around 1270. He argues that this work manifests a key moment in the development of this composition over the course of the thirteenth century. This links the same motif found in Melnik from the beginning of the thirteenth century, and a composition from the Church of the Virgin Peribleptos in Ohrid from 1294/1295. In the end, place of the Vision in the painted program of the western part of the Church of St. Archangels in Prilep is analyzed.
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Łaptaś, Magdalena. "“Eternal Bodies”: images of archangels in the upper parts of Nubian buildings." Polish Archaeology in the Mediterranean, no. 29/2 (December 31, 2020): 713–36. http://dx.doi.org/10.31338/uw.2083-537x.pam29.2.30.
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Images of archangels and angels, which were painted on the walls, in the upper parts of the buildings and, on their structural elements, were very popular in Christian Nubian painting as attested by the discoveries from Church SWN.BV on the citadel in Old Dongola. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting this group of representations, the author traces the origins of these images to highlight the role of these spiritual beings as intermediaries between God and humankind. As such, they move freely between the Heavens and the Earth, so the air and cosmic space are their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.
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ERVINE R.R., STONE M. E. "Epigraphica armeniaca hierosolymitana, VIII: Inscribed Candlesticks from Holy Archangels Church." Revue des ?tudes Arm?niennes 28, no. 1 (April 14, 2005): 465–94. http://dx.doi.org/10.2143/rea.28.1.505090.
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Mikheev, Savva M. "Two Short Glagolitic Graffiti in St. Naumʼs Monastery near Ohrid and in Hagia Sophia in Istanbul." Slovene 2, no. 2 (2013): 52–63. http://dx.doi.org/10.31168/2305-6754.2013.2.2.3.
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This paper offers a publication of two short Glagolitic graffiti inscriptions: the inscription ALEKЪSĘDRЪ, dating back to the late 10th or 11th century from St. Archangels’ Church in St. Naumʼs Monastery on the southern bank of Lake Ohrid in Macedonia, and the in-scription AN, in Hagia Sophia, Istanbul (Constantinople), Turkey.
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Grozdanov, Cvetan. "The painting of the northern wall of the narthex of the Church of the Virgin Peribleptos (st. Kliment) in Ohrid." Zograf, no. 36 (2012): 109–14. http://dx.doi.org/10.2298/zog1236109g.
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The author examines the figures and scenes painted on the northern wall of the narthex of the Church of the Virgin Peribleptos in Ohrid. He describes and interprets Nebuchadnezzar?s dream, the figures of the archangels Michael and Gabriel as guardians of the entrance to the church, and the choir of the saint anargyres (Panteleimon, Cosmas and Damian). He then proceeds to discuss the empty field above the northern do or of the narthex, the arcosolium and the tomb of Ostoja Rajakovic. Finally, he refers to the penetration of a new passage on the eastern wall of the narthex, which resulted to the destruction of some figures from the earliest layer of frescoes in the church.
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Budu, Ana Maria, Raluca Cristache, Andrei Victor Sandhu, Viorica Vasilache, Mohd Mustafa Al Bakri Abdullah, and Ion Sandu. "Study of Coloured Lakes Used for the Covering of Silver Leaf in Ecclesial Art of the First Half of 19th Century." Applied Mechanics and Materials 754-755 (April 2015): 714–18. http://dx.doi.org/10.4028/www.scientific.net/amm.754-755.714.
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The wooden sculptures in orthodox churches are usually gilded with golden leaves, applied by means of different techniques (with bole or mixtion). Silver leaf was also used for economic or aesthetic purposes, usually covered with coloured lakes: red, green (for flowers, leaves and fruits) or yellow (for gold imitation). This study presents analysis realized on samples of coloured lakes taken from different cult objects. We used red and green lakes taken from the royal doors of the St. Nicholas church from Aroneanu, Iasi (1814) and from the royal doors and deacon doors from St. Archangels Church, Ceplenita, Iasi (beginning of the 19th century). The yellow samples were taken from two icons painted in russian style: St. Nicholas and Holy Virgin of Kazan (beginning of 19th century). The SEM-EDX and FT-IR spectra revealed the different origins of the lake (organic and inorganic) and suggested the technique for their preparation.
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Djordjevic, Ivan, and Dragan Vojvodic. "The wall painting in the outer narthex of Djurdjevi stupovi (Church of St. George) in Budimlja, near Berane." Zograf, no. 29 (2002): 161–80. http://dx.doi.org/10.2298/zog0329161d.
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Altered by repairs and largely concealed by later additions, the walls of the exonarthex in the cathedral Church of St. George near Berane (Vasojevici), now reveal very little of their earlier fresco decoration. There was the developed cycle of a frescoed menology depicted in the higher zones of the walls, whereas in the lowest zone were the images of saints archangels and the portraits of rulers. Judging by analogies that can be established with similar Serbian monuments of that epoch, the vault probably depicted the Ecumenical Councils...
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Gabelic, Smiljka. "Notes from Kuceviste." Zograf, no. 31 (2006): 125–34. http://dx.doi.org/10.2298/zog0731125g.
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The most complete study of the Church of the Virgin in the village of Kuceviste near Skopje, the naos of which was built and painted by ca. 1330 and the narthex, between 1332/1334 and in 1337, was published by Ivan M. Djordjevic (?. 1-2). Later, other researchers examined it in their articles (n. 3). Our observations concern the distribution of some individual figures in the programme of the naos and, especially, the symbolic meaning of the iconographic presentations of the two chief archangels and their positions in the programme.
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Sandu, Ion, Cosmin Tudor Iurcovschi, Ioan Gabriel Sandu, Viorica Vasilache, Ioan Cristinel Negru, Mihai Brebu, Petronela Spiridon Ursu, and Vasile Pelin. "Multianalytical Study for Establishing the Historical Contexts of the Church of the Holy Archangels from Cicau, Alba County, Romania, for its Promotion as a World Heritage Good I. Assessing the preservation-restoration works from the 18th century." Revista de Chimie 70, no. 7 (August 15, 2019): 2538–44. http://dx.doi.org/10.37358/rc.19.7.7376.
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The present paper is the first instalment of a series focused on establishing some archaeometric characteristics of the modern finishings (mortars, fresco and layers of whitewash) of the Church of the Holy Archangels from Cic�u, Alba County, Romania, in order to assess the shape, with the structural-functional integrity and architectural and artistic aspect of the monument for the last historical context, between 1710 and 1790. This period is the most extensive and less known of the church�s stages of transformation: 11th�12th century (unknown), 15th century (known) and 18th century (partially known), which was very tumultuous from the socio-economic and political point of view. Thus, in the following pages we present the resulting archaeometric characteristics of optical microscopy (OM), scanning electron microscopes in combination with energy-dispersive X-Ray spectrometry (SEM-EDX) and thermal derivatography (TG/DTA/DTG) analyses of two pigments from the exonarthex fresco (made in 1781) and the later eight layers of whitewash applied over it, which allowed assessing the periods with marked changes in the architecture and polychrome finishings.
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Bratu, I., Monk Siluan, C. Măruţoiu, I. Kacso, S. Garabagiu, V. C. Măruţoiu, C. Tănăselia, D. Popescu, D. L. Postolache, and D. Pop. "Science Applied for the Investigation of Imperial Gate from Eighteenth Century Wooden Church of Nicula Monastery." Journal of Spectroscopy 2017 (2017): 1–7. http://dx.doi.org/10.1155/2017/6167856.
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Part of an indestructible component of any orthodox church, the Imperial Gates represent an important symbol in our cultural heritage. But in many cases the Imperial Gates from the wooden churches were damaged. In order to preserve and restore them, the scientific investigations of the Imperial Gate belonging to Nicula Monastery wooden church were performed by employing nondestructive and destructive methods. The wood essence was established, with its “health” status being investigated by FTIR (Fourier Transform Infrared) spectroscopy and DSC (Differential Scanning Calorimetry) thermal analysis. The painting materials employed by popular artists were determined by FTIR and XRF (X-ray fluorescence) spectroscopy as gypsum, calcite (rear background), lead white (Archangel Clothes), lead-minium (Archangel Clothes, leaf), iron oxide (Imperial Gate frame), malachite (green), Prussian blue (blue), orpiment (yellow), aliphatic, ester, and protein (probably egg yolk degradation products). Using similar colors as in the original artwork (resulting from the scientific investigation of the pigments) a 3D reconstruction has been performed. The restored Imperial Gates are placed in the old Nicula wooden church, being included into a tourist and religious circuit.
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S, Husak. "CHURCH OF THE DISCALCED CARMELITES IN LVIV AND THEIR ARCHITECTURAL STYLE." Architectural Studies 7, no. 1 (April 30, 2021): 42–57. http://dx.doi.org/10.23939/as2021.01.042.
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The former church and monastery of the Discalced Carmelites, present Greek Catholic Michael the Archangel Church, is one of the most unexplored sacred buildings of Lviv. Despite its historical importance to the town, the few surviving documents list only donations and royal privileges. This article refers to examples of other Carmelite churches, as well as Italian religious houses to try to explain the possible building process. Not only them but also the already existing convents of the city shaped its form, which is significant for locating its history within the local building tradition.
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Silina, Ol'ga Vladimirovna. "FRESCO “SAINT MARY OF BLACHERNAE WITH ARCHANGELS” IN THE 1502 WALL-PAINTING OF THE CATHEDRAL CHURCH OF FERAPONTOV MONASTERY. INTERPRETATION AND SYMBOLISM." Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice, no. 1 (March 2018): 138–42. http://dx.doi.org/10.30853/manuscript.2018-1.29.
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CONSTANTINIDES, Efthalia C. "The Frescoes of the Church of the Holy Archangels at Zemo-Krichi, Rača (Georgia) and the Contemporary Monuments on Mani in Southern Greece." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 35 (January 11, 1994): 181. http://dx.doi.org/10.12681/dchae.1103.
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Chojnacki, Stanislaw. "Notes on a Lesser-known Marian Iconography in 13th and 14th century Ethiopian Painting." Aethiopica 5 (May 8, 2013): 42–66. http://dx.doi.org/10.15460/aethiopica.5.1.445.
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In this article the early evolution of iconic iconography of the Virgin Mary in Ethiopia is discussed. One particular image is postulated to exist on a painted manbar at Lālibalā. The figure of the Child Mary depicted together with her mother, St. Anne, in the wall painting at the Gannata Māryām Church can also be considered iconic. In the late 14th century and the first decades of the 15th century, three specific groupings of depictions of the Virgin Mary, all clearly having iconic characteristics, have come to light: the Orant Virgin, the seated Hodegetria and the enthroned Virgin holding the Child in her lap. These three forms are characterised by the inclusion of the Archangels Michael and Gabriel, who are shown sheltering her with their outstretched wings. They are depicted holding crosses, while in a particular group of miniatures they extend their hands towards Mary in a gesture of supplication. This Orant form appears to be exceptional, and exists only in 14th century. The Hodegetria type evolved into numerous variants depending on the position of the Child, on Mary's left or right arm. The form of the Enthroned Virgin holding the Child in her lap, faded away in the early 15th century.
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درویش, محمود احمد. "Bridal crowns of Archangel Michael Church at Mallawi." مجلة وادی النیل للدراسات والبحوث الإنسانیة والاجتماعیة والتربویه 13, no. 13 (January 1, 2017): 23–29. http://dx.doi.org/10.21608/jwadi.2017.85317.
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Głowacki, Wojciech M. "Modernity and Compromise: The Church of St. Michael the Archangel in Warsaw and its Designer Władysław Pieńkowski." Ikonotheka 28 (August 6, 2019): 169–97. http://dx.doi.org/10.5604/01.3001.0013.3356.
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Despite the considerable influence he exerted on post-war church architecture in Poland, the designer Władysław Pieńkowski (1907–1991) is today an altogether forgotten figure. The current paper outlines his biography and his early oeuvre; this is because his experience in designing office blocks and industrial plants gained while working under the supervision of the most outstanding Polish architects of the mid-20th century, was to be of key importance to his later, independent designs for ecclesiastical buildings. The paper focuses on a particularly important work, one which in many ways constitutes a breakthrough in the architect’s career, namely the church of St. Michael the Archangel in the Mokotów district of Warsaw. This was the first entirely new church to be erected in the capital of Poland after the year 1945. Its construction depended on the dynamic changes in the balance of political forces. The church could be built owing to the support of the PAX Association circle, including the direct involvement of Bolesław Piasecki. In spite of their patronage, however, construction works were repeatedly halted and extended over several years, and the architectural design had to be reworked. The paper contains an analysis of three fundamental designs for the church, now held in the St. Michael the Archangel parish archive and in the architect’s records preserved by his heirs. The first design dates from the period of 1948/9–1951, the subsequent one from the year 1954, and the final one from 1956–1961. The evolution of the design moved from the initial continuation of forms typical of the pre-war Modernised Revivalism, through a peculiar reference to Socialist Realism, to rigorous Modernism. The church of St. Michael the Archangel became Pieńkowski’s testing ground; there, he tried out several solutions which he would consistently utilise in the subsequent years of his career, e.g. the large-scale application of prefabricated elements in both the construction and the decoration of the edifice. The construction of this church was concurrent with important events of a political (the Thaw) and religious nature (the Second Vatican Council). Tracing the history of the design for the Warsaw church and clarifying its connections with contemporaneous church architecture in Poland and in Western Europe made it possible to present the key problems faced by the Polish designers of ecclesiastical architecture in the first decades of the People’s Republic of Poland.
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Korshunova, Natalya G. "FOUR RELIGIOUS PAINTINGS OF THE MIDDLE OF THE XVIII CENTURY FROM THE CHURCH OF THE RESURRECTION OF CHRIST OF THE GREAT TSARSKOYE SELO PALACE." Articult, no. 4 (2020): 54–64. http://dx.doi.org/10.28995/2227-6165-2020-4-54-64.
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For the first time in scientific circulation information is being introduced about four religious paintings of the middle of the XVIII century which stayed safe after the looting of the Church of the Resurrection of Christ of the Great Palace of Tsarskoe Selo during the German occupation of the town of Pushkin in 1941-1944. These are the work of artists: I.P. Argunov’s “John of Damascus”, G.G. Deryabi’s “Healing of the Relaxed”, M.L. Kolokolnikov’s “Archangel Michael” and “Archangel Gabriel”. For the first time, information about four preserved Church images of the middle of the XVIII century from the Court Church of the Resurrection in the Big (Catherine) Tsarskoye Selo Palace is introduced into scientific circulation. Stylistic, iconographic and comparative analysis of these works is carried out. The typological systematization of the picturesque design of the temple is introduced. For the first time, the iconographic connection of the plot of images of the Court Church with the engravings of the Western European Bibles, in particular with the engravings of the Bible (1695) by Weigel is revealed. Information about the museum status of the preserved works is given. Two periods in the work of the creation of the picturesque decoration of the Court Church in the middle of the XVIII century are considered on the example of the preserved works.
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Pokrovskaya, Elena. "Longevity enhancement of wooden civil structures." E3S Web of Conferences 263 (2021): 01023. http://dx.doi.org/10.1051/e3sconf/202126301023.
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A method of longevity enhancement of wooden civil structures by absorption-chemical modification of timber surfaces is described herein. The modifiers were phosphoric acid ethers. The properties of the superficial layer were studied by IR-spectroscopy and elementary analysis by Energy Dispersion X-Ray Spectroscopy (EDX) for build-up detection of covalent bonds of the modifier with the timber surface. During mycological studies, quantities of vital spores on surfaces of wooden structures were measured. As a result, the modified surface of the timber features durable a high degree of biological and fire protection enhancing the longevity of timber structures. The obtained results were practically introduced for longevity enhancement of the timber structures in Ryazan Kremlin, Anglican Church in Archangel’sk City, Nikol’skaya Church (Lyavlya Village, Archangel’sk Region), in Yaroslavl’ Wooden Architecture Museum, Holy Trinity Sergius’ Lavra, in construction of individual housings in Moscow Region.
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S., Beskhyroun,, Mahgoub, G., El-Rifai, I., Mahgoub H., Osticioli, I., Nevin, A., and El-naggar, A. "STUDY OF THE PAINTED DOME OF THE CHURCH OF ARCHANGEL GABRIEL, CAIRO." Egyptian Journal of Archaeological and Restoration Studies 9, no. 2 (December 1, 2019): 129–40. http://dx.doi.org/10.21608/ejars.2019.66982.
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Frykowski, Janusz A. "The History of Saint Michael the Archangel Uniate Church in Rogóźno in the Light of the 18th Century Church Visitation." Roczniki Teologiczne 63, no. 4 (2016): 91–108. http://dx.doi.org/10.18290/rt.2016.4-7.
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Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.
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The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.
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Ivanov, A. A. "Orthodox Clergy and Right-Wing Political Movements in Russia at the Beginning of XX Century: Church Press." Nauchnyi dialog, no. 1 (January 27, 2021): 286–305. http://dx.doi.org/10.24224/2227-1295-2021-1-286-305.
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The question of the attitude of the Orthodox Russian clergy to the right-wing political parties at the beginning of the 20th century — the Black Hundreds (the Union of the Russian People, the Russian People’s Union named after Mikhail Archangel, etc.) and Russian nationalists (the All-Russian National Union and related organizations) is considered. The novelty of the research is seen in the introduction into scientific circulation of new sources (materials of the church press), which make it possible to make a number of significant clarifications in the existing ideas about the relationship between the Orthodox Church and right-wing political organizations. Particular attention is paid to the differences in the views of clergymen on the Black Hundred unions and political structures of Russian nationalists. The reasons for the cooperation of conservative Orthodox pastors with the Black Hundred unions and organizations of Russian nationalists and the circumstances that forced the clergy to show concern for the views and activities of right-wing parties are shown. It is argued that the secularization and Westernization of Russian nationalism, which led to the departure of its ideologists and followers from the foundations of the Orthodox doctrine and church worldview, became the main reasons for the wary attitude of church circles towards the political organizations of Russian nationalists.
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Gabelic, Smiljka. "Relief panels on a three-light window from Lesnovo. Proposing an interpretation of the semiotics of carved motifs." Zograf, no. 41 (2017): 157–68. http://dx.doi.org/10.2298/zog1741157g.
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The paper explores the semiotic meaning of relief panels from a three-light window on the northern facade of the naos of the Church of Archangel Michael and St. Gavrilo of Lesnovo at the Lesnovo Monastery (1340/1341). Iconographically derived from tombstones and objects of everyday use, their geometrical and zoomorphic decoration seems to suggest that the ktetor and his family believed in the protective power of the symbols and signs carved on them.
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Heo, Angie. "The Virgin Made Visible: Intercessory Images of Church Territory in Egypt." Comparative Studies in Society and History 54, no. 2 (March 22, 2012): 361–91. http://dx.doi.org/10.1017/s0010417512000072.
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In the dark midnight hours of 11 December 2009, the Virgin Mary (al-‘adhra) burst into visibility against the skyline of al-Warraq, a working-class district on the neglected peripheries of Giza, Egypt. Hovering within a glowing triad of crosses, the apparition attracted spectators to the Church of the Virgin and the Archangel Michael along the main thoroughfare, Nile Street, even in the inconvenient hours between dusk and dawn. Within days, the Virgin was being discussed far and wide by Christians and Muslims, Egyptians and foreigners, skeptics and believers. Reactions were diverse: A journalist announced to his friends, “Even if the Virgin appeared before my very eyes, I would deny her.” A cab driver explained, “It is a trick, a big laser show in the sky.” A young mother urged, “Why [forbid oneself] the joy that the Virgin brings?”
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Muçaj, Skënder, Suela Xhyheri, Irklid Ristani, and Aleksey M. Pentkovskiy. "Medieval Churches in Shushica Valley (South Albania) and the Slavonic Bishopric of St. Clement of Ohrid." Slovene 3, no. 1 (2014): 5–42. http://dx.doi.org/10.31168/2305-6754.2014.3.1.1.
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There were numerous Slavic settlements in South Albania (including the valley of Shushica River) at the end of the 1st millennium. In the second half of the 9th c. a significant part of this region was conquered by the 1st Bulgarian Kingdom, and after 870 there were established ecclesiastical dioceses which became part of the church organization of the Kingdom. Slavonic ecclesiastical schools were established in that region as well, after 886 in the context of the so-called “Slavonic project” of the Bulgarian prince, Boris. St. Clement took an active part in this project. It was South Albania where the first Slavonic bishopric in Southeast Europe was founded, in 893, when St. Clement was appointed bishop. His bishopric was organized according ethnic principle, so that St. Clement was called “the bishop of Slavonic people.” The center of Clement’s bishopric was in Velica, which is related to the modern settlement Velçë in the Shushica valley. There are ruins of a cross-in-square church with a narthex in the Asomat region, which is located near Velica. The church was built at the end of the 9th‒beginning of the 10th cc. and dedicated to the Archangel Michael. The plan of this church is identical with that of the so-called “pronaos” of the church built by St. Clement in his Ohrid monastery. In St. Clement’s bishopric Church Slavonic was used as a liturgical language. For that purpose, a set of Byzantine liturgical books was translated from Greek into Church Slavonic, and Clement took an active part in this process. Liturgical pecularities of these books partially observed in Greek manuscripts of South Italian provenance testify to the hypothesis that Greek sources of the earliest Church Slavonic translations belonged to liturgical tradition of Epirus, similar to those of South Italy. This also proves the location of St. Clement’s bishopric in the valley of the Shushica River.
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Cvetkovski, Saso. "The royal doors from the Church of St. Nicholas in the village Prisovjani." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 567–73. http://dx.doi.org/10.2298/zrvi0744567c.
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In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum in Belgrade) from St. Panteleimon in Nerezi, and the those from the church of St. Nicholas at Korenica. The Royal Doors from Prisovjani bear two key features from the above mentioned works, the carving and the painting. The carving is distinct by the concept of the tablets, and the motifs: the interlacing ornament, known as 'Solomon's seal', the running meander, and the ornament resembling a maggoty effect. The style of the icon painting, and the manner in which the depiction of Archangel Michael and the Holy Virgin were achieved had led previous scholars to believe that these works were accomplished under the influence of the Cretan painting of this period. The Royal Doors from Prisovjani are dated to the mid 16th century, the period of the Ohrid Archbishop Prochor, a period of great prosperity in all arts moreover since the archbishop himself was one of the great patrons.
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Adamczewski, Grzegorz, and Piotr Woyciechowski. "Degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw." MATEC Web of Conferences 284 (2019): 07001. http://dx.doi.org/10.1051/matecconf/201928407001.
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The paper presents the case study of the degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw. The background of the contemporary precast non-standard prefabrication was presented with the examples of polish recent applications. The GPR (ground penetrating radar) method was used in determining the location of reinforcement in the precast elements in the degraded façade. The conceptions of repair were analyzed and the reasons of the destructions of the precast elements.
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Vojvodic, Dragan. "The lost traces of the frescoes on the western frontage of the ascension Church in Zica." Zbornik radova Vizantoloskog instituta, no. 50-2 (2013): 683–92. http://dx.doi.org/10.2298/zrvi1350683v.
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On the lower layer of the fa?ade mortar that once covered the western frontage of the Zica katholikon, traces were registered of the figure of an archangel (the western face of the tower) and parts of ornamental friezes (southern wing of the narthex fa?ade and the northern oculus). Consideration of the data provided in earlier documentation leads one to conclude that this referred to traces of painting done during the renewal of the Ascension Church in the time of Archbishop Danilo II.
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Vai, Stefania. "The Bessarion Chapel." Paragone Past and Present 2, no. 1 (July 16, 2021): 120–36. http://dx.doi.org/10.1163/24761168-00201006.
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Abstract The Bessarion chapel in the church of Santi Apostoli represents a new chapter in the study of the Roman Quattrocento. Its frescoes, painted by Antoniazzo Romano between 1464 and 1467, are a fundamental example of the Roman artistic taste in the early Renaissance. This essay examines unexplored aspects surrounding the origin of the chapel by understanding how Romano obtained this commission and how much he used visual solutions borrowed from the past. In addition, this investigation sets out to reconsider the artistic influence of the Bessarion commission, focusing on the paintings which have recently been discovered in the Orsini church of Saint Michael the Archangel in Formello (Italy). The questions concerning the Bessarion chapel raised in this study will lead to a more exhaustive understanding of this commission and will shed light on the complexity of the early Renaissance in Rome, where tradition and innovation masterfully coexist.
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Starodubcev, Tatjana. "Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting." Zograf, no. 39 (2015): 25–46. http://dx.doi.org/10.2298/zog1539025s.
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Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory?s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint?s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease. For that reason, the Emperor found a large house, in which he established and fully equipped a xenon (hospital, ?????), whereas Sampson was appointed as the skeuophylax of the Great Church. The Blessed continued to work there until his death. His venerable leipsana, which rested in the church of Saint Mokios, constantly issued the cures. His feast was celebrated in the hospital founded by him. Long time had passed between the period in which the Saint had lived and the epoch in which his earliest hagiography was compiled. During that time, some events could have fallen into oblivion and accounts of other events could have been invented. Accordingly, the results of the researchers of Saint Sampson?s xenon?s history are valuable. The hospital was housed in Sampson?s home, where he provided not only health care, but also food and bed. It was presumably founded in the fourth century. The xenon was burned in the Nika riots in 532 and Emperor Justinian had it renovated and expanded. Based on some documents issued in the Empire of Nicaea, it may be concluded that the xenon had vast estates. The Crusaders first sacked it, to subsequently use it for their own needs, as they established the Order of Saint Sampson. The hospital soon received many properties in Constantinople and its environs, Hungary and Flanders. It seems that after the liberation of Constantinople, the activities of Saint Sampson?s hospital were ceased and that there was a monastery at its place in the Palaiologan period. Anyway, the reputation of its holy founder persisted throughout the thirteenth century. Constantine Akropolites wrote the already mentioned Hagiography, and in one of his letters he spoke of the Saint, who was also mentioned in a poem by Manuel Philes (died around 1345). In Constantinople, the veneration of Saint Sampson had two centres - the hospital named after him and the church of Saint Mokios, where his leipsana rested. According to the synaxaria of the Typikon of the Great Church and the Church of Constantinople, the feast dedicated to the Saint was celebrated at his xenon. The former text informs us that the service was held by the Patriarch, whereas Symeon Metaphrastes relates that the vigil on the eve of the feast took place over the relics in the church of Saint Mokios. The Patriarch celebrated the feast dedicated to Saint Sampson with hospital clergy in the church within the xenon, both mentioned by Metaphrastes. It was either this church or a shrine from a later period that housed the iconostasis noted down by Constantine Stilbes, an eyewitness of the Latin capture of the Byzantine capital. Written sources and archaeological finds are consistent in that the hospital was located between the churches of Saint Sophia and Saint Irene. However, the first excavations carried out at the site of the xenon were not properly documented, whereas archaeologists involved in further investigations could not rely on reliable data, though they carefully examined all finds. The question arises why Saint Sampson was at first usually depicted in the company of Saint Mokios, a presbyter who died a martyr?s death in Constantinople (May 11), and later, together with Saint Diomedes, the physician who died in Nicaea (August 16). Therefore, this paper briefly presents the hagiographies of the two saints and the churches in the Byzantine capital where their relics rested - the monastery of Saint Mokios, which did not exist in the mid-fourteenth century, and Saint Diomedes, which was counting its last days in the fourteenth century, reduced to a small monastery. Dobrynja Jadrejkovic (subsequently Antony, archbishop of Novgorod) noted down around 1200 that the saint?s stick, epitrachelion and robes were kept at the hospital of Saint Sampson, whereas in the church of Saint Mokios, under the altar, rested Saint Mokios and Saint Sampson. He also mentioned that water flew from the latter?s grave, as well as that the church of Saint Diomedes was near the Golden Gate and that the relics of Saint Diomedes rested there. However, the Russian pilgrims who visited Constantinople during the Palaiologan period mentioned neither Saint Sampson?s hospital, not the church of Saint Mokios, whereas the church of Saint Diomedes, but not his relics, was noted down only by an unknown traveller who described the pilgrimage undertaken between the late 1389 and the early 1391. The answer to the question of what happened to the leipsana that once laid in these churches is not possible to provide. The fate of the relics of Saint Sampson, previously kept in his xenon, is not known, nor is it known where the commemorations of the three saints were held in the capital during the Palaiologan period. Anyway, the depictions of Saint Sampson accompanied by Saint Diomedes - whose oldest examples are preserved in Arilje - indicate that the connection of these two priest-physicians had already begun by the time when the church was painted (1295/1296), but, judging by the available sources, the only evidence on the process is given by the paintings. Although Saint Sampson founded the hospital which was probably the oldest in Constantinople, and though his leipsana, kept in the church of Saint Mokios, had healing powers, while his relics in the xenon were visited by pilgrims, it seems that the respect for this saint in the Byzantine capital was not reflected in the frequency of his images among holy physicians: he was fairly rarely shown among them. As a matter of fact, the earliest representations of Saint Sampson originated from Constantinople. They can be found on lead seals made for the hospital in the second half of the sixth and during the seventh century. On the other hand, there is no any known preserved depiction of this saint in the mural decoration of the early churches. Accordingly, it may be assumed that the veneration of Saint Sampson was initially limited to Constantinople, and that it was only later, since the time when his short hagiography was included in the synaxarium and his extensive hagiography was written for the Metaphrastes?s comprehensive work, that it was adopted in other areas of the East Christian world. It may seem paradoxical that the preserved images of the Saint dating from the period when his xenon flourished are less numerous than those from the time when the hospital, in all probability, did not exist. It seems that after the liberation of Constantinople from Latin rule, Saint Sampson was earnestly honoured and that the believers frequented the monastery at the site of the old xenon, though the hospital did not exist anymore. The former assumption is corroborated by the writings of Constantine Akropolites and Manuel Philes, whereas the latter is supported by the coins from the Palaiologan period found in the sacral building within the complex that once belonged to Saint Sampson?s hospital. Although his miraculous leipsana rested in the church of Saint Mokios, the posthumous miracles of Saint Sampson, described in later hagiographies, mostly took place in his xenon, which housed the relics that were visited by pilgrims and where commemorative services dedicated to him were held. The veneration of the Saint was long fostered within the institution founded by him - the ancient hospital where trained doctors worked - i.e. it was nurtured between the reputation of medical skills based on secular knowledge and miraculous healings.
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Veluwenkamp, J. W. "De Nederlandse Gereformeerde Gemeente Te Archangel in De Achttiende Eeuw." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 73, no. 1 (1993): 31–67. http://dx.doi.org/10.1163/002820393x00021.
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AbstractThe Dutch Reformed Parish in Archangel in the Eighteenth Century The Dutch Reformed parish in the Northern Russian seaport of Archangel probably originated in the 1630s and apparently received some sort of formal and independent status in about 1660. In the eighteenth century, the parish was a small and shrinking community. In the 1730s, it had an estimated 240 Dutch members, and by the 1770s about 110. The parish virtually coincided with the Dutch merchant community of Archangel. Many of the Dutch merchants of that town lived there with their wives, children and servants. The parish council consisted of the minister and (probably three) elders and (probably three) deacons. The minister, who usually came from the Netherlands or Germany, was hired by the Directors of the Muscovy Trade (de Directeuren van de Moskovische Handel) in Amsterdam on behalf of the parish, examined and called by the Classis of Amsterdam, and paid by the parish. The church, of course, focussed primarily on the spiritual care of the parish members. But the parish council also performed communal services in a broader sense. It provided for the teaching of children and acted as orphan's court. The parish had a school-house and employed a Dutch schoolmaster.
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Hamilton, Sarah. "Otto III’s Penance: A Case Study of Unity and Diversity in the Eleventh-Century Church." Studies in Church History 32 (1996): 83–94. http://dx.doi.org/10.1017/s0424208400015345.
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In the spring of 999 the Emperor Otto III went on pilgrimage to the shrine of the Archangel Michael at Monte Gargano in southern Italy. His pilgrimage was not widely recorded; it was not referred to in any of the works produced in the Empire in the next half century, and only briefly mentioned in three South Italian works. But Otto’s pilgrimage was described more extensively in the eleventh-century vitae of two saints: the anonymous Greek Vita Nili and Peter Damian’s Vita Beati Romualdi. This article will make a case-study of the way in which the authors of these vitae used Otto’s pilgrimage to help construct the sanctity of their own subject, and of how far this reflects the degree of unity, and of diversity, between the Greek and Latin traditions of the Church in southern Italy in the first half of the eleventh century.
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Johnson, Richard F. "Archangel in the Margins: St. Michael in the Homilies of Cambridge, Corpus Christi College 41." Traditio 53 (1998): 63–91. http://dx.doi.org/10.1017/s0362152900012083.
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In the preface to his edition of the ninth-century Book of Cerne (Cambridge, University Library, MS L1. 1.10), A. B. Kuypers notes “two great currents of influence, two distinct spirits, Irish and Roman” at work in the composition of the prayers in this private devotional book. Moreover, Kuypers asserts that “these influences are traceable through the whole range of the strictly devotional literature of the period.” Since it is generally acknowledged that the two great forces shaping the early Anglo-Saxon church were the Roman missionaries in the south and Irish monks in the north, it is reasonable to suspect that the Anglo-Saxon devotional practices to St. Michael the Archangel were also influenced by both traditions.
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Khatanzeiskaya, Elizaveta Vladimirovna. "Church of the Nativity of Christ in the village of Purnema of Onezhsky District of Archangelsk Region as an example of stave temple architecture of the late XIX century in the European North of Russia." Genesis: исторические исследования, no. 7 (July 2020): 74–85. http://dx.doi.org/10.25136/2409-868x.2020.7.33337.
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This article is dedicated to the history of temple complex of the rural settlement of Purnema of Onezhsky District of Archangelsk Region, where in the early XX century was situated the three-part ensemble comprised of two churches – tent-roofed Nikolskaya (1618), Church of the Nativity of Christ (1860-1861), and a bell tower that survived until the early 1930s. Relevance of the topic is substantiated by the fact that the monuments of stave architecture, masterpieces of temple architecture of the Russian North are vanishing, and the North loses its cultural uniqueness. The aforementioned temple complex is one of the few preserved in the Russian North. Attention is turned to the current state of the temple complex, status and significance of monuments, their boundaries, current state protection regime, and the need for taking immediate measures to preserve them as the objects of cultural heritage in the historical environment. The goal of this research consists in determination of the distinctness of temple complex in the village of Purnema within the cultural-historical landscape of the Russian North and its present significance. The scientific novelty is defined by the fact that the history of the Church of the Nativity of Christ has not previously been the subject of special research among historians and art historians. The article employs archival data and documentary photographs that are newly introduced into the scientific discourse. The acquired results allow concluding that the monument should become state registered. The practical importance of this work is that the presented materials can be used in elaboration and implementation of the state strategy aimed at preservation and development of unique Northern and Arctic cultural landscapes, historical settlements, monuments of religious and civil architecture, their scientific restoration, museification and revalorization.
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Korunovski, Sasho. "A contribution to the study of architecture of the monastery church of St. Archangel Michael in Prilep." Zograf, no. 35 (2011): 111–18. http://dx.doi.org/10.2298/zog1135111k.
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Sudimac, Budimir, Aleksandra Ugrinović, and Mišo Jurčević. "The Application of Photovoltaic Systems in Sacred Buildings for the Purpose of Electric Power Production: The Case Study of the Cathedral of St. Michael the Archangel in Belgrade." Sustainability 12, no. 4 (February 14, 2020): 1408. http://dx.doi.org/10.3390/su12041408.
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In light of climate changes, technological development and the use of renewable energy sources are considered very important nowadays, both in newly designed structures and reconstructed historic buildings, resulting in the reduction in the commercial energy consumption and CO2 environmental emissions. This paper explores the possibilities of improving the energy efficiency of sacred heritage buildings by utilizing photovoltaic systems. As an exceptionally significant cultural good, the Cathedral of St. Michael the Archangel in Belgrade shall serve as a case study, with the aim of examining the methods of mounting photovoltaic (PV) panels, taking into account the fact that the authenticity and the aesthetic value of this cultural monument must remain intact. A comparative analysis of the two options for installing PV panels on the southwestern roof of the church was performed using simulations in PVgis and PVsist V6.84 software, with the aim of establishing the most efficient option in terms of power generation. The simulation results show that photovoltaic panels can produce 151,650 kWh (Option 1) and 150,894 kWh (Option 2) per year, while the required amount of energy is 42,726 kWh. The electricity produced exceeds the electricity requirements for the decorative lighting of the Cathedral Church, so it can be used for other purposes in the sacred complex.
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Tomas, Ivana. "Sv. Mihajlo; Ston; arhitektura; skulptura; zidne slike; 10. stoljeće; 11. stoljeće; Mihajlo Višević; Stefan Vojislav." Ars Adriatica, no. 6 (January 1, 2016): 41. http://dx.doi.org/10.15291/ars.176.
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St Michael’s church in Ston is an important monument of medieval architectural heritage within a wider area of Dubrovnik and the only positively attested monument of the so-called southern Dalmatian single-nave dome type in the area of historical Zahumlje. The church stands on the top of the Gradac hill or St Michael’s Mount (107 m.a.s.l.), at the location of an earlier fortification. Based on an analysis of St Michael’s architecture, as well as its stone furnishing, the author has argued that the church is pre-Romaneseque in origin. It has also been suggested that the belfry (the structure to the west) was built together with the church, since the concept of the ground plan (the width-length ratio, the slightly protruding apse), its small dimensions, as well as its vertical stratigraphy (the belfry and the dome) indicate that it was constructed as a ruler’s chapel. It is most probable that the church was dedicated to Archangel Michael from the very beginning, as the cult of the heavenly host-leader as the patron saint of rulers and their military campaigns was widespread among the upper classes in the early Middle Ages. The time of construction should most probably be connected with the first historically attested and significant ruler of Ston – Duke Mihajlo Višević (before 910 – after 928), who raised Ston to an administrative and ecclesiastical centre of this Sclavinia. An analysis of the younger layer of sculpture in St Michael’s (the monumental window frames and a fragment with human face), as well as its murals, has suggested that the ruler’s chapel was furnished more richly around the mid-11th century. Considering the historical sources on Ston in this period, it has been suggested that its renovation took place at the initiative of Stefan Vojislav (before 1018 – 1043/1050), founder of the Vojislavljević dynasty. This hypothesis is supported by the fact that Vojislav, having defeated Byzantium and its allies (among them the distinguished Duke Ljutovit of Zahumlje) conquered the seat of Zahumlje’s rulers. It may be presumed that he spent some time there as well, since the Byzantine writer Kekaumenos mentions that Vojislav was a toparch in Ston and that he captured the strategos of Dubrovnik. Thus, the conquest of Ston, as well as the glorious victory over both Byzantium and Ljutovit leading the allied army, imposes itself as the probable reason why Stefan Vojislav renovated the church in Ston, namely in order to celebrate his military triumph in the chapel of the defeated ruler of Zahumlje. The reconstruction most probably took place between 1042/43 and 1050, after Vojislav’s victory and before his death.
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Даен, Мира Евсеевна. "Some Features of the Icon-painting Art of Academician P. S. T’urin." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 15–27. http://dx.doi.org/10.31802/bcaa.2020.4.3.001.
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Настоящая статья раскрывает особенности малоизученного явления, связанного с русской иконописью второй половины XIX в. Одним из представителей этого направления был старший современник В. И. Сурикова - академик живописи Платон Семенович Тюрин (1816-1882). В Вологодском Государственном музее-заповеднике сохранилась написанная им для вологодской церкви Казанской Богоматери икона «Пречистая Богородица - помощница рождающим чад» (отреставрирована в 2016 г. О. В. Карпачёвой). Она отличается новаторством замысла: образ Богородицы с Младенцем на груди максимально приближен к человеку и далёк от идеализации. Тюрин работал во многих храмах России, но большинство его росписей и икон не сохранились вследствие антирелигиозных гонений советского времени. Представление о его иконописном творчестве может дать фотография С. А. Непеина 1905 г., которая хранится в ВГМЗ. Она воспроизводит интерьер домашней церкви в честь великомученицы Александры (придел храма в честь архангела Михаила в Верхней Вологде, здание не сохранилось). Документально иконостас датируется началом 1870-х гг. Анализ данного иконостаса помог раскрыть высокий уровень мастерства и связь художника с выдающимися представителями русской культуры XVIII-XIX вв., воплощёнными в образах святых на этих иконах. This article reveals the features of a little-studied phenomenon associated with Russian icon-painting in the second half of XIX century.An Academician of painting Platon Semenovich T’urin (1816-1882), who was a senior V. I. Surikov’s contemporary, became one of acknowledged representatives of this movement. In the Vologda State Museum-Reserve there is an icon «The Blessed Virgin Mary is the helper of giving birth» painted by T'urin for the Vologda church of Our Lady of Kazan. It was restored in 2016 by O. V. Karpacheva and remarkable for its innovative image that presents the Virgin with a Baby on her chest and stands closer to a portrait manner than iconic idealization. T’urin worked for many Russian churches but most of his paintings and icons were destroyed due to the anti-religious campaigns in Soviet times. Some traces of his icon-painting work we can find in a photo taken by S. A. Nepein in 1905, which is now in the Vologda State Museum-Reserve. It shows an interior of a home church in honor of the great martyr Alexandra, which was a chapel of a big church in honor of Archangel Michael in Upper Vologda and later demolished. According to archive data, an iconostasis dates from the early 1870s. Its detailed analysis helped to reveal a high-skilled artist’s hand and his representation of prominent Russian intellectuals in XVIII-XIX centuries embodied in the images of saints.
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Helytovych, Marija. "Ukrainian icons of the late 15th — early 20th centuries from the collection «Studion» in the collection of the Andrey Sheptytskyi National Museum in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 280–98. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-11.
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The article deals with a number of icons belonging to the «Studion» Museum at the Monastery of Studyts fathers in Lviv, founded in 1909 on the initiative of Metropolitan Andrey Sheptytskyi and transferred to the National Museum in Lviv in 1939 and 1945. The most important monuments of this collection, which are essential for the study of various aspects of Ukrainian icons, in particular, iconography, creative heritage of masters, painting centers, formation and peculiarities of the iconostasis, etc. are analyzed. It emphasizes the importance of individual works and their complexes for the reproduction of artistic processes that took place in the sacral painting of the end of the XVI — the first half of the XVI centuries. In particular, it concerns the theme of the image of the Virgin in the Ukrainian icon. It is also about the activities of individual painters and painting centers, among which is the creativity of an anonymous painter with a pronounced creative style of writing, which worked for the church of St. Paraskeva in the village Novycia in Lemkivshchyna. For the first time, it is pointed the necessity to study and systematize the iconic heritage of the church in Novycia, from which the monuments from different periods are originated; most of them belonged to «Studion». The question is posed of a comprehensive study of the iconography of Lemkivshchyna, for which the works of this collection will be important. It is emphasized the importance of another painting direction related to the painting center, which was active in the XVII century in the city of Sudova Vyshnia, from which the complex of icons from the iconostasis of the Church of Archangel Michael in the village Dobra is still little studied. The latest research on the attribution of a number of works is presented. The significance of the collection for more comprehensive coverage of the features of the Ukrainian icon at different stages of its history is revealed. A number of new monuments are being introduced. Keywords: icon, master, «Studion», tradition, research.
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Abel, Sam, Dario Fo, and Bertolt Brecht. "Archangels Don't Play Pinball." Theatre Journal 39, no. 4 (December 1987): 503. http://dx.doi.org/10.2307/3208253.
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Wilken, Robert Louis, and William R. Kenan. "With Angels and Archangels." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 10, no. 4 (November 2001): 460–74. http://dx.doi.org/10.1177/106385120101000405.
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Łaptaś, Magdalena. "Byzantine influence on Nubian painting: the loroi and the gender of the Archangels." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 239–54. http://dx.doi.org/10.1515/bz-2021-9011.
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Abstract The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels?
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Мойко, Ольга, Olga Moyko, Валерий Чехомов, Valeriy Chekhomov, Ирина Емельянова, and Irina Emelyanova. "«A corner of paradise near Moscow …» Estates «Boblovo», «Shakhmatovo», «Tarakanovo» in Solnechnogorskiy and Klinskiy districts." Service & Tourism: Current Challenges 9, no. 2 (June 15, 2015): 126–33. http://dx.doi.org/10.12737/11406.
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The article is devoted to the professional activities of woman family members of the Beketovs and their contribution to the Russian culture and education. The family owned the estate in the suburbs «Shakhmatovo», which is considered to be the spiritual home of Alexander Blok. It>s a cultural thing, «nest» from which, in the figurative expression ofS. Solovyov (second cousin of the poet), «the swan flew the new Russian poetry». The article describes the legacy left by the descendants of Elizabeth, Ekaterina, Maria Beketovs, Sofya and Alexandra Kublitskaya-Piottukh´s. This article contains information about the epistolary heritage of the family of Alexander Blok and the Beketovs with outstanding Russian scientists and writers.
From the estate of Captain Tarakanov are related important events in the life of Alexander Blok. Here, in the church of the Archangel Michael held his wedding with Lyubov Mendeleeva as reflected in the work of the poet. The article lists the artifacts stored in the estate and nearby museum institutions associated with this outstanding family.
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Nagirnyy, Vitaliy. "Czernelica nad Dniestrem – od grodu średniowiecznego do miasta nowożytnego." Krakowskie Pismo Kresowe 10 (November 30, 2018): 9–24. http://dx.doi.org/10.12797/kpk.10.2018.10.01.
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Chernelytsia by the Dniester. The Development of a Medieval Grod Into a TownThe article explores the early history and gradual modernisation of Chernelytsia – a town of Pokkuttya region. The first settlement in this region was noted on a high triangular cape on the right bank of the Dniester. Initially, it was a modestly fortified settlement located on the border of the Kievan state. However, after its incorporation into the Galicia Rostislav state and subsequently into Galicia–Volhynia Romanovich state, the settlement developed into a tri-part fortified grod of 5 ha in area. The author hypothesises that the grod ceased to be active between the 2nd half of the 16th century and the 1st half of the 17th century, after it had fallen prey to the Tatars who had raided Pokkuttya. Another period in the history of Chernelytsia is marked by the emergence of a new settlement at the area of today’s town’s centre. The emergence is dated at the 1st half of the 15th century. Initially, both the new settlement and the old grod were active, however, soon after being granted a municipal charter, the new settlement took the lead in social and economic activity. The town structure ossified in the 17th century when the bastion castle was built, as well as the St Archangel Michael Church and a Dominican monastery. Also, three tserkov churches were active in Chernelytsia at that time. The market square emerged, the town hall and a synagogue were built, and suburbs became discernible. The town plan changed only at the end of the 18th century when the new era in town’s history started.
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Frend, William H. C. "Martyrdom in East and West: The Saga of St George of Nobatia and England." Studies in Church History 30 (1993): 47–56. http://dx.doi.org/10.1017/s0424208400011591.
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Martyrs were the heroes of the Early Church. For a long period after the reign of Constantine until Benedictine monasticism took over their mantle, their lives and exploits provided a focus for the idealism of Christians in Western Europe. They represented the victory of human steadfastness and loyalty in defence of the faith triumphing over irreligious tyranny and the powers of evil. In the East, however, where Constantine had emphasized as early as 324 his complete rejection of the persecutions of his pagan predecessors, it was not long before memories of the past were transformed to meet other pressing needs of the day. Threatened first by Germanic and Slav invaders and then by the armies of Islam, Byzantine cities sought the protection of martyrs and the heavenly hierarchy that led from them through the Archangel Michael to the Virgin herself. In Nobatia, the northernmost of the three Nubian kingdoms that straddled the Nile valley between Aswan and a point south of Khartoum, the military martyrs, George, Mercurius, Theodore, and Demetrius seconded the endeavours of Michael and the Virgin to preserve the kingdoms and their Christian religion.
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Bucur, Bogdan. "The Other Clement of Alexandria: Cosmic Hierarchy and Interiorized Apocalypticism." Vigiliae Christianae 60, no. 3 (2006): 251–68. http://dx.doi.org/10.1163/157007206778149510.
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AbstractClement of Alexandria's Excerpta ex Theodoto, Eclogae Propheticae, and Adumbrationes depict a cosmic hierarchy featuring, in descending order, the divine Face, the seven beings first created, the archangels, and the angels. This account is problematic in that it seems to incorporate a contradiction: one set of texts presents a fix cosmic hierarchy populated by different types having at its top the seven protoctists. A second set of texts, however, interprets this process of initiation as a continuous ascent on the cosmic ladder, marked by an ongoing cyclical transformation of humans into angels, of angels into archangels, and of archangels into protoctists.This article sets forth the principles governing Clement's hierarchical cosmos, and proposes a solution to the apparent contradiction between the two accounts. In essence, Clement of Alexandria internalizes the cosmic ladder and the associated experience of ascent and transformation, offering an early example of what scholars have termed "interiorized apocalypticism."
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Rodwell, Warwick, Jane Hawkes, Emily Howe, and Rosemary Cramp. "The Lichfield Angel: A Spectacular Anglo-Saxon Painted Sculpture." Antiquaries Journal 88 (September 2008): 48–108. http://dx.doi.org/10.1017/s0003581500001359.
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Excavation within the Gothic nave of Lichfield Cathedral in 2003 revealed three phases of masonry building ante-dating the Norman period. These are likely to relate to the church of St Peter, which Bede described in 731 as housing the timber shrine to St Chad, fifth bishop of Mercia (d 672). A rectangular, timber-lined pit found on the central axis of the building might represent a crypt or burial chamber beneath the shrine. Buried in a small pit alongside this were three fragments of a bas-relief panel of Ancaster limestone, carved with the figure of an angel. They comprise half of the left-hand end of a hollow, box-like structure that had a low-coped lid. This is interpreted as a shrine chest associated with the cult of St Chad. The sculpture, which was broken and buried in, or before, the tenth century, is in remarkably fresh condition, allowing for an in-depth analysis of its original painted embellishment and for an assessment of the monument in terms of its iconography and stylistic affinities, and thus the possible conditions of its production. It is argued that the surviving portion of the panel represents the archangel Gabriel, and that it is one half of an Annunciation scene.
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Medvedev, Alexander A. "INVENTION AND DOUBLE TRANSLATION OF THE RELICS IN THE LIFE OF MOSCOW METROPOLITAN ALEXIS OF THE 17TH СENTURY." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 165–70. http://dx.doi.org/10.37816/2073-9567-2020-58-165-170.
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We find the story of the invention and double translation of the relics of Moscow Metropolitan Alexis included in the 17th century “The Lay of the Life in the Saints of our Father Alexis, Metropolitan of Kiev and All Russia, Wonderworker”, located in the Synodal Collection No. 596 of the State Historical Museum. Euthymius of Chudovsky, compiler of the fifth edition of the life, the cellarer of the Chudovsky monastery uses, when creating a new edition of the life of St. Alexis, all sources available to him: the life written by Pachomius Logothetes, literary monuments about Alexis as part of the Nikon Chronicle and the Book of Degrees of the royal genealogy, telling about the invention and translating of the relics, historical information taken from the Nikon Chronicle and the Lviv Chronicle. In his work, Euthymius pays special attention to the history of creation and arrangement of the Chudov Monastery, its location and decoration, and especially to the repeated translation of relics of the saint, witnessed by the scribe. The scene of the invention and the story of the translation of the relics to the church of the Archangel Michael erected by the Metropolitan in the fifth edition of the life of the Moscow wonderworker represent fully finished fragments with their own original plot and system of characters, since by the time the monument was created, Euthymius possessed a fairly large amount of biographical and historical material from various early sources that had come to him.
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DeFelice, Michael S. "Henbit and the Deadnettles, Lamium spp.—Archangels or Demons?" Weed Technology 19, no. 3 (September 2005): 768–74. http://dx.doi.org/10.1614/wt-05-072.1.
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