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Journal articles on the topic 'Church vestments'
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1
Stoia, Adrian. "Medieval Liturgical Vestments Depicted in the Iconographic Programs of Southern Transylvanian Churches (14th to 16th centuries)." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 27–55. http://dx.doi.org/10.1515/ress-2016-0003.
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Abstract This work sets out to list and describe the liturgical vestments present in panel and mural paintings of churches located in southern Transylvania. The surviving body of such vestments on display in the ”Brukenthal” National Museum of Sibiu and that of the Black Church of Brașov not only confirms their use in religious services, but also the fact that they served as models for Transylvanian ecclesiastical painting. Of Western derivation, this type of vestment reflects a way of thinking and stands testament to social status or to the different hierarchies within the church. It is, at the same time, an indication of the development of this kind of craft, produced by specialized workshops.
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Hicks, Rebecca. "“Popish Pageauntes”." Constellations 14, no. 1 (April 1, 2023): 19. http://dx.doi.org/10.29173/cons29492.
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Though often considered little more than an interesting moment in the history of the Church of England, the vestments controversy of the sixteenth century was a decisive historical moment in early modern western history. Vestments, the clothing of clergymen, were not merely garments in the eyes of the three diverging Christian denominations, the Roman Catholic Church, the Church of England, and the early Puritan movement, in the early post-Reformation era. Imbued with the power to literally “transnature” one’s body and soul, the vestments one chose to wear were both a proclamation of one’s beliefs and a condition of their spirituality. Vestments could, and did, serve many purposes, embodying many meanings – including what it meant to be holy, who had a claim to truth, how one conceptualized the relationship between church and state, and how one understood the relationship between man and God. Bound up in the theological, political, and social debates of sixteenth-century England, the vestments controversy functions as intellectual history, revealing how people, institutions, and societies think of themselves and others. The long-term religious, political, and cultural reverberations of the vestments controversy reveal the important and complex role that clothing inhabits in the Christian West.
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Sepper, Madli. "See paeluv pael. Ühe preestrirüü taastamise lugu / This striking stripe. The story of the restoration of a set of priest’s vestments." Studia Vernacula 9 (November 6, 2018): 126–49. http://dx.doi.org/10.12697/sv.2018.9.126-149.
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My article recounts the story of the restoration of 19th century priest’s vestments in the Slavic Orthodox style for use once again. The garments were dateable from the lily stripes known to date from the late 19th century (Säppi 2008), as well as archival material from the National Heritage Board (ERA11152). My article will also present an overview of the parts of Orthodox vestments used in Estonia today, as well as the stripes found on the garments and their meaning.
To determine the age, origin, and technological characteristics of the making of these vestments, three analogous sets (priests’ vestments and veils from Riisa Orthodox Church Museum of Finland, Hiiumaa, and Kohila (Angerja)) were studied and church supplies catalogues from the Tsarist era (1907, 1910/11, 1911, and 1912) were examined. These vestments were also most probably made in Russia. I restored the phelonion (the large conicalsleeveless garment worn over all other vestments), the zone (the cloth belt worn over the epitrachelion), and the epimanikia (cuffs), and reconstructed the missing epitrachelion (the priestly stole worn around the neck) based on these analogues. Studying other similar sets enabled me to choose suitable materials for restoration, although finding fabrics identical to the original proved impossible. A certain amount of modernisation was also prompted by the fact that the vestments were meant to be worn, rather than be placed in a museum. My chief goal in restoring the vestments was to ensure that it was visually as close as possible to the original and that it was characteristic of the time it was made. First, I carried out a detailed study of the processes used for sewing the items, then unsewed all unusable parts. This further reinforced the observations made about the technology.
I decided not to use linen reinforcements, as they would make the phelonion heavy and uncomfortable to wear. While linen can easily be pressed into shape, it loses its shape just as quickly when wet. And given the storage conditions typically found in churches, it is worth remembering that linen fabrics also absorb moisture. My study of textile items used in churches have shown that old priests’ vestments have often developed mould growth under the linen reinforcement. Modern synthetic materials were used instead of golden glacé; the old binding was also replaced with modern one. This could also have been made by hand from velvet, but I found this to be too labour-intensive and This striking stripe 149 time-consuming. Since no golden brocade of a similar pattern was available, I made the cuffs, zone, and epitrachelion from velvet, following my analogues here in the choice of fabric. I used old technologies for the sewing, utilising a sewing machine from the same era for attaching the stripes. The restored phelonion is similar in appearance to the original one, while the cuffs (epimanikia), zone, and epitrachelion are closer to the analogues and include new details, namely crosses of tatted lace.
The restored vestments were meant to be the most solemn red (Easter vestments), but the result was closer to purple, the colour of martyrs. The appearance of liturgical garments can be better understood if we recall the words ofJesus in the Scriptures: ‘The kingdom of God is come nigh unto you’ (Luke 10:9). Thus, the dignified and beauteous liturgical garments of the Orthodox Church symbolise the presence of the Divine Light on Earth.Keywords: ecclesiastical textiles, priests’ vestments, liturgical textiles, sacral textiles, border stripes on orthodox liturgical vestments
4
Sepper, Madli. "See paeluv pael. Ühe preestrirüü taastamise lugu / This striking stripe. The story of the restoration of a set of priest’s vestments." Studia Vernacula 9 (November 6, 2018): 126–49. http://dx.doi.org/10.12697/sv.2018.9.126-149.
Full textAbstract:
My article recounts the story of the restoration of 19th century priest’s vestments in the Slavic Orthodox style for use once again. The garments were dateable from the lily stripes known to date from the late 19th century (Säppi 2008), as well as archival material from the National Heritage Board (ERA11152). My article will also present an overview of the parts of Orthodox vestments used in Estonia today, as well as the stripes found on the garments and their meaning.
To determine the age, origin, and technological characteristics of the making of these vestments, three analogous sets (priests’ vestments and veils from Riisa Orthodox Church Museum of Finland, Hiiumaa, and Kohila (Angerja)) were studied and church supplies catalogues from the Tsarist era (1907, 1910/11, 1911, and 1912) were examined. These vestments were also most probably made in Russia. I restored the phelonion (the large conicalsleeveless garment worn over all other vestments), the zone (the cloth belt worn over the epitrachelion), and the epimanikia (cuffs), and reconstructed the missing epitrachelion (the priestly stole worn around the neck) based on these analogues. Studying other similar sets enabled me to choose suitable materials for restoration, although finding fabrics identical to the original proved impossible. A certain amount of modernisation was also prompted by the fact that the vestments were meant to be worn, rather than be placed in a museum. My chief goal in restoring the vestments was to ensure that it was visually as close as possible to the original and that it was characteristic of the time it was made. First, I carried out a detailed study of the processes used for sewing the items, then unsewed all unusable parts. This further reinforced the observations made about the technology.
I decided not to use linen reinforcements, as they would make the phelonion heavy and uncomfortable to wear. While linen can easily be pressed into shape, it loses its shape just as quickly when wet. And given the storage conditions typically found in churches, it is worth remembering that linen fabrics also absorb moisture. My study of textile items used in churches have shown that old priests’ vestments have often developed mould growth under the linen reinforcement. Modern synthetic materials were used instead of golden glacé; the old binding was also replaced with modern one. This could also have been made by hand from velvet, but I found this to be too labour-intensive and This striking stripe 149 time-consuming. Since no golden brocade of a similar pattern was available, I made the cuffs, zone, and epitrachelion from velvet, following my analogues here in the choice of fabric. I used old technologies for the sewing, utilising a sewing machine from the same era for attaching the stripes. The restored phelonion is similar in appearance to the original one, while the cuffs (epimanikia), zone, and epitrachelion are closer to the analogues and include new details, namely crosses of tatted lace.
The restored vestments were meant to be the most solemn red (Easter vestments), but the result was closer to purple, the colour of martyrs. The appearance of liturgical garments can be better understood if we recall the words ofJesus in the Scriptures: ‘The kingdom of God is come nigh unto you’ (Luke 10:9). Thus, the dignified and beauteous liturgical garments of the Orthodox Church symbolise the presence of the Divine Light on Earth.Keywords: ecclesiastical textiles, priests’ vestments, liturgical textiles, sacral textiles, border stripes on orthodox liturgical vestments
5
Soroka, Oksana. "THE PRIEST VESTMENTS AS AN INTEGRAL PART OF THE LITURGICAL ACTION AND SUBJECT SPATIAL ENVIRONMENT OF THE TEMPLE." Innovative Solution in Modern Science 6, no. 50 (October 18, 2021): 124. http://dx.doi.org/10.26886/2414-634x.6(50)2021.9.
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This article deals with the priest vestments (i.e. priestly), as this kind of clothes is the most common and used in Ukrainian temples among all degrees of priesthood. Liturgical vestments have passed the period of long evolution, the characteristic feature of which should be considered as the deep symbolic meaning based on ornaments, iconography and colouring clothes. With the development and affirmation of Christianity the priest vestments have been of great variety. The cult features of the clerical clothing are those which symbolize hard work of a priest and also God`s support which he feels while reading the Gospel. The clerical clothing reflect the dignity of a clergyman and its material, shape and decorative elements which are the part of artistic culture obey the idea of worship. Therefore, the priest vestments as a part of church art are sacred.The theological and symbolic content of priestly robes in the context of liturgical rite and church in general is highlighted in the article. The analysis of the sources of prayer speeches, which give the brief comprehension of the meaning or symbolism of putting on every component (sticharion (alb), stole, a belt, armbands, phelonion) of the priest vestments. The symbolic meaning of all the elements of the clerical clothing has been interpreted, the ritual and sequence of its putting on have been considered. Key words: clerical clothing, liturgical robe, Christ, symbolic meaning, worship, a clergyman, rite.
6
Zavarina, E. N. "Dating and Decoration Program of the So-Called “Sakkos of the Patriarch Pitirim” of the 17th Century from the Collection of the Moscow Kremlin Museums." Art & Culture Studies, no. 1 (2021): 62–85. http://dx.doi.org/10.51678/2226-0072-2021-1-62-85.
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The article analyzes the graphic decor of the sakkos, known as the “sakkos of the Patriarch Pitirim”. The stylistic and technical features of his sewing are compared with the works of the Tsaritsa’s Workshop in the middle of the 17th century. The first mention of the sakkos in question was identified in the “Book of notebook vestments and the act of the great sovereign His Holiness Nikon the Archbishop of the reigning city of Moscow and All Great and Malyi and Belyi Rosii Patriarch” and in the inventory of 1658. This information made it possible to clarify the attribution of the monument. The double naming of the vestments “Evdokeinsky” and “Pitirimovsky”, obviously, is associated with two different events. Probably, the sakkos was granted to Patriarch Nikon by the royal family, during the consecration of the church of the Martyr Evdokia in 1653, and in 1672–1673 he was renewed for the Patriarch Pitirim. The esti- mated date of creation of the sakkos is also confirmed by its comparison with the works of the Tsaritsa’s Workshop, allowing to date the sewn details of the vestments in the early 1650s. This hypothesis is required by the sakkos decoration program, which points to trends that were specifically characteristic of the church reforms of Patriarch Nikon.
7
Serikoff, N. I. "Abi Jaber Dj., Kudriavtsev A. V. Russian and Arabic Dictionary of Christian and Biblical Vocabulary — :Moscow قاموس روسي – عربي للمصطلحات المسیحیة والكتابیة B. S. G.-Press, 2020." Orientalistica 6, no. 5 (February 5, 2024): 1068–76. http://dx.doi.org/10.31696/2618-7043-2023-6-5-1068-1076.
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The Russian-Arabic Dictionary of Christian and Biblical vocabulary (over 2200 words and expressions) contains words related to the Christian religion and practice (worship, church vestments, hierarchy, sacraments), as well as theological terms. It also includes the names of Church holidays, the titles of the Books of the Old and New Testaments, a list of personal names of Saints and a list of biblical place names. The Appendix provides the reader with a list of Christian churches and the texts of the main Orthodox prayers in Church Slavonic (in modern Russian transcription) and Arabic. Page references to the publication under review in the text of the review are given in parentheses.
8
Le Luel, Nathalie. "Embroidering the Life of Thomas Becket during the Middle Ages: Cult and Devotion in Liturgical Vestments." Arts 11, no. 4 (July 27, 2022): 73. http://dx.doi.org/10.3390/arts11040073.
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From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church.
9
Rădulescu, Maria Venera. "Un posibil mormânt al primului mitropolit al Ţării Româneşti - Iachint de Vicina (1359 - 1372)." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 2 (2011): 133–50. http://dx.doi.org/10.47950/caieteara.2011.2.15.
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A valuable Middle Age Romanian art monument, the recumbent effi gy has its provenance from the “Saint Nicholas” Princely Church of Curtea de Argeş. To date, several scientifi c papers inferred that the gravestone belonged to the tomb of Prince Radu I (ca 1377 - ca 1383) or maybe of Prince Dan the 2nd (1420 - 1421). The bas-relief is carved in chalk and has the dimension 149.5 cm / 73 cm /33.5 cm. Th e sculpture shows a lying deceased person, with his hands on his chest. His face is surrounded by long hair and beard. Th e stone is cracked and the lower part is missing. Damaged and worn away, the recumbent effi gy has lost the details that could have made its identifi cation easier. Th is paper presents arguments in favor of identifying the recumbent effi gy with the gravestone of the fi rst Metropolitan Archbishop of the Romanian County, Iachint of Vicina (1359-1372). Specifi c religious vestments such as surplice (with a short collar round the neck), epitrachelion, phelonion (with luxurious embroideries on the chest and shoulders, and its bottom edge held on the left forearm, in a common gesture of a priest during the religious service), kamelavkion (with a long veil reaching to the ankles), reassemble the formal vestments that the first Metropolitan Orthodox Archbishop of Romanian County would have been buried with, in accordance with the religious customs. The Metropolitan Archbishop holds the crosier under his right arm. In addition, his head, covered with a “kamelavkion”, lies down on a carved piece of stone. In this connection, a brick is set under the deceased person’s head according to the monk burial customs, to date. The damaged condition of the recumbent effi gy doesn’t allow the identifi cation of certain details of the religious vestments of a high rank archbishop. However, one can’t rule out the possibility that the burial ritual of a Metropolitan Archbishop of that time included only the vestments and ornaments present on the recumbent effi gy, or that the craftman left out the carving of some pieces of clothing. On the right side of the gravestone, one can see an inscription with Cyrillic letters, “ПР ГЕРГЕ” - the name of the craftsman and his emblem. Th is is the fi rst registration of a craftsman stone carving in Romanian County. In conclusion, the bas-relief, even in its current state of preservation, is supporting the hypothesis that the recumbent effi gy is representing a high rank archbishop. Th is individual couldn’t have been any other than the fi rst Metropolitan Archbishop of UngroWallachia, Iachint of Vicina (1359 - 1372), buried in the church where he has served as a high priest. Th e “Saint Nicholas” Royal Church of Curtea de Argeş could, therefore, legitimately reclaim the title of the fi rst Metropolitan Orthodox Church of the Romanian County. Th e recumbent effi gy should be relocated to its initial site, at least in a form of a replica. Th is could be helpful in restoring the spiritually charged atmosphere from the second half of XIVth century.
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Thibodeau, Timothy M. "Enigmata Figurarum: Biblical Exegesis and Liturgical Exposition in Durand'sRationale." Harvard Theological Review 86, no. 1 (January 1993): 65–79. http://dx.doi.org/10.1017/s0017816000027887.
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William Durand's (ca. 1230–1296)Rationale divinorum officiorum(ca. 1292/1296) is unquestionably the longest and most thorough commentary on the liturgy produced by a medieval liturgiologist. From the time of its appearance at the end of the thirteenth century to the Catholic Restorationist liturgical revival in mid-nineteenth-century France, it was hailed by admirers as the quintessential expression of the medieval church's understanding of the divine offices. The bishop of Mende'sRationaletreats, among other things, the various parts of the church building, the ministers of the church, liturgical vestments, and the Mass and the canonical hours. It thus stands as the epitome of a four-hundred year tradition of allegorical liturgical exposition which was inaugurated in the West with the extended liturgical commentaries of the Carolingian bishop, Amalarius of Metz (died 852/853).
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Kuchenmeister, Pamela Frayser, and Mary Ann Littrell. "Liturgical Vestments in The Church of Norway: Aesthetics, Social Roles, and Artistic Production." Dress 14, no. 1 (January 1988): 17–26. http://dx.doi.org/10.1179/036121188805298530.
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Sodol, V. A. "The consequences of the Romanian occupation of 1941–1944 for the Orthodox Church of Moldova." Rusin, no. 63 (2021): 190–204. http://dx.doi.org/10.17223/18572685/63/10.
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The article presents the facts of material damage caused by the German-Romanian invaders to the institutions of the Orthodox Church of Moldova. The analysis of the archives of the Republic of Moldova, the Pridnestrovian Moldavian Republic and the works of researchers revealed three stages of damage inflicted by the invaders on religious organizations. The total amount of damage amounted to 91.5 million rubles, including church buildings – 22,580,000 rubles (including the churches of Pridnestrovie – 4,192,423 rubles). The invaders destroyed the buildings of 44 churches and 2 chapels, partially damaged 22 churches. Dozens of valuable religious shrines were removed from Moldovan churches and monasteries. The most valuable loss is a copy of the Gerbovetsky Icon of the Most Holy Mother of God (worth 120 mln rubles). The invaders also stole church utensils and priestly vestments. The motive for these actions was the alleged desire to “save” the shrines from destruction by the Bolsheviks. The leadership of the Russian Orthodox Church has repeatedly raised the question of returning the valuables taken by the occupiers to the Romanian side. However, the problem has not been solved, though a small part of the property stolen by the invaders returned to the Moldovan churches.
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Fergusson, Peter. "Modernization and Mnemonics at Christ Church, Canterbury: The Treasury Building." Journal of the Society of Architectural Historians 65, no. 1 (March 1, 2006): 50–67. http://dx.doi.org/10.2307/25068238.
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The two-storied Treasury at Christ Church, Canterbury, survives as the least altered building from the extensive modernization of the convent undertaken between 1155 and 1167. It is marked by identical façades facing inward and outward from the monastery. These are adorned with elegant arcades mounting in quickening rhythms over their elevations, and with unusually exuberant and varied late Romanesque detailing. The Treasury was designed to serve newly defined purposes. In the upper story, these included the safekeeping of liturgical objects and vestments, monies from ecclesiastical and secular collection, and documents. The lower story is more enigmatic. This article argues that the dual archways and richly decorated passageway need to be understood in their original context of providing access to the monastic cemetery. As such, they relate to the little-studied typology of memorial arches, which may be traced back to Roman sources. The twofold purpose of the two stories indicates conjoined typologies. Like related buildings from the same period at Canterbury, the Treasury was formed by mnemonic modes of envisioning archetypes prompted by locational association referencing Jerusalem and Rome.
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Yates, Nigel. "‘Jesuits in Disguise’? Ritualist Confessors and their Critics in the 1870s." Journal of Ecclesiastical History 39, no. 2 (April 1988): 202–16. http://dx.doi.org/10.1017/s0022046900020662.
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The public controversy over ritualism in the Church of England reached its peak in the 1870s, with the passing of the Public Worship Regulation Act and the attempts, eventually abandoned through use of the episcopal veto, to prosecute ritualist clergy for the use of technically illegal ceremonial ornaments or vestments. One other related subject that caused a similar degree of controversy at the time, though it has been less well remembered since, was the emphasis within ritualist circles on auricular or sacramental confession. The subject of auricular confession, made privately to a priest, was one of the most explosive religious issues, both morally and theologically, of the late nineteenth and early twentieth centuries.
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Moreira, Fuviane Galdino. "Entre bandeiras e mantos: Aparecida e a identidade nacional brasileira." Visualidades 15, no. 2 (December 19, 2017): 191. http://dx.doi.org/10.5216/vis.v15i2.47916.
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Nas vestes das esculturas sacras se veem bandeiras nacionais, a exemplo do manto atual de Nossa Senhora Aparecida, a padroeira do Brasil desde o Governo nacionalista de Getúlio Vargas. Essas bandeiras celebram uma conformidade nacional e unem a arte sacra à política e à cultura. Aqui, leremos as vestimentas da estatuária cristã à luz das relações entre a Igreja Católica e o Estado, mediadas pelo tecido como um artefato estético, político e religioso. AbstractIn the vestments of the sacred sculptures we see national flags, such as the current mantle of Our Lady Aparecida, the patroness of Brazil, since Getulio Vargas’ nationalist government. These flags celebrate a national conformity and the sacred art and the national flags, tying religion, politics and culture. Here, we will read the vestments of the Christian statuary in the Catholic Church and the State, mediated by the fabric as an aesthetic, political and religious artifact. ResumenEn los vestuarios de las esculturas sagradas se observan banderas nacionales, a ejemplo del manto actual de Nossa Senhora Aparecida, la patrona del Brasil desde el gobierno nacionalista de Getúlio Vargas. Esas banderas celebran una armonía nacional y mezclan el arte sagrado, la política y la cultura. Aquí analizaremos los trajes de la escultura cristiana a la luz de las relaciones entre la Iglesia Católica y el Estado intermediadas por el tejido como un artefacto estético, político y religioso.
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Рудченко, Алексей Андреевич. "The Emergence of Liturgical Awards of the Clergy in the Russian Orthodox Church." Праксис, no. 2(2) (September 15, 2019): 165–76. http://dx.doi.org/10.31802/2658-6517-2020-2-2-165-176.
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В статье повествуется о возникновении иерархических наград для духовенства Русской Православной Церкви. В данной публикации существенное внимание уделяется процессу установления основных богослужебных наград в Синодальный период. Кроме того, определяется, что изначально иерархические отличия не считались в прямом смысле наградами и возведение в определённый сан или возложение особой части богослужебного облачения на клирика сопровождалось его назначением на ответственную должность. Автор подробно рассматривает способы награждения священнослужителей первыми установленными наградами, а также акцентирует внимание на важных смысловых характеристиках каждой награды. The article describes the emergence of hierarchical awards for the clergy of the Russian Orthodox Church. In this publication, considerable attention is paid to the process of establishing the main liturgical awards in the Synodal period. In addition, it is determined that initially hierarchical differences were not considered literally awards and the erection of a certain rank or the assignment of a special part of the liturgical vestments to the cleric was accompanied by his appointment to a responsible position. The author examines in detail the ways of awarding the clergy with the first established awards and focuses on the important semantic characteristics of each award.
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Stasiuk, Ivan, and Andrii Pavlyshyn. "From the History of the Monument of Ukrainian Wooden Architecture – the Epiphany of the Lord Church in Stanymyr (1689)." Scientific Papers of Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University. Series: History, no. 42 (December 2022): 9–16. http://dx.doi.org/10.31652/2411-2143-2022-42-9-16.
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The purpose of the article is to study the history of a valuable monument of Ukrainian wooden architecture of the 17th century – the Epiphany of the Lord Church in Stanymyr village in Lviv region, as well as the introduction of a new source into scientific circulation, which allows you to trace the historical development of the church in detail. The research methodology is based on the principles of objectivity, historicism, systematicity, analytical and synthetic criticism of sources. The method of historical reconstruction contributed to the creation of a coherent picture of the history of the Epiphany of the Lord Church in Stanymyr village from disparate facts. The scientific novelty consists in an attempt to systematize the materials related to the history of the church and introduce a new historical source of the 18th century into scientific circulation, which enriches the research base of the monument, as well as the history of the settlement in which it is located. The document proposed for publication can be used for research on church history, architecture, local history, demographic studies, as well as other topics devoted to the history of society in the early modern period. Conclusions. The Epiphany of the Lord Church in Stanymyr is one of the few preserved wooden churches of Opillia, built in the 17th century. The first Christian church in the village probably existed already in the 15th century, but the first documented mention of the church in Stanymyr dates back to the beginning of the 16th century. The modern monument was built in 1689, but it has not come down to us in its original form, which is particularly confirmed by the visitation of the church in 1763. The published document contains a detailed description of the interior of the church (including icons, liturgical utensils, vestments and books) and its surroundings (fence, bell tower, cemetery), as well as immovable property (parson's house and land). The visitation also includes valuable information about the local parish priest, statistics about the parish's population, its toponymy and anthroponymy.
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Sitnik, Aleksander Krzysztof. "Geneza fundacji i początki materialnej egzystencji klasztoru oo. Bernardynów w Kazimierzu Biskupim (1514-1524)." Polonia Maior Orientalis 4 (2017): 15–29. http://dx.doi.org/10.4467/27204006pmo.17.002.16274.
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Fundatorami klasztoru i kościoła oraz dobrodziejami bernardynów kazimierskich okazała się rodzina Lubrańskich, a ściślej mówiąc, synowie Ruperta (Lamberta) i jego żony z rodu Boleściców: Jan i Mikołaj. W 1514 r. kapituła zakonna obradująca w Kobylinie przyjęła nową fundację i wysłała do Kazimierza Biskupiego dwóch zakonników. Bernardyni objęli drewniany klasztor i kościół pod wezwaniem św. Jana Męczennika, jednego z Pięciu Braci Męczenników, zwanych też Pięciu Braćmi Polakami, 26 września 1514 r. Uroczyste wprowadzenie zakonników do świątyni nastąpiło 12 listopada tego samego roku. Biskup Jan Lubrański powierzył bernardynom zadanie uczynienia z kościoła ośrodka kultu Pięciu Braci Męczenników. THE GENESIS OF FOUNDATION AND THE BEGINNINGS OF TANGIBLE EXISTENCE OF THE BERNARDINES’ MONASTERY IN KAZIMIERZ BISKUPI (1514-1524) The founders and the benefactors of the monastery and the church were the members of the Lubrański family, more precisely the sons of Rupert (Lambert) and his wife from the Boleścic family: Jan and Mikołaj. The province chapter of Bernardines which was in session in 1514 in Kobylin accepted the foundation of Kazimierz. Another Bernardines came to Kazimierz Biskupi and in the 12th of November 1514, in the presence of clergymen, nobility and the faithful they solemnly moved from the parish of Kazimierz into a new monastery church dedicated to St. John The Bishop the founder and his brother equipped the church with argenteria, vestments and liturgical books. Bishop Jan Lubrański gave Bernardines of the Kazimierz the charge over the development of the cult dedicated to the Five Martyred Brothers and he wanted to make the church the centre of their cult.
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Roy, Neil J. "High Fashion in the Church: The Place of Church Vestments in the History of Art from the Ninth to the Nineteenth Century (review)." Catholic Historical Review 91, no. 4 (2005): 772–74. http://dx.doi.org/10.1353/cat.2006.0053.
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Makarov, N. S. "The Church lexicon as a lexical category." Linguistics & Polyglot Studies 10, no. 2 (June 20, 2024): 38–49. http://dx.doi.org/10.24833/2410-2423-2024-2-39-38-49.
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The article focuses on the study of church lexicon as a lexical category. The aim of this article is to analyze and compare different linguistic points of view on the key stages of church lexicon development in the Russian and English languages, to determine a working definition of the category “church lexicon”, as well as its most important elements. In order to achieve this goal, the methods of analyzing sources, their subsequent comparison and contrast, identification of analogies and similarities were used, as well as synthesis of information extracted from these sources.The material includes dissertations, scientific articles and other works of modern Russian scholars considering the concepts “church lexicon” and “religious lexicon”, comparing and juxtaposing them, as well as singling out constituent elements of the categories “church lexicon”, “religious lexicon”, “sacral lexicon”, and “liturgical lexicon”. In this article are used the works of such scholars as A.A. Azarov, I.V. Bugaeva, S.V. Bulavina, N.S. Valgina, R.I. Goryushina, E.V. Kakorina, I.A. Koroleva, T.I. Kosheleva and others.The results of the research show that the interest in the church lexicon as a lexical category among Russian linguists has increased since the late twentieth and early twenty-first centuries due to the revival of the Christian Church of various denominations, as well as other religious organizations. The long period of persecution of the Christian Church in Russia has affected church vocabulary, marginalizing it and relegating it to the periphery of the language. In the UK, USA and other English-speaking linguistic communities, the activities of the Christian Church have never been banned or persecuted, and the history of church vocabulary in the English language as such has never faced marginalization similar to that in Russia.It has also been established that church vocabulary is part of the broader category of “religious vocabulary” and includes basic concepts from the sphere of the life of the Christian Church. Although scholars argue about the constituents of the category “church lexicon”, many agree that it includes the names of sacraments and rites, elements of the church calendar, names of church buildings and their elements, items of decoration, elements of vestments, as well as names of persons in relation to the Christian faith and the Christian Church.This article may be of interest to philologists, linguists, and teachers of the Russian and English languages.
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Plastova, A. N. "Sewn-on jewelleries of church vestments of the XVI-XVII centuries: buttons, drobnitsky (decorative plaques), zapons (clasps)." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 2-2 (2023): 368–80. http://dx.doi.org/10.37485/1997-4663_2022_2_2_368_380.
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Поликарпова, Е. В. "On the Adequacy of Translating Novels in the Engaged Literature Genre (illustrated by the translation of A. Anzerova’s novels “Am Weißen Meer” and “Aus dem Land der Stummen”)." Иностранные языки в высшей школе, no. 4(59) (February 10, 2022): 97–106. http://dx.doi.org/10.37724/rsu.2021.59.4.010.
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В настоящей статье комментируется формула соотношения синтеза эмоционально-образного и рационально-познавательного отражения действительности в романах жанра мемуарной литературы. В статье отмечается, что переводчик сохраняет при переложении романов А. С. Арсеньевой с немецкого на русский язык не только исторический, но и искусствоведческий интерес. Большое значение придается анализу командной работы переводчиков, комментарию переводческих успехов и ошибок. Важным представляется анализ содержания и формы оригинала текста как с точки зрения возможной переводческой трудности, так и с литературоведческой точки зрения. This article comments on the formula of synthesis of emotional and figurative and rational-cognitive reflection of reality in the novels of the genre of memoir literature. The article points out that the translator renders both the historical authenticity and the stylistic flavour of the original novels written in German by A. Anzerofa (the pen-name of A. S. Arsenyeva). Thanks to rich descriptions of history, appearance, meaning of artifacts, church utensils, sacral buildings of different types, church vestments, nuances of divine services, refinements of church ranks, through the description of actual events and heroic actors, the translation becomes a kind of literary encyclopedia of the original, clarifying topics which are important for patriarchal Russia related to religious studies and religion. In the article great importance is given to the analysis of the teamwork of translators, commenting on the translation successes and mistakes. It is important to analyse the merits of the original text, both in terms of possible provocation of translation failures, and from the literary point of view.
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Bamber, J. E. "The Secret Treasure of Chaigley." Recusant History 17, no. 3 (May 1985): 307–29. http://dx.doi.org/10.1017/s0034193200001138.
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At the little church of St. Robert’s at Catforth in the Fylde of Lancashire is preserved a remarkable collection of relics of penal times. The most important is a human head, so often referred to as a ‘skull’ that I shall use the terms here quite indiscriminately, though it still contains, even in its decayed and mutilated state, many parts over and above those of a mere skull. The next most important is a small missal of 1570, on the fly-leaf of which was once inserted a reference to ‘our martyr’. These two items are, as I believe, the only ones likely to be of positive use in reconstructing the case. But with them is preserved a whole collection of other articles in the form of Mass-vestments, altar-cloths, linen, etc., dating variously from the fifteenth to the seventeenth centuries, a number of which bear yellow or brown stains.
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Inglis, David, and Chris Thorpe. "Catwalk Catholicism: On the Ongoing Significance of Federico Fellini’s Ecclesiastical Fashion Show." Religions 10, no. 9 (September 9, 2019): 520. http://dx.doi.org/10.3390/rel10090520.
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In Fellini-Roma (1972), the film director Federico Fellini includes a sequence about an imaginary ecclesiastical fashion show, a display of ever more outlandish clerical clothing designs. Fellini brought together various elements that, in conventional cultural coding, do not seem to fit together: secular fashion design and catwalks, and Catholic practice and ceremonial. The sequence juxtaposes and intermingles these apparent incompatibles. Surprisingly little scholarly attention has been paid to the nature and significance of this sequence. Yet it is complex, being simultaneously satirical and empathetic, as well as camp and carnivalesque. The paper reaches back in time, reviewing the history of Catholic vestments, to show that the sequence also dramatizes the fact that sartorial fashion and Church garb have overlapped and informed each other historically. The appeal of the sequence for various types of audience has been enhanced in the internet age, and the paper considers how it has become an increasingly ubiquitous reference-point for the fashion industry, bloggers, and cultural critics, especially when the latter want to thematize controversies about male homosexuality in the Church today. Fellini’s presentation of catwalk Catholicism is both a rich object of scholarship, and a multivalent vehicle used by actors for various contemporary purposes.
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Huffman, Joseph P. "The Donation of Zeno: St. Barnabas and the Modern History of the Cypriot Archbishop's Regalia Privileges." Church History 84, no. 4 (November 13, 2015): 713–45. http://dx.doi.org/10.1017/s000964071500092x.
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Modern church historians have roundly accepted the ancient pedigree of imperial regalia privileges exercised by the archbishops of Cyprus, yet new research has shown that their origins are actually to be found in the mid-sixteenth century and within a decidedly western intellectual and ecclesial orbit. This article builds on such findings by documenting the modern history of these privileges and their relationship to the emerging political role of the archbishops of Cyprus as ethnarchs as well as archbishops of the Cypriot community under both Ottoman and British empires. Travelling across the boundaries of western and non-western cultures and employing a rich interdisciplinary array of evidence (chronicles, liturgy and liturgical vestments, hagiography, iconography, insignia, painting, cartography, diplomacy, and travel literature), this article presents a coherent reconstruction of the imperial regalia tradition's modern historical evolution and its profound impact on modern Cypriot church history. This study integrates the often compartmentalized English, French, Italian, German, and Greek scholarship of many subfields, producing a new holistic understanding of how the archbishop's ethnarchic aspirations could produce a spiritual culture in which St. Barnabas, the island's founding patron saint and once famous apostolic reconciler, became transformed into an ethnarchic national patriot and defender against foreign conquerors.
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Burgess, Clive, and Beat Kümin. "Penitential Bequests and Parish Regimes in Late Medieval England." Journal of Ecclesiastical History 44, no. 4 (October 1993): 610–30. http://dx.doi.org/10.1017/s0022046900077824.
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The orthodoxy which dismissed the pre-Reformation parish as the point where the many failings of the Church met to blight ordinary lives has exercised a tenacious grip on the historical imagination. Current opinion, on the other hand, perceives the parish as deserving of inquiry, not least because of a dawning realisation that it was a point where managerial expertise and a noteworthy buoyancy of spirit intersected. Ostentatious programmes of church rebuilding and embellishment testify both to competence and to a vitality bordering on exuberance in many parish communities. If more difficult to appraise, the liturgical life of many parishes seems to have flourished and was enhanced by the steady accumulation of vessels, vestments, lights, embroidered cloths and painted images. Many wealthier parishes also supported numerous auxiliary clergy and a sophisticated musical repertory and performance. But building and liturgical elaboration were not products merely of whim. In addition to an obligation to support the incumbent by regular payment of tithe, responsibility for maintaining church fabric and the wherewithal for worship within the church had been assigned to the parish community by canon law in the thirteenth century. Many parishes conspicuously exceeded their brief. In matters of securing revenues it seem at the very least safe to assume widespred competence. Historians, however, have by and large failed to respond to the laity's achievement and that in spite of abundant surviving documentation. Investigation of the financial regime of the late medieval parish is long overdue. If it has received any attention at all, parish finance has been charaterised in very general terms of corporate levy and ad hoc donation.
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Ишков, Алексей. "The Iconic Method of the Mission and It’s Application in the Parish." Праксис, no. 2(2) (September 15, 2019): 177–89. http://dx.doi.org/10.31802/2658-6517-2020-2-2-177-189.
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В статье рассмотрены литургические методы миссии Церкви, а также роль и значение церковного образа-символа как основы иконического метода. В качестве примера приводится современное воспроизведение «иерусалимского образа» в храме Покрова Божией Матери в Ясеневе (проект «Икона Святой Земли»). Практические виды просветительской деятельности, основанные на иконическом методе миссии и реализуемые на приходе, описаны во второй части статьи. The article describes the emergence of hierarchical awards for the clergy of the Russian Orthodox Church. In this publication, considerable attention is paid to the process of establishing the main liturgical awards in the Synodal period. In addition, it is determined that initially hierarchical differences were not considered literally awards and the erection of a certain rank or the assignment of a special part of the liturgical vestments to the cleric was accompanied by his appointment to a responsible position. The author examines in detail the ways of awarding the clergy with the first established awards and focuses on the important semantic characteristics of each award.
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Bozhanova, Kseniia Sergeevna. "Translation Peculiarities of Religious Terminology in L.N.Tolstoy's Novel "Resurrection" into English." Филология: научные исследования, no. 6 (June 2024): 18–32. http://dx.doi.org/10.7256/2454-0749.2024.6.70901.
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The subject of the study is L.N. Tolstoy's novel "Resurrection" and its translations into English. As part of this work, two English translations will be analized, one of them (“The Resurrection”) was made in 1899 by Louise Yakovlevna Mood and published by "Alice and Books". The second translation titled “The Awakening" was translated by William Smith and published in 1900 by "New York Street Publishing House". The subject of the study is to identify ways of interlanguage translation of religious terminology from Russian into English. The main focus of the work is on the lexical and semantic analysis of religious lexical units, as well as the analysis of types of translation transformations, of which the most frequent are the selection of equivalent correspondence, descriptive translation and transliteration. The work uses a comparative method that allows us to establish similarities and differences of lexical units in the text of the original novel "Resurrection" and its translations. By means of the contextual analysis method, the dependence of the meaning of these units on the context is analyzed. Using the continuous sampling method, religious terminology is selected and divided into thematic groups: "Names of the sacraments and lexemes associated with them", "Elements and forms of worship", "Elements of the church calendar", "Objects of worship", "Names of the Church hierarchy", "The Temple and its structure, parts", "Vestments of the clergy, their individual parts", "Prayers, texts of prayers and hymns and their components", "Names of church holidays", "Names of books of church content", "Names of ritual food" and "Names of persons of spiritual guarantors". The main difficulty in translation is the rather wide and diverse use of religious nominations, for which the translator needs to understand in detail the features and differences of religious terminology.
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Cross, Claire. "The Religious Life of Women in Sixteenth-century Yorkshire (Presidential Address)." Studies in Church History 27 (1990): 307–24. http://dx.doi.org/10.1017/s0424208400012134.
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On 17 September 1523 a very wealthy widow, Dame Joan Thurscross, made her will in Hull. Her benefactions included £30 for new vestments to her parish church of St Mary’s, £35 to hire a priest for seven years to sing for her soul, the souls of her three husbands, of her parents, and of her son, £4 to the building works at the White Friars’, £12 for a priest to perform an obit in St Leonard’s convent in Grimsby, where she had been born, small presents to her god-daughter and other nuns at Sixhills, £20 for mending the causeway between Beverley and Anlaby, thirteen white gowns for thirteen poor women, and silver masers or standing pieces for Sixhills Nunnery, Kirkstall Abbey, and the Charterhouse of Hull. It is impossible to read this very individual will and not recognize the bequests, however conventional in themselves, as being the carefully thought out intentions of the testatrix. With its emphasis upon Masses for the dead and stress on die necessity of good works it furnishes a poignant example of late medieval piety.
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Astafyeva, N. adezda A. "THE SACCOS AND THE CRAZIER OF METROPOLITAN PLATO (LEVSHIN). MUSEUM ARTIFACT AS A REFLECTION OF CULTURAL-HISTORICAL EVENTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 153–68. http://dx.doi.org/10.28995/2686-7249-2022-7-153-168.
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Bishop’s items from the vestry of Nikolaevsky Perervinsky monastery are considered as markers of artistic and social monastic milieu and as things reflecting the social-historical context of Russia in the second half of the 18th century. As a result of a complex attribution research of the saccos and the crozier, of studying unpublished monastic inventory and account books of the 18th - 19th centuries, it became possible to correlate the artifacts with the person of Metropolitan Plato (Levshin) of Moscow, with whom “the Golden age” of Perervinsky monastery is associated. Special attention is paid to the textiles of the saccos: a brocade damask with the pattern of “big hand” and cut velvet cross patterned. In Russian brocade weaving to the third quarter of the 18th century a special direction was formed - church weaving. Metropolitan Platon was the first to begin serving again in polystauri vestments, bringing ancient Byzantine traditions back to life. The production of cross textiles was resumed under Emperor Paul I, whose personality was greatly influenced by Metropolitan Plato.
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Biedrońska-Słota, Beata. "Medieval fabrics with eastern proveniencein Polish collections." Folia Historica Cracoviensia 28, no. 2 (December 30, 2022): 165–84. http://dx.doi.org/10.15633/fhc.28202.
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Textiles produced in the leading weavers’ centres of the Orient and used in Poland during the Middle Ages make an interesting and valuable complex. They were imported mainly for liturgical vestments but also for decoration of chapels and secular interiors. Richly and uniquely designed, woven in specialized workshops from silk with large amount of gold, they demonstrated prestige and taste of the ecclesiastical and secular elites. Eastern textiles in Polish collections may be combined in separate groups. The first group, perhaps the most uniform in style and technique, comprises textiles whose origin is attributed to the workshops in Cyprus and Cairo, active under the Mamluc Sultanate (1250–1517), especially in the period 1250–1382. The second group are the textile produced in Constantinople or Brusa before 1449. Another group comprises paraments made of textiles whose pattern includes a rhythmically repeated Arabic inscription stored at National Museum in Gdańsk and coming from the store of the St Mary’s Church in Gdańsk, produced in workshops of northern Persia around the middle of the 14th century.
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Sheils, W. J. "The Altars in York Minster in the Early Sixteenth Century." Studies in Church History 35 (1999): 104–15. http://dx.doi.org/10.1017/s042420840001398x.
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Good God! what a pomp of silk vestments was there, of golden candlesticks.’ The dismissive satire of Erasmus’s pilgrim on looking down on Canterbury Cathedral not only brought traditional piety into disrepute among significant sectors of the educated, both clerical and lay, in early sixteenth-century England, but has also helped to colour the views of historians of the later medieval Church until recently. The work on parochial, diocesan, and cathedral archives since the 1960s, undertaken and inspired by the publication of A. G. Dickens’ The English Reformation, has refined that view, which saw traditional piety as something of a clerical confidence trick designed to impoverish a credulous laity, and recovered the reputation of the early sixteenth-century Church. The most recent, and most eloquent, account of the strength of traditional piety among the people is that by Eamon Duffy. His work has concentrated on the parochial context, where he has shown how intercessory prayer, through gilds, obits, and chantries, remained at the centre of a liturgical tradition which commanded great loyalty from the laity up to and, in some cases, beyond the dissolution of those institutional expressions of that devotion in 1547. The place of such devotion within a cathedral context has largely been ignored, despite the recently published histories, and this paper sets out to fill that gap a little by looking at the minor altars of York Minster and the clergy which served them.
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Lech, Tomasz. "The impact of high-density polyethylene materials on microbiological purity in the process of storing and preserving textiles." Textile Research Journal 87, no. 17 (August 17, 2016): 2076–88. http://dx.doi.org/10.1177/0040517516663159.
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Textiles made of natural fibers, both contemporary and historical, are at constant risk of degradation caused by, among others, microbial enzymatic activity. Fungi, bacteria, or actinomycetes are capable of producing proteolytic and cellulolytic enzymes, enabling microbial growth on textiles and leading to their decay. Ensuring proper storage conditions, including the usage of protective materials, allows long-term preservation of historical textiles in a good condition. These studies involved a broad microbiological analysis in order to verify whether high-density polyethylene (HDPE) materials can protect historical textiles during their storage. The results demonstrate interesting differences in microbial counts between washed textiles stored without HDPE covers and those stored in such covers; the latter presented considerably higher counts of microorganisms. However, when textiles had previously been sterilized, HDPE covers helped maintain appropriate microbiological purity. A considerable portion of historical textile collections, particularly exceptional silk liturgical vestments or burial garments, are kept by church institutions and stored in sacristies, treasuries, or other church rooms. The specificity of these places, both cultural and related to the age of the buildings themselves, makes them exceptional environments for storing textiles. To date, these places have rarely been researched, particularly in microbiological aspects. The analysis recounted below encompasses qualitative and quantitative assessment of fungi and bacteria present in the air of the treasury of the Wawel Royal Cathedral in Krakow, Poland, as well as the analysis of their destructive potential.
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Michalik, Jakub. "The Yew Cross from Szczuczyn – a Symbol of Life and Death or an Unusual Memento?" Analecta Archaeologica Ressoviensia 17 (2022): 71–79. http://dx.doi.org/10.15584/anarres.2022.17.6.
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Archaeological research in the crypts of the Church of the Holy Name of the Virgin Mary in Szczuczyn has been carried out since 2012. Many years of research have made it possible to identify some of the buried people, including the Piarists who served as the hosts of the church. One of the monks identified was Stanislaw Marszycki, who took the name Simeon of St Joseph after his monastic vows. Identification of the Piarist was possible thanks to the information on the coffin. On the deceased’s vestments rested a wooden crucifix, which can be interpreted as part of the deceased’s individual equipment. The crucifix was subjected to wood species identification using a microscope with transmitted light. This made it possible to determine that it was made from the wood of the common yew tree (Taxus baccata L.). Yew wood is a valuable material and was used to make both large boatbuilding components, furniture, and weapons, and was also readily used in 18th- -century gardens. The yew was also a tree around which there was a great deal of superstition. Because of its toxicity and longevity, it was treated as both a tree of death and life. The cross from the monk’s coffin, according to superstition, might have guarded the deceased against evil, been an individual object with which the deceased was associated, or perhaps was chosen because yew wood was eminently polishable and with a beautiful colouration.
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Vanca, Dumitru A. "The Beginning of Liturgical Formation in Romania: The First Liturgical Manual in the Romanian Language." Polonia Sacra 27, no. 3 (September 30, 2023): 151–64. http://dx.doi.org/10.15633/ps.27310.
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While different political realities shaped the three Principalities (Moldova, Wallachia and Transylvania) that later formed Romania (1918), the spiritual unity of the Romanian people has been nourished since the Middle Ages by the Eastern Christian faith. Situated at the intersection of cultural and religious currents, Romanian spirituality has often interacted with that of the Ruthenian Slavs, Serbs or Bulgarians, Greeks, Hungarians, Catholics, Lutherans, and Calvinists. For this reason, the first Romanian literary works were translations or adaptations that were always under the influence of or produced in opposition to these cultures and beliefs. This study investigates, from a liturgical and doctrinal perspective, the first manual of liturgical training, published in the Romanian language at Iași (1697) translated by Jeremiah Cacavelas: Holy Teaching about the Holy and Divine Liturgy. Considered by some specialists to be an adaptation of similar works by Simeon of Thessalonica or Nikolaos Bulgaris, the manual presents in the form of questions and answers the teaching and spiritual understanding of the Orthodox Church regarding the Holy Liturgy. The manual also explores other Orthodox Christian teachings regarding the church building, angels, the nature of Grace, liturgical vestments, feast days and so forth. Throughout the volume, Jeremiah Cacavelas does not avoid controversial theological subjects that divide the East and West concerning transubstantiation, the nature of Grace and so forth. Cacavela’s manual became quite widespread in the Romanian Provinces; in some areas it was used until the 19th century.
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Banić, Silvija. "Damast i vez iz druge polovine 15. stoljeća na misnom ornatu u Franjevačkom samostanu u Hvaru." Ars Adriatica, no. 1 (January 1, 2011): 117. http://dx.doi.org/10.15291/ars.432.
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The sacristy of the Franciscan church of Our Lady of Mercy in Hvar houses a set of liturgical vestments consisting of four parts - two stoles, a maniple and a chasuble. All parts are made from green silk damask, while only the chasuble was decorated with embroidery which forms a Tau cross on the front and a Latin cross at the back of the chasuble. While the cross-arms are filled with a series of large and small knotted rings - the former framing the busts of saints and the latter heraldic features - the strip around the neckline of the chasuble is embroidered with a hunting scene. Although these embroidered details have not been overlooked (a number of photographs have been published and the embroidery has been dated to the fourteenth century), the green damask did not attract attention. This article presents an analysis of this liturgical vestment which starts with a detailed examination of the damask fabric, and continues with its identification, description and comparison with a selection of similar examples. The suggested place of its provenance is Florence and the proposed date is the last quarter of the fifteenth century. These conclusions are followed by the analysis of the embroidered parts, for which a local provenance is suggested. The article confirms that the embroidery has been preserved on its original green silk damask background. On the basis of its construction and the preserved selvedge, it is concluded that the fabric was produced around the same time as the above analysed and dated damask. Due to the fact that it has not been possible to decipher the pattern of the damask underneath the embroidery, a key feature for a more precise dating, the suggested date for this fabric is somewhat wider - the second half of the fifteenth century. The archaic nature of the embroidered saints, which has been the reason for the fourteenth-century date, is interpreted as a possible imitation of an older embroidery.
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Boycheva, Yuliana. "Studying Russian Icons on the Balkans." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015642-5.
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The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of South-Eastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied component of the larger cultural process of transformation of the artistic language and visual culture in the region and its transition from medieval to modern idioms. In this dynamic transfer, piety, propaganda and visual culture appear intertwined in historically unexplored and theoretically provoking ways.
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Yamat, Ezuoke, Chukwudinma O., and IJIOMA, Patricia Ngozi. "The Semiotics of Christian Theological Translation and Interpreting." International Journal of Linguistics, Literature and Translation 4, no. 4 (April 27, 2021): 27–33. http://dx.doi.org/10.32996/ijllt.2021.4.4.5.
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The Christian theological text, whether written or oral is a derivative of a sacred text called The Bible, thus, making the theological text a second order text. This makes it possible for the Christian theological text to adopt first of all, the semiotic forms of The Bible: signs, symbols, vestments and colours as well as those of the modern church. Semiotic translation which implies a decoding of signs and symbols, interprets textual signs and symbols in a source text (ST) to the target audience (TA). Hence, translation is an interpretative activity. The translation of Christian theological semiotics could be done in-text, in footnotes or in notes and references as a form of elucidation to the target audience. Theology is a discipline and as such, most of its signs and symbols are technical. To deal with its semiotics is part of the deverbalisation process which its translator must engage in, in order to understand the source text (ST) and to reverbalise the same. The paper aims at furnishing Christian theological translators with the meanings of selected Christian theological signs and symbols. This is a plunge into the dynamic equivalence of the signs and symbols, since formal equivalence, calque and loaning do not deliver the relevant comprehension needed by the translator for adequate reverbalisation of the source text. The paper highlights the importance of semiotic research in the translation of Christian theological texts.
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MUKHAMETZYANOVA-DUGGAL, R. M., and D. A. EFIMOV. "ORTHODOX COLLECTIONS IN THE FUNDS OF THE MUSEUM OF ARCHEOLOGY AND ETHNOGRAPHY OF THE IEI UFRC RAS." Izvestia Ufimskogo Nauchnogo Tsentra RAN, no. 3 (September 30, 2021): 113–18. http://dx.doi.org/10.31040/2222-8349-2021-0-3-113-118.
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The article analyzes the quantitative and qualitative composition of the collection of the Museum of Archeology and Ethnography of the R.G. Kuzeev Institute for Ethnological Research of the UFRC RAS (MAE IEI UFRC RAS) related to Orthodoxy. It is noted that these items were collected as a result of ethnographic expeditions, donations and purchases, are stored and studied for a long time. The article provides information about the history of the appearance, methods of use, as well as what these objects carried and carry meaning in the religious life of the peoples of Bashkortostan. The conclusion is formulated, according to which, the objects of religious cults from the collection of the MAE are mainly represented by material and pictorial documents. Pictorial sources include icons depicting St. Nicholas the Wonderworker, the Tabyn Mother of God, especially revered in the Southern Urals, saints and sculptural images of the crucifixions of Christ. The material or material sources include crosses (body, altar), items of church utensils, vestments of priests, etc. In general, the objects of religious cults of the peoples of the Southern Urals are a kind of document, evidence reflecting the historical past of the region. The introduction of museum sources into scientific circulation, their comprehensive study will significantly expand and supplement the source base of research. At the same time, the development of the main problems of preservation, use and interpretation of these sources should become the subject of independent scientific research, which can make a significant contribution to the understanding of the cultural heritage of the Southern Urals, Bashkortostan in particular.
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Рудченко, Алексей Андреевич. "The Awarding of the Clergy of the Russian Orthodox Church for Participation in Military Operations of the XIX - early XX Centuries." Праксис, no. 1(3) (June 15, 2020): 261–70. http://dx.doi.org/10.31802/2658-6517-2020-1-3-261-270.
Full textAbstract:
Статья посвящена практике награждения русских православных священнослужителей за их деятельность в военный период XIX - начала XX века. В публикации изучаются варианты награждения духовенства за военные заслуги, а также указывается возможность для них посмертного награждения и сокращения стандартного трехлетнего междунаградного срока. Исследуется роль духовенства в жизни российской армии и рассматриваются обязанности военных священнослужителей. Большое внимание уделяется примерам отмеченных священноначалием подвигов духовенства, совершавшего свое служение во время Отечественной войны 1812 года, Крымской, Русско-турецкой, Русско-японской и Первой мировой военных кампаний. Известно, что отличившиеся священники награждались специально учрежденными для них особыми императорскими наперсными крестами на Владимирской или Георгиевской ленте. В статье рассматриваются обстоятельства установления этих наперсных крестов в качестве наград, а также возможность использования их священнослужителями как во время богослужения, так и в повседневной жизни. Кроме того, указывается на то, что, согласно сложившейся к началу XIX столетия системе награждения духовенства, труды священнослужителей в обстоятельствах военного времени могли отмечаться традиционным предоставлением права ношения отличительного элемента богослужебного облачения или возведением на очередную иерархическую степень. The article is devoted to the practice of rewarding Russian Orthodox clergy for their activities during the war period of the 19th - early 20th centuries. The publications study the options for rewarding clergy for military merits, and also indicate the possibility of posthumous rewarding for them and shortening the standard three-year period. Patriotic War of 1812, the Crimean, Russian-Turkish, Russian-Japanese and World War I campaigns. It is known that priests who accomplished feats awarded special imperial pectoral crosses specially designed for them on the Vladimir or St. George ribbon. The article presents the facts regarding these pectoral crosses as a nation, as well as the possibility of using them as a worship service during everyday life. In addition, it is pointed out that, according to the clergy reward system established by the beginning of the 19th century, the work of clergy in wartime circumstances could be marked by the traditional granting of the right to wear a distinctive element of liturgical vestments or raising to the next hierarchical degree.
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Mišković, Ana. "Prostor i funkcije sakristije u ranokršćanskom razdoblju na primjeru zadarskoga episkopalnog sklopa." Ars Adriatica, no. 3 (January 1, 2013): 7. http://dx.doi.org/10.15291/ars.458.
Full textAbstract:
The sacristy is an ancillary but also a necessary liturgical space in every religious complex. Judging from late-antique and early-medieval written records, a chamber adjacent to the façade or the east end (frequently one of the pastophoria) of the main congregational church had the function of a sacristy. In the regions practising the Western rite, the sacristy was located next to the church façade. It housed liturgical vessels, ecclesiastical objects, liturgical vestments for the clergy and books. The sacristy was the place where priests were robed for the eucharistic celebration and from which they emerged in the solemn procession marking the beginning of the service. In the West, the sacristy was not the place where the gifts of the congregation were accepted; instead, they brought them to the church’s chancel screen. on the other hand, in the east, the additional function of the sacristy was that of the place where gifts were presented (prothesis). Therefore, the congregation had access to it so that they could deposit their offerings which the clergy then carried to the altar. In any case, in the West and east alike, there was no separate room set aside exclusively for the offerings of the congregation. In fact, it cannot be said that the prothesis and diaconicon – the chambers flanking the presbytery – had the function of a sacristy at this point because they appeared in Byzantine architecture only in the early middle ages. Constantinopolitan sources confirm that a liturgical reform took place between the first three decades of the eighth century, that is, the office of Patriarch Germanus i, and the mid-tenth century reign of emperor Constantine Porphyrogenitus: the previously unified liturgical function of the sacristy split into two. Therefore, the application of the terms prothesis and diaconicon to the chambers (pastophoria) flanking the main apse in early Christian architecture should be discarded. Focusing on the example of the chamber situated next to the façade of the early Christian Cathedral in the episcopal complex at Zadar, it can be noted that its architecture and function were that of a sacristy, especially if one compares it to liturgical documents from Rome (Ordines romani). This chamber and its location are interpreted on the basis of the historical records of local chroniclers who mention a custom of offerings – the so-called Varina – during the office of Bishop Felix, and all of this, taken together, suggests that in the earliest Christian times the Church of Zadar practised a romanstyle Westernrite.
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Bristol, Liliana. "Goldwork in Estonia in the 20th century as exemplified by a fragment of the altar cloth at the Kaarli Church in Tallinn." Studia Vernacula 8 (November 13, 2017): 109–21. http://dx.doi.org/10.12697/sv.2017.8.109-121.
Full textAbstract:
The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique.
In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead.
Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools.
This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original.
My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques.
Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction
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Bristol, Liliana. "Goldwork in Estonia in the 20th century as exemplified by a fragment of the altar cloth at the Kaarli Church in Tallinn." Studia Vernacula 8 (November 13, 2017): 109–21. http://dx.doi.org/10.12697/sv.2017.8.109-121.
Full textAbstract:
The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique.
In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead.
Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools.
This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original.
My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques.
Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction
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Cornwell, Anthony. "Pauline Johnstone, High Fashion in the Church, The Place of Church Vestments in the History of Art from the Ninth to the Nineteenth Century, Maney Publishing, Leeds, 2002, paperback, ISBN: 1 902653 60 9, pp. 165 + 32 pp. colour plates." Recusant History 28, no. 3 (May 2007): 500–505. http://dx.doi.org/10.1017/s0034193200011596.
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Kraatz, Anne. "High Fashion in the Church: The Place of Church Vestments in the History of Art from the Ninth to the Nineteenth Century. Pauline JohnstoneFlemish Tapestry Weavers Abroad: Emigration and the Founding of Manufactories in Europe, Proceedings of the International Conference Held at Mechelen, October 2-3, 2000. Guy Delmarcel." Studies in the Decorative Arts 11, no. 2 (April 2004): 128–30. http://dx.doi.org/10.1086/studdecoarts.11.2.40663089.
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Burganova, Maria. "Images of the Grieving Christ in the Museum Collections of Saratov." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 24–54. http://dx.doi.org/10.36340/2071-6818-2019-15-3-24-54.
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An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.
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Nestola, Paola. "Liturgic emphasis, dramaturgy, identity of power and episcopal jurisdiction (XVIth-XVIIIth centuries)." Revista de História das Ideias 36 (May 9, 2018): 97–122. http://dx.doi.org/10.14195/2183-8925_36_5.
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Based on two biographical records of the archbishop of Braga, Fr. Augustin of Jesus, the study aims to consider an intense moment of manifestation and recognition of the identity of episcopal power and jurisdiction in Portugal. Centered on the inedited solemn ceremony of the imposition of the pallium, the distinctive band attributed to archbishops and primates, this paper is articulated in five paragraphs. The first one deals with the recent historiography of political ceremonies within the framework of the Portuguese Church and its hierarchies, namely episcopal entries. The second contextualizes the different sources written between the XVIth -XVIIth centuries, and their authors. The third part outlines a brief profile of the archbishop, promoted in the early years of Hapsburg dynasty to the main Portuguese Church. The fourth considers the unusual stop at the Convent of Christ, in Tomar, to attend the distinctive vestment awarding ceremony. The latter part aims to indicate the physiological/psychological reactions of the protagonist of powerful liturgy.
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Malyshev, Artem. "M. M. Tareev’s kenotic ecclesiology: an attempt at a reconstruction." St. Tikhons' University Review, no. 109 (October 31, 2023): 28–45. http://dx.doi.org/10.15382/sturi2023109.28-45.
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The article attempts to reconstruct and comprehensively analyze the ecclesiological conception of Mikhail Mikhailovich Tareev (1867-1934), Professor of Moral Theology at the Moscow Theological Academy at the beginning of the 20th century. The study consistently outlines the characteristic features of Tareev's theological approach, examines the features of his ecclesiology, proves the author's definition of his ecclesiology as kenotic. The specifics of the Tareev’s method is the division of the elements of the problem being analyzed into categories of absolute (internal) and relative (external). In other words, this problem appears in his extensive legacy as a problem of the correlation of content and form. Russian theologian understands the Church as a form of Christianity. Christianity as an inner, mystical, spiritual life has the life of the Church as its vestment. Christianity is possible only in the Church, and produces it. Being the realization of spiritual life in the world (“mir”), the Church must be holy and free from the world. At the same time, it is through the Church that the Christian spirit, or the spirit of Christ, influences the world, transforms it by Christ’s grace. According to Tareev, Christians represent a golden chain, on the one hand, connected with Christ and the saints, on the other hand, uniting all the living faithful. The Church is defined by the Russian theologian as a Society, a Kingdom, an Organism, a Union etc.; it is founded by Christ during His sufferings. Church’s purpose is to serve as an intermediary between the mystical life of the individual and the historical life of society. Due to the symmetry of Tareev's Christology and ecclesiology, the latter is defined as kenotic. The article ends with the designation of possible reasons for Tareev's formulation of his idea of the Church
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Farbaky, Péter. "Neapolitan Cardinal in Early Renaissance Hungary •." Acta Historiae Artium 62, no. 1 (April 7, 2022): 63–104. http://dx.doi.org/10.1556/170.2021.00005.
Full textAbstract:
In recent years, international research has turned with renewed attention to the Hungarian early renaissance and the art patronage of King Matthias Corvinus. indeed, it was in Hungary that italian renaissance art first appeared outside the italian peninsula. in 1476, he married Beatrice, daughter of Ferdinando d’aragona (Ferrante), who brought to Buda a love of books and music she had inherited from her grandfather, alfonso d’aragona. the work of Beatrice’s brother, giovanni d’aragona, previously known mainly from thomas Haffner’s monograph on his library (1997), is presented here from the viewpoint of his influence on Matthias’s art patronage. Ferrante’s children, alfonso, Beatrice, and giovanni were educated by outstanding humanist teachers. giovanni acquired many church benefices, and when Pope sixtus iv created him cardinal at the age of twenty-one, he made a dazzling entrance to rome. John was – together with Marco Barbo, oliviero Carafa, and Francesco gonzaga – one of the principal contemporary patrons of the College of Cardinals.On 19 april 1479 the pope named him legatus a latere to support King Matthias’s planned crusade against the Porte. giovanni went from rome to Hungary via Ferrara and Milan with two noted humanists in his retinue: the encyclopedist raffaele Maffei (volaterranus) and Felice Feliciano, bookbinder and collector of roman inscriptions. He spent much of his eight-month stay in Hungary with Matthias and Beatrice, no doubt exerting a significant influence on them, particularly in the collecting of books. Matthias appointed his brother-in-law archbishop of esztergom, the highest clerical office in Hungary. leaving Hungary in July 1480, giovanni returned to rome via venice and Florence, where lorenzo de’ Medici showed him the most valuable works of art in his palace. giovanni was appointed legate to Hungary again by sixtus iv in september 1483, and – together with Francesco Fontana – he stayed in Buda and esztergom between october 1483 and June 1484. the royal couple presented him with silver church vessels, a gold chalice, vestments, and a miter.Giovanni’s patronage focused on book collecting and building. He spent an annual sum of six thousand ducats on his library, and his acquisitions included contemporary architectural treatises by alberti and Filarete. it was around the time he was in Buda – between 1479 and 1481 – that the first large-format luxury codices were made for Matthias and Beatrice by the excellent Florentine miniaturist, Francesco rosselli. in rome, giovanni (and Francesco gonzaga) employed the Paduan illuminator gaspare da Padova, and his example encouraged Matthias and Beatrice to commission all’antica codices. anthony Hobson has detected a link between Queen Beatrice’s Psalterium and the livius codex copied for giovanni: both were bound by Felice Feliciano, who came to Hungary with the Cardinal. Feliciano’s probable involvement with the erlangen Bible (in the final period of his work, probably in Buda) may therefore be an important outcome of the art-patronage connections between giovanni and the king of Hungary.A passion for building was something else that giovanni shared with Matthias. He built a palace for himself in the monastery of Montevergine and another near Montecassino, of which he was abbot. He also built the villa la Conigliera in Naples. Matthias’ interest in architecture is much mentioned in antonio Bonfini’s history of Hungary, but only fragments of his monumental constructions, which included the renaissance villa Marmorea in the gardens to the west of the royal Palace of Buda, have survived.Giovanni and Matthias also had a connection through the famous Milan goldsmith Cristoforo Foppa (Caradosso), whose workshop was located in giovanni’s palace in rome. after his patron’s death in autumn 1485, he attempted to sell a – subsequently famous – silver salt cellar he had been unable to complete. it may also have been at the Cardinal’s recommendation that Matthias invited Caradosso to Buda for a several-month stay in 1489/90, during which he made silver tableware and possibly – together with three other lombardian goldsmiths who were there at the time – the lower part of the magnificent Matthias Calvary.Further items in the metalware category are our patrons’ seal matrices. My research has uncovered two smaller seals, both with the arms of the House of aragon at the center, that belonged to giovanni d’aragona. one, dating from 1473, is held in the archives of the Benedictine abbey of Montecassino. the other was made after he was created cardinal in late 1477 (it is held in Hungarian National archives). He also had an elaborate prelate’s seal matrix made in the early renaissance style, of which impressions survive on the documents in the archivio apostolico vaticano and the esztergom Primatial archive. at the center of the mandorla-shaped field, sitting on a throne, is the virgin Mary (Madonna lactans type) together with two intervening standing saint figures whose identification requires further research. Beneath it is the cardinal’s coat of arms crowned with a hat. it may date from the time of Caradosso’s first presumed stay in rome (1475–1479), suggesting him as the maker of the matrix, although to my knowledge there is no further evidence for this. the seals of King Matthias have been thoroughly studied, and the form and use of each type have been almost fully established.Giovanni d’aragona was buried in rome, in his titular church, the Dominican Basilica of santa sabina. Johannes Burckard described the funeral procession from the palace to the aventine in his Liber notarum. Matthias died in the vienna Burg, a residence he had only just taken up, in 1490. His body was taken in grand procession to Buda and subsequently to Fehérvár Basilica, the traditional burial place of Hungarian kings. the careers of giovanni and Matthias, full of military, political and ecclesiastical accomplishments, were thus both cut short. the great works of art they engendered, however, mark them out as highly influential patrons of renaissance art and humanist culture.
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Zukowski, Karen. "Radiant Livingness." Religion and the Arts 27, no. 1-2 (April 11, 2023): 15–42. http://dx.doi.org/10.1163/15685292-02701010.
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Abstract This paper examines the Erol Beker Chapel of the Good Shepherd in St. Peter’s Lutheran Church in New York City, one of few extant immersive environments created by sculptor Louise Nevelson and the only one with explicitly Christian content. In the mid-1970s, Nevelson collaborated with Rev. Ralph Peterson, who commissioned the chapel within St. Peter’s, a new urban church in the Citicorp complex. Nevelson was able to pursue her idiosyncratic spirituality, expressed in a life-long exploration of the fourth dimension, which she considered a gateway to transformation. Peterson was able to work with “the greatest living American sculptor” on an inspirational space for meditation and ritual, for his Lutheran church dedicated to an arts and social-action ministry. The pastor and artist found common ground in the language of abstraction, creating a gleaming white space of joy and life. The paper provides a close reading of the iconography of the chapel’s sculptural components, meaning that is amplified by other designed elements, including lighting, pew arrangement, and a Nevelson-designed vestment. This paper also examines how the chapel functions in the twenty-first century as a religious space. After years of relative obscurity and benign neglect, the Chapel is today undergoing restoration and reassessment. It can once again fulfill its role as a space of radiant livingness.