Academic literature on the topic 'Gothic Altars'
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Journal articles on the topic "Gothic Altars"
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Daxecker, F. "Representations of eyeglasses on Gothic winged altars in Austria." Documenta Ophthalmologica 93, no. 1-2 (March 1997): 169–88. http://dx.doi.org/10.1007/bf02569057.
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Arlet, Joanna. "THE INFLUENCE OF THE REFORMATION ON THE DESIGN AND FURNISHING OF NEW CASTLE CHAPELS, LUTHERAN CHURCHES, AND THE ADAPTATION OF CATHOLIC SACRED BUILDINGS IN THE DUCHY OF POMERANIA." Space&FORM 2023, no. 55 (September 29, 2023): 277–303. http://dx.doi.org/10.21005/pif.2023.55.e-01.
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The sacred architecture underwent transformations following the conversion of the Duchy of Pomerania to Protestantism in 1534. The scope and direction of changes in the forms of churches and Protestant chapels, as well as key elements of their furnishings, were the subjects of research and analysis. This encompassed structures constructed as Protestant places of worship, selected Gothic churches adapted for the new rite, and timber-framed churches built with post-and-beam construction techniques from 1534 until the end of the Griffin dynasty's rule. Due to sporadic alterations in the forms and structures of these objects, particular attention was paid to their design and details, including altars, pulpits, and baptismal fonts.
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Jakutowicz, Joanna. "Der gotische Muttergottes‑Altar von Guttstadt (1426)." Studia z Dziejów Średniowiecza, no. 25 (September 16, 2022): 144–69. http://dx.doi.org/10.26881/sds.2022.25.07.
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This article offers a stylistic analysis of the Marian altar from the church of the Redeemer and All Saints in Dobre Miasto in the voivodship of Warmia and Masuria. The altar was set up in 1426 as an altar for morning mass. It remains incomplete to this day: several Gothic figures were replaced by later pieces of sculpture, and the altar was provenance is also questionable of the centrally located sculpture of Mary and Child.
The literature up to now has pointed out stylistic analogies with the altar in Pörschken (Nowo‑Moskowskoje), at present in the collection of the Castle Museum in Malbork, and with the altar from Sokolica (Falkenau), which is at present in the collection Museum of the Archdiocese of Warmia in Olsztyn. Stylistic analysis makes it possible to establish that the closest analogy to the Dobre Miasto altar is the altar from Pörschken, while the somewhat later retable from Sokolica has many features in common with the altar from Rauma (Finland), which was a Prussian export.
It is, however, an open question as to the location of the Prussian provincial woodcarving workshop that probably produced the altars in Dobre Miasto and Pörschken, drawing on the at that time rather old‑fashioned tradition of figures of the Madonna on lions. The literaturę suggests Malbork or Gdańsk, but because of stylistic similarities to the Elbląg Apostolic College and the links of the Elbląg Rector Mikołaj Wulsack with Dobre Miasto, Elbląg, too, must be considered.
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Turcan, Robert. "Mithra Saecvlaris." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (December 2018): 217–23. http://dx.doi.org/10.1556/068.2018.58.1-4.13.
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Summary Even though the Mithraic epiclesis SAECULARIS has been explained with a link to the Ludi SAECULARES of 248, we prefer to elucidate it with the relief that we can observe between the two altars consecrated to MYTRAE SAECULARI, in Housesteads, in the civil parish of Bardon Mill in Northumberland, England, south of Broomlee. Close to Hadrian's vallum, we can actually see a representation of Mithras, identified with Phanes, emerging from the cosmogonic egg with a zodiacal belt around him, lighting up the world. Concerning Jupiter (IOVI SEQULARI), moreover, on an Antoninianus of Claudius II “the Gothic”, this epiclesis expresses his responsibility for the kosmos in its cyclic eternity. Like Jupiter, Mithras is a sovereign of the universe.
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Randla, Anneli, and Hilkka Hiiop. "Colour in Church Interiors, Medieval and Beyond." Baltic Journal of Art History 21 (August 20, 2021): 61–77. http://dx.doi.org/10.12697/bjah.2021.21.03.
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Recent studies of churches of medieval origin in Estonia have shownthat these edifices have long histories of polychrome decorationboth before and after the Reformation. In this article, some aspectsof these colour schemes are discussed. Firstly, the question of thedecoration and redecoration of interiors during the Middle Ages isaddressed, secondly the authorship and technique of vernacularlookingmurals is discussed, and thirdly the geographical spreadof these decorations is analysed. In addition, post-medieval muralsare also examined.This article is based on fieldwork in Estonian medieval churchesconducted over a period of fifteen years by the staff and studentsof the Department of Conservation and Cultural Heritage at theEstonian Academy of Arts. Here mainly the results of work in thechurches at Koeru, Keila and Järva-Jaani is presented. Some otherchurches are also discussed for comparison.So far, medieval painted decoration has been found in around25 church interiors on the territory of present-day Estonia, i.e. inroughly a quarter of the medieval churches. Although the numberis not large, the finds allow us to draw some conclusions regardingthe spread of and networks behind these paintings.We can claim that as elsewhere in medieval (northern) Europe,medieval church interiors included at least some kind of painteddecoration. It seems likely that the first (and possibly in many casesthe only) colour scheme was provided by the builders. Especiallyin rural parishes, where no specialised guilds existed, it mighthave been difficult to employ professional painters, although notimpossible. Almost certainly the decoration was applied at the timeof plastering, when the mortar had not yet set and the scaffoldingwas still available.Historical records, surviving artworks and investigated interiorsdemonstrate that after the Reformation the Lutherans were less radical in transforming churches than were other Protestants: severalCatholic altar retables and statues were preserved, side altars werenot removed, etc. The churches were usually decorated with new,more modern murals and only whitewashed in many cases severalcenturies later.Gradually, church interiors became more monochrome, althoughnot necessarily white, something that has been associated with thespread of Pietistic ideas in the Lutheran church. However, the late 19thcentury brought a revival of colour to at least some churches. Thesecolourful, mainly Gothic revival interiors survived for only a shorttime and disappeared again when they were painted over everywhere.For example, in St Lawrence’s in Kuusalu, wall paintings dating fromthe period of the Gothic revival renovation of the medieval church(1899) were found and uncovered in 2021.
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Fisković, Igor. "Lopudski oltari Miha Pracata." Ars Adriatica, no. 2 (January 1, 2012): 177. http://dx.doi.org/10.15291/ars.448.
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Three cinquecento polychrome wood-carved altars have been preserved on the island of Lopud near Dubrovnik, the most monumental of which is situated in the parish church of Our Lady of Šunj. Its retable was constructed to resemble a classical aedicule, with an intricately carved frame and a central figural depiction of the Assumption of the Virgin, complemented by a complex iconographic programme in the symmetrically arranged adjoining scenes. Filling the small cassettes of the predella are reliefs of the Annunciation and Christ as the Man of Sorrows, together with perspectively rendered narrative scenes of the Last Supper and the Washing of the Feet, while in the pediment is a frontal depiction of the Coronation of the Virgin by the Holy Trinity. In the narrow side wings between the columns and pilasters are four bas-reliefs of local patron saints depicted half-turned towards the central image, and thus achieving an overall plastic harmony for a demanding content. In terms of space, the main scene is well-developed through a pronounced sculptural modelling of the figures of the eleven apostles in the round, the most prominent of which is that of St Peter, placed in the foreground and turned to face the nave of the church, while the others are consumed by the miraculous assumption of the Virgin into heaven. She is followed high up by a pair of small angels and several tiny symbolical cherubim heads, all of which helps to achieve an extremely convincing religious scene. Its attractiveness is significantly heightened by the all’antica realism and pedantic Roman-inspired modelling which highlight the skill of a highly trained and talented master wood carver, which leaves no doubt that this is a special work of art, and indeed, the most beautiful carved wood retable in the east Adriatic which has survived to date. In this first complete study of the altar, the author traces historical records in which it is mentioned without the exact year of its creation, origin or carver being cited. He dispels the tradition that the altar was brought from England, supposedly from the Chapel of Henry VIII, and explains this tradition as having been based on the discovery of an alabaster altar, a typical product of late Gothic workshops at Nottingham, several examples of which exist in Dalmatia. From the seventeenth-century records, on the other hand, we learn that the altar in the church of the „Madonna del Sugni” (a vernacular Italo-Croatian transformation of the word Assunta) was dedicated in 1572. An examination of comparative material establishes that the altar’s compositional scheme draws upon altarpieces painted by Alvise Vivarini around 1480, while its morphological features find their closest parallel in the activities and mannerisms of the Venetian workshop of Paolo Campsa, who worked from the 1490s to the early 1550s, and who sold his works in the wide area under the government of La Serenissima. The Republic of Venice profited a great deal from this export, while its urban centre’s innumerable wooden altars disappeared following subsequent changes of fashion. A group of securely attributed works shows that Paolo Campsa frequently borrowed formulas and idioms from Venetian painters of the older generation; analogies with two of Vivarini’s altar paintings confirm that he repeated this technique on the Lopud altar, even though altars as complex as this are not found in the surviving oeuvre of this artist. An overview of the extremely numerous works attributed to this fecund wood carver has not led to a secure attribution of this scenically developed altar to his hand. However, an analytical observation points to significant similarities with individual figures considered by scholars of Renaissance wooden sculpture to be products of his workshop - more a factory, in fact - or of his circle which, without a doubt, Paolo stamped with his mark. Apart from the assumption that there are master wood carvers who have not been identified, or formally and clearly differentiated, who followed his teachings and mannerisms, this paper opens the possibility of locating more exactly the place of the altar’s creation. Since Campsa’s workshop was active even after his death, it can be assumed that the altar was made in the 1560s or 1570s, and that it was transported and assembled on the island of Lopud for its dedication of 1572. Furthermore, the author observes the meaning of the subsequent addition of the background, which was painted once the altar reached its destination; it shows a summarized depiction of the scenery of Lopud and a tiny settlement with a precisely and proportionately drawn sailing ship docked at the island’s bay. The background reveals that the nature of the work was votive and, by identifying the layers of local historical circumstance and by combining them with the relevant written sources, it can be connected to the activities of the distinguished ship owner Miho Pracat, the richest citizen of the Republic of Dubrovnik during the cinquecento. Two more wooden sculptures can be added to Miho Pracat’s donation to his home island: the figures of St Catherine and St Roch which were also made in Venice and which had originally belonged to a small altar of his family in the local church of St Francis, known from archival records. This altar was composed of an older polychrome triptych, now unfortunately lost, and which, together with a pair of side statues, formed a piece resembling a number of altarpieces from Paolo Campsa’s workshop. Thus, the analysis of these works of art reveals key components of visual culture, and a peculiar mosaic of sixteenth-century artistic production in a peripheral community of the small island of Lopud under the government of the Republic of Dubrovnik.
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Maiste, Juhan. "Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn." Baltic Journal of Art History 20 (December 27, 2020): 59–80. http://dx.doi.org/10.12697/bjah.2020.20.02.
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In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with
the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.
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Bogdan, Mirosław. "The Gothic temple, its heritage and the architectural presence of the altar in the second half of the 20th century." Kwartalnik Naukowy Fides et Ratio 56, no. 4 (December 16, 2023): 36–55. http://dx.doi.org/10.34766/fetr.v56i4.1240.
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The article defines the role played by the architecture of a Gothic temple in the aspect of the synthesis of the cultural and liturgical image when it concerns the form of the cathedral’s facade, its floor plan culminated with the eastern choir and metaphysics where the light processed by stained glass in contact with the frame (stone skeleton) structure brings a symbiotic, symbolic image. The above-mentioned synthesis was interpreted specifically after the Council of Trent (1545-1563) by the demolition of the rood screens closing the Gothic choir in front of the nave of the lay faithful. The liturgical renewal with a visually open choir introduced the main altar at its culmination, obligatorily connected to the tabernacle, and additionally elevated by a retable. The article describes the interior of the Gothic choir after the Council of Trent, liturgically up to date with the Second Vatican Council (1962-1965). Then, it describes the renewed image of the Gothic choir after another, modern, liturgical renewal. By specifying a new presence of the altar and tabernacle after the Second Vatican Council in the church (currently defined as the domus ecclesiae), the article elucidates the validity of the architecture of the Gothic interior when it exists in accordance with the post-conciliar regulations and serves the purpose of building the community of faith.
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Inbaraj, M., and Abdul Mohammed Ali Jinnah. "Posthuman Gothic and Monstrosity in Ahmed Saadawi’s Frankenstein in Baghdad." World Journal of English Language 12, no. 1 (March 15, 2022): 384. http://dx.doi.org/10.5430/wjel.v12n1p384.
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Posthuman Gothic is one of the recent emerging areas of research in the twenty-first century. It explores the different ways in which Posthuman thoughts and ideologies conflate with Gothicism in all its contemporary variations. Primarily, the posthuman gothic concerns itself with the human beings’ technological, biomedical, and supernatural experiments with the human body and consciousness that alters the human identity into the posthuman. The possibility and capability of humans to alter the human identity into something other than human or into the ‘posthuman other’ create anxiety among humans. The humans’ fear of becoming the posthuman other or encounters with the posthuman other over the course of evolution is the nucleus or the driving mechanics of the posthuman gothic genre. The Posthuman Gothic fiction deals with the scientific, technological, as well as supernatural developments on cyborgs, android robots, bio-engineered transhumans, vampires, zombies, and Frankenstein monsters in a gothic setting that opens up a dystopian posthuman future or condition. Ahmed Saadawi’s Frankenstein in Baghdad deals with the Frankenstein monster kind of posthuman that kills humans and poses a threat to human lives in a post-modern gothic setting. In this paper, the researchers try to highlight the dovetailing of the posthuman thoughts with the post-modern gothic setting and the posthuman monstrosity of the posthuman other, i.e a Frankenstein monster with multiple consciousness that threatens the human identity, lives, survival, and the very existence in Ahmed Saadawi’s Frankenstein in Baghdad through the posthuman gothic lens.
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Hammond, Erin A. "Sight Unseen: Mediating Vision and Emotion in Gothic Revival Churches c.1830–50." Emotions: History, Culture, Society 6, no. 1 (June 22, 2022): 117–34. http://dx.doi.org/10.1163/2208522x-02010149.
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Abstract With the revival of Gothic ecclesiastical architecture in nineteenth-century Britain, a cultural interest in church furnishings reignited alongside intellectual attention to their symbolic and emotive power. Rood screens, in particular, became both a symbolic and literal locus for the production of awe, mystery and revelation. The primitive interpretation of rood screens both exalted the object symbolically and allowed it to activate the spiritual senses by limiting physical sight to the altar, thus preserving the mysteries of the Eucharist. This essay considers how rood screen controversies during the mid-Victorian period unveil complex relationships between emotion, revelation and sight within Gothic Revival church interiors.
Dissertations / Theses on the topic "Gothic Altars"
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Bautista, Morenilla Iris. "Del frontal d'altar al retaule primitiu. Anàlisi científica de l'evolució tecnològica dels suports de fusta del gòtic lineal català." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/306263.
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Les vint-i-sis taules policromades –frontals, laterals d’altar i retaules primitius- que s’analitzen en aquesta tesi doctoral han estat assenyalades repetidament com a obres clau de la transició artística del romànic al gòtic. Representen l’evolució d’un llenguatge pictòric que correspon al període artístic denominat gòtic lineal català.
Aquestes taules, han estat estudiades a nivell iconogràfic i estilístic des de les últimes dècades del segle XIX. Els estudis artístics, dotats de certa subjectivitat i focalitzats en aspectes documentals, històrics i estilístics, encara no han desvelat tots els elements claus per a la completa comprensió de l’obra.
Fins al moment, no existien estudis exhaustius individualitzats i sistemàtics que permetessin relacionar les tipologies, els materials i les estructures del suport del llegat de taules policromades d’estil gòtic lineal català, moment clau en l’evolució estructural de les taules, en el què conviuen mobles d’altar -frontals i laterals- i els primers retaules.
Per tant, la taula policromada continuava requerint investigacions que exploressin la seva tecnologia, els procediments i els recursos tècnics emprats per a determinar la seva elaboració i així establir la metodologia de treball de confecció del suport de cada taller, per contribuir amb noves dades a la determinació de l’autoria i de la procedència.
La investigació científico-tècnica presentada en aquesta tesi permet relacionar les solucions tecnològiques del suport i agrupar les estructures segons la seva tipologia, evidenciat que les taules d’estil gòtic lineal català són obres claus per comprendre l’evolució estructural de les taules, tant transcendental en aquest període caracteritzat per la convivència d’ambdues formes, sent el retaule l’hereu directe del frontal.
Els resultats objectius dels estudis tècnics i científics del suport aporten informació inèdita per a la comprensió de les taules policromades, demostrant que el suport, fins ara una font d’informació infravalorada, és un element més a tenir en compte per reconstruir la història de l’obra, essent un complement imprescindible dels estudis historicoartístics.The twenty-six polychrome tables –altarpieces, laterals and primary retables- analyzed in this research have been repeatedly identified as a key work of the transition from Romanesque to Gothic art. They represent the evolution of a pictorial language that corresponds to the artistic period known as Catalan Linear Gothic.These tables have been ichnographically and stylistically studied since the last decades of the nineteenth century. Artistic studies, which can be somehow subjective and focused on documental, historical and stylistic aspects, have not yet revealed all the key elements for the complete understanding of the work.So far, there are no systematic and individualized exhaustive studies to relate support typologies, materials and structures of the polychromatic Catalan Linear Gothic tables, period of significance in the structural evolution of the tables, in which coexist the altarpieces and the earliest retables.Therefore, the tables still require research that explores the technology, procedures and technical resources in order to determine their development and thus, to establish the methodology of each workshop, contributing with new data to determine the authorship and origin of the tables.The scientific and technical research presented in this thesis provide relationships among the different technology solutions of the support and group them by type, evidencing that Catalan Linear Gothic tables are essential to understand the structural evolution of the tables, which is transcendental in this period characterized by the coexistence of both forms, being the retable a direct successor of the altarpiece.The objective results of technical and scientific studies provide new information to support the understanding of polychrome tables, demonstrating that the support, hitherto an undervalued source of information, is another element to be considered in order to reconstruct the history of the fine work, being essential for historical and artistic studies.
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Althans, Katrin [Verfasser]. "Darkness Subverted : Aboriginal Gothic in Black Australian Literature and Film / Katrin Althans." Bonn : Universitäts- und Landesbibliothek Bonn, 2021. http://d-nb.info/1229086420/34.
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Hoffmann, Ingrid-Sibylle. "Der Meister der Pollinger Tafeln : Wege der Erneuerung in der bayerischen Malerei des mittleren 15. Jahrhunderts /." Weimar : VDG Verl. und Datenbank für Geisteswissenschaften, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929787&prov=M&dokv̲ar=1&doke̲xt=htm.
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Rampáčková, Monika. "Katedrála v současnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414281.
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The master's thesis deals with famous Notre-Dame de Paris, which was destroyed by fire in 2019. The work focuses specifically on the design of completion of the construction. The cathedral is situated in the historical centre of Paris on the Île de la Cité. A lot of damage was caused to the building after the devastating fire on 15 April 2019. The aim of the thesis was to create a spiritual place that would maintain its past, but at the same time manage to follow ecological solutions in the present. The new design of the attic creates a sacred place, in which we realize the importance of faith and the peace of God. The cathedral is open to the general public ? religious people from all over the world come here to experience the love, joy and happiness that the cathedral invokes. The whole attic can be described as an open space, which symbolizes infinity or immortality from the religious point of view. It represents the connection of the past, present and future. The space is designed to hold priestly celebrations and to be open for the public. It can also be used for various events, such as exhibitions of sculptures that survived the fire.
Books on the topic "Gothic Altars"
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Demus, Otto. Die spätgotischen Altäre Kärntens. Klagenfurt: Geschichtsverein für Kärnten, 1991.
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Virchow, Elfriede Th M. Schätze im Verborgenen: Die Altäre von Ivo Strigel in Graubünden. Chur: Terra Grischuna, 2004.
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Vignjević, Tomislav. Der Meister des Krainburger Altars. Ljubljana: Narodna galerija, 1996.
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Hansmann, Wilfried. Spätgotik am Niederrhein: Rheinische und flämische Flügelältare im Licht neuer Forschung. Köln: J.P. Bachem, 1998.
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Matteo, Mazzalupi, Beretta Matilde, and Università di Firenze, eds. La pala d'altare: Dal polittico alla pala quadra : dispense del corso tenuto nell'a.a. 2011-2012. Firenze: Art & Libri, 2012.
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Witkowski, Jacek. Gotycki ołtarz główny kościoła Świętych Piotra i Pawła w Legnicy. Legnica: Muzeum Miedzi w Legnicy, 1997.
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Tiziana, Di Stefano, and Università di Firenze. Corso di laurea magistrale in storia dell'arte, eds. La pala d'altare: Dal paliotto al polittico gotico : dispense del corso tenuto nell'a.a 2008-2009. Firenze: Art & libri, 2009.
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Golser, Markus. Der Jakobusaltar in der Schlosskirche Winnenden: Geschichte, Stil, Ikonografie. Stuttgart: FF Publishers, 2020.
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Budde, Michael. Altare portatile: Kompendium der Tragaltäre des Mittelalters, 600-1600. Werne a.d. Lippe, Münster/Westf: Eigenverlag des Autors, 1998.
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Lothar, Schultes, and Oberösterreichisches Landesmuseum, eds. Der Meisters des Kefermarkter Altars: Die Ergebnisse des Linzer Symposions. Linz: Herausgegeben vom Oberösterreichischen Landesmuseum, 1993.
Find full textBook chapters on the topic "Gothic Altars"
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Winiarska, Katarzyna. "Marian Stroński i jego prace dla kościoła salezjanów w Przemyślu." In 192. Historia – tożsamość – kultura. 100-lecie salezjańskiej Parafii Świętego Józefa w Przemyślu, 223–34. The Francis de Sales Scientific Society, 2023. http://dx.doi.org/10.21852/tnfs.2023.1.09.
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Many people contributed to the realization of the Salesian church of St Joseph in Przemyśl: builders, craftsmen, and artists. Among them was Marian Stroński (1892¬1977), one of the chief painters of Przemyśl of the 2nd and 3rd quarter of the 20th century. He completed several commissions for the church whose neo-Gothic shape and slender tower became part of the city's panorama. From 1926 to 1927, in the presbytery, Stroński worked on the polychrome according to the design by Mario Ceradini and contributed two paintings for the main altar: The Holy Family and The Death of St Joseph. Twenty years later he was commissioned to create subsequent paintings for side altars: Mary Help of Christians and The Sacred Heart of Jesus which replaced the canvases from 1926 by another Przemyśl painter, Franciszek Hałun. The new altars with the paintings were consecrated in 1946 and 1947.
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Drąg, Marcin. "Rozwój przestrzeni liturgicznej kościołów franciszkańskich od XIII do XVIII wieku." In Przestrzeń liturgiczna. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374387828.05.
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Development of liturgical space in Franciscan churches between 13thand 18th centuries The aim of this writing is to show changes which took place in sacral space of Fran-ciscan temples. At first Friars Minor Conventual were occupying small, abandoned churches. There they found their space for prayer. However, the first generation of Marcin Drąg OFMConv98 the followers of St. Francis did not possess their own sacral area. Instead, they were only its users.Letters of the order’s founder are clearly defining sensitivity connected with cult which all members of the order should possess. Therefore emerges a need of sacral space’s arrangement just in the first decades of the order. Thanks to papal privileges and a demand for ceremonial celebration of liturgy, Franciscan churches are equipped with choirs, lecterns and all paraments needed. This fact is affirmed by Ordinationes(the Franciscan liturgical statutes).The 1260 Narbonne constitutions defined a plan for sacral space of Franciscan churches. It was based on order’s spirituality. The crucified Saviour is put in the middle of this plan. His sacrifice is being re-lived in the mystery of the Holly Mass. Virgin Mary and Saint John the Apostle are participating in this sacrifice as represent-atives of the Church, while Saint Francis and Saint Anthony are representing people redempted with Christ’s blood. By following Jesus, they have received a prize of His eternal companion in heavenly glory.Simultaneously with arrangement of God’s service in conventual churches, friars are becoming more open to fraternity, which determine later arrangements in space of Franciscan churches. Many churches has become places of relics worship and important shrines, with Assisi and Padua among others. Spirituality of the Order and devotion of people have led to creation of side chapels and altars which were spon-sored by benefactors, who received Holly Masses, celebrated for them, and pastoral care in exchange.The 1632 constitutions of Pope Urban the 8th together with order’s etiquette from 1759 are re-affirming the original message of Franciscan temples. It is based on mys-teries of salvation which are represented by the crucified Jesus Christ, the Immaculate Conception of Virgin Mary and Franciscan Saints who with their lives example have shown a way to glory. The idea of Franciscan devotion is represented in dedicated altars and ceremonial processions.In modern age, churches of Friars Minor Conventual were constantly influenced by changes of Renaissance (15th century) and Baroque (from 18th century), which composition was totally different from Gothic. However, despite some architectural changes, the Franciscan idea of devotion, which was included in the plan of churches, has remained the same.The analysis of sacral space in Franciscan churches which has been conducted in this article heads to a conclusion of constant development of Franciscan churches interiors. The changes which took place during 13th and 18th centuries were dictated by evolution of order’s spirituality and needs of believers.
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Wester, Maisha. "The Gothic in and as Race Theory." In The Gothic and Theory, 53–70. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427777.003.0003.
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By now critics have clearly recognized the ways in which foundational Gothic texts are rife with discourses and debates on racial otherness. Critical studies have especially revealed the conjunction of racial otherness and monstrosity in British and American Gothic Literature. However, as Toni Morrison explains in her seminal collection Playing in the Dark, the appearance of such monstrous racial others in literary texts is rarely about the actuality of the racial minority, but rather about white anxiety and self-construction. Extending that observation, this essay specifically examines how Black Gothic writers have understood and critiqued Gothic theorizations of race as participants in larger discourses which produce an uncanny whiteness. This essay even shows the ways Black Gothic writers have variously sought to re-appropriate and alter - and thereby re-theorize -- the meaning and uses of monstrosity in relation to race.
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Miller, D. Gary. "Verbal and sentential syntax." In The Oxford Gothic Grammar, 379–468. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813590.003.0009.
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Gothic is a null subject language. The binder of an anaphor can be a null subject. Binding requires asymmetrical c-command. Possessive sein- can be a syntactic or discourse anaphor. Gothic may attest the beginning of the Germanic two-reflexive system. The simple reflexive, without silba (self), is productive in anticausative structures. Verbal prefixes alter meaning, lexical, or grammatical aspect. Ga- has numerous other functions, including definiteness and temporal completion. The nonpast participle functions as a relative clause substitute and in absolute constructions. In the absence of switch reference, infinitives are the norm with modal and control verbs and purposives after verbs of motion (otherwise + du). The accusative with a participle or infinitive can be a matrix object or embedded subject. Accusative and infinitive depends on case from the matrix verb. The infinitive is usually wisan (to be) as an expansion of a small clause. Relative clauses require the complementizer ei (that). Verbs whose complements are factual or realizable are typically in the indicative. Those that do not allow a full range of independent tenses in the complement clause, or whose complements are not realized, are only potentially realized, or deal with possible worlds or alternate states of reality, trigger a shift to the optative, which has a number of independent uses as well.
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Watts, Edward J. "When Renewal Fails to Arrive." In The Eternal Decline and Fall of Rome, 89–101. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190076719.003.0009.
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The death of Julian in Persian territory in 363 forced the empire to make a costly and humiliating peace. By the later 360s, the historians Festus and Eutropius helped the emperor Valens use the rhetoric of decline and renewal to build support for a military campaign to avenge Julian’s defeat. Similar rhetoric was used again in the late 370s and early 380s by figures surrounding the emperor Theodosius I as he began a campaign to punish Gothic invaders. When Theodosius failed to do so, he instead embraced the idea of Christian Roman progress and instituted increasingly sweeping restrictions on paganism. The chapter concludes with a discussion of the Altar of Victory controversy, a moment when the pagan senator Symmachus argues that the empire must restore public support for paganism or risk catastrophe. The Christian bishop Ambrose responded that Christianity represented progress toward a better Roman future.
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Zahel, Dorota. "Wyroby z metalu (złotnictwo i brązownictwo) na wyposażeniu kościoła pw. św. Józefa w Przemyślu." In 192. Historia – tożsamość – kultura. 100-lecie salezjańskiej Parafii Świętego Józefa w Przemyślu, 245–58. The Francis de Sales Scientific Society, 2023. http://dx.doi.org/10.21852/tnfs.2023.1.10.
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The article discusses selected metal liturgical objects and accessories from the Church of St Joseph in Przemyśl. The oldest artifacts come from the turn of the 19th and 20th centuries; the newest ones were created around the mid-20th century. The oldest object is a chalice with a silver cup with French goldsmith marks and an Austrian import hallmark - an example of a vessel combined from various elements, which was often the case. There is also a silver paten with Austrian state hallmarks and the letter symbol of the Vienna hallmark from approximately the same period. Among the artifacts from the same period, there is also a small chalice almost devoid of decorations. A chalice offered to Fr Józef Hołyński in 1944 is most impressive. The- re are two monstrances created before World War II. The first one, made of brass, silver-plate, and gilded, in the neo-Gothic style, is not marked. The second one, in the modernist style with rich adornment, was funded by the parishioners in 1938. There are also metal objects in the church: candle holders and altar cross made in the workshop of the Przemyśl bronze maker Władysław Stupnicki. Imaginative altar lamps probably come from Władysława Konopelski's manufactory. Among the accessories, there are also works by other craftsmen, for example, candle holders with the signature of Marcin Jarra, a well-known Kraków manufacturer.
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Liebeschuetz, J. H. W. G. "Chrysostom in the Gainas Crisis." In Barbarians and Bishops, 189–94. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198148869.003.0017.
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Abstract Chrysostom was a non-political bishop, who was careful to keep completely clear of involvement in secular political controversy. Nevertheless it was inevitable that his influence with important individuals, his popularity with many inhabitants of the capital, and his connections in the provinces, not least with the Goths, should make him a man of power. This appeared very clearly at the time of the fall of Eutropius, and throughout the ensuing Gainas crisis. When Eutropius had lost the favour of emperor and empress he sought asylum in church, and Chrysostom for a time protected him from the soldiers demanding his execution. The fallen favourite cowered under the altar while Chrysostom preached a sermon on moral lessons to be derived from his fall. Considering that Eutropius had made Chrysostom bishop of Constantinople, the sermon shows remarkably little sympathy with the eunuch’s fate.
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Sheehan, James J. "Restoration Politics, 1815-1830." In German History 1770-1866, 391–450. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198221203.003.0008.
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Abstract N 1815 Heinrich Olivier, just returned from military service with the Free Corps, painted a picture celebrating the Holy Alliance formed by Austria, Russia, and Prussia. In the foreground of the painting stand the Emperors Francis and Alexander and King Frederick William, their hands joined in an expression of solidarity, which was meant to recall their common victory over Napoleon and to affirm their common stand against further upheavals. The sovereigns are dressed in the cumbersome ceremonial armour of the late Middle Ages, crusaders’ crosses adorn their cloaks, a heavy Gothic altar-piece stands behind them. Here Catholic, Orthodox, and Protestant came together in an enterprise whose symbols evoked the Christian heritage they shared. Olivier’s Holy Alliance is not a very good painting, but it does exemplify the medieval idiom through which some people in restoration Europe tried to express their distaste for revolutionary change. Architecture and design, the settings of novels and the background of paintings, the subject-matter of historical monu¬ ments and the focus of scholarly research all reflected this fascination for the Middle Ages. To be sure, medievalism was sometimes merely a temporary refuge, an escape from contempor¬ary cares into the apparently more cohesive and peaceful world of chivalry and cathedrals. The fake castle built by William IX of Hesse-Kassel was supposed to provide an ambience in which such escapism might flourish, as was Franzenburg, constructed by the Emperor Francis outside Vienna. We probably should not make too much of these masquerades. But for some Europeans, the medieval world was more than a refuge; it provided a stardard against which current shortcomings might be judged, a set of symbols with which deep-seated longings might be captured, and a model of how society and culture should be organized.
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Greco, Alessandro, Valentina Giacometti, and Elisa Bifano. "Inclusive Path Through Pavia: A Study to Link the Langobardic Heritage." In Studies in Health Technology and Informatics. IOS Press, 2022. http://dx.doi.org/10.3233/shti220852.
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The Italian historic centers have an architectural and archeological heritage widespread in the urban structure, which is not always easily accessible due to the orography and materials the streets and the squares are paved with. The topic of the urban accessibility is extremely complex and not easy to solve, also because the removal and overcoming of the architectural and sensorial barriers that could alter the original layout and consolidated historical memory must be avoided. The research investigates the accessibility and usability conditions of the urban environment between the Langobardic building and archeological sites in Pavia (Italy) to identify pedestrian routes that can be covered by weak persons in autonomy or with the help of a companion. The analysis and synthesis of the urban environment produce some maps which report the level of accessibility of the streets and allow to identify the best route between the Langobardic masterpieces in the downtown. The adopted evaluation system is the result of an investigation methodology defined and consolidated over the years by the activities of a group of researchers from the University of Pavia and is independent of the heritage of Langobardic origin; the same methodology can also be used to other types of widespread heritage in the historic center of the city (Romanesque, Lombard Gothic, etc.). The same methodology can be exported to other historical centers and can constitute the tool for the promotion of the architectural and archaeological heritage.
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Sheehan, James J. "Restoration Politics, 1815-1830." In German History 1770-1866, 391–450. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198204329.003.0008.
Full textAbstract:
Abstract IN 1815 Heinrich Olivier, just returned from military service with the Free Corps, painted a picture celebrating the Holy Alliance formed by Austria, Russia, and Prussia. In the foreground of the painting stand the Emperors Francis and Alexander and King Frédérick William, their hands joined in an expression of solidarity, which was meant to recall their common victory over Napoleon and to affirm their common stand against further upheavals. The sovereigns are dressed in the cumbersome ceremonial armour of the late Middle Ages, crusaders’ crosses adorn their cloaks, a heavy Gothic altar-piece stands behind them. Here Catholic, Orthodox, and Protestant came together in an enterprise whose symbols evoked the Christian heritage they shared. 1 Olivier’s Holy Alliance is not a very good painting, but it does exemplify the medieval idiom through which some people in restoration Europe tried to express their distaste for revolutionary change. Architecture and design, the settings of novels and the background of paintings, the subject-matter of historical monuments and •the focus of scholarly research all reflected this fascination for the Middle Ages. To be sure, medievalism was sometimes merely a temporary refuge, an escape from contemporary cares into the apparently more cohesive and peaceful world of chivalry and cathedrals. The fake castle built by William IX of Hesse-Kassel was supposed to provide an ambience in which such escapism might flourish, as was Franzenburg, constructed by the Emperor Francis outside Vienna. We probably should not make too much of these masquerades. But for some Europeans, the medieval world was more than a refuge; it provided a standard against which current shortcomings might be judged, a set of symbols with which deep-seated longings might be captured, and a model of how society and culture should be organized. The Middle Ages, seen through this historical lens, appeared to be a time when faith was secure and social hierarchies unchallenged, when people believed in God and obeyed their betters.
Conference papers on the topic "Gothic Altars"
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Sánchez Mantica, Damián Gabrie, Diego Alejandro Lema Sarmento, and Laura Viviana Arévalo. "ESTUDIO DEL CONTENIDO DE HIDROXIMETILFURFURAL E ÍNDICE DE DIASTASAS EN MIELES TEMPLADAS EN RECINTO CALEFACCIONADO." In VII CONGRESO INVESTIGACIÓN, DESARROLLO E INNOVACIÓN DE LA UNIVERSIDAD INTERNACIONAL DE CIENCIA Y TECNOLOGÍA. Universidad Internacional de Ciencia y Tecnología, 2022. http://dx.doi.org/10.47300/actasidi-unicyt-2022-03.
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Introducción: en la actualidad debido a distintos factores socio económicos resulta imperativo llevar a cabo procesos tecnológicos eficientes y que den como resultado productos de alta calidad y posicionamiento en el medio. Se planteó llevar a cabo un estudio práctico científico que facilitara el conocimiento experimental en base a prácticas tecnológicas comunes al proceso productivo de la miel que implican exposición al calor durante distintos periodos de tiempo. Objetivo: cuantificar y evaluar el contenido del 5-hidroximetilfurfural (HMF) e índice de diastasas (ID). Materiales y Métodos: se aplicaron metodologías de muestreo y técnicas analíticas oficiales enmarcadas por Código Alimentario Argentino (CAA) a un rango de muestras expuestas entre 35°C a 40°C durante 6 h (T1), 12 h (T2) y 18 h (T3). Resultados y Discusión: se observó un contenido inicial de 2,85 ppm (s=0,01) y T1 3,06 ppm (s =0,01), T2 3,46 ppm (s =0,01), T3 3,59 ppm (s =0,01) y un decremento moderado del ID donde el valor inicial fue de 52,17 °Gothe (s =0,29) y T1 52,07 °Gothe (s =0,11), T2 50,23 °Gothe (s =0,23) y T3 46,60 °Gothe (s =0,37). Conclusión: se observó que los T1, T2 y T3 no atribuyeron una influencia crítica en la calidad de la miel, respecto a los parámetros de frescura del presente alimento y bajo las condiciones de trabajo llevadas a cabo. La aplicación del T1 fue suficiente para adecuar la miel para su extracción y sin afectar a su calidad. Se observó una tendencia entre el incremento del HMF y disminución del ID en las muestras tratadas (R2=0,91).