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Relevant bibliographies by topics / Guild of Saint Apollonia

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Academic literature on the topic 'Guild of Saint Apollonia'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Guild of Saint Apollonia"

1

Łysiak-Seichter, Małgorzata, Malwina Rouba, and Edyta Grotek. "Saint Apollonia Prayer on the Basis of Walther Bruck’s Research." Journal of Stomatology (Czasopismo Stomatologiczne) 67, no. 1 (January 1, 2014): 128–38. http://dx.doi.org/10.5604/00114553.1083348.

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2

Young, Francis. "The Cult of St Edmund, King and Martyr in Medieval Ireland." Downside Review 136, no. 4 (October 2018): 223–38. http://dx.doi.org/10.1177/0012580618822471.

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St Edmund, king and martyr (an Anglo-Saxon king martyred by the Vikings in 869) was one of the most venerated English saints in Ireland from the 12th century. In Dublin, St Edmund had his own chapel in Christ Church Cathedral and a guild, while Athassel Priory in County Tipperary claimed to possess a miraculous image of the saint. In the late 14th century the coat of arms ascribed to St Edmund became the emblem of the king of England’s lordship of Ireland, and the name Edmund (or its Irish equivalent Éamon) was widespread in the country by the end of the Middle Ages. This article argues that the cult of St Edmund, the traditional patron saint of the English people, served to reassure the English of Ireland of their Englishness, and challenges the idea that St Edmund was introduced to Ireland as a heavenly patron of the Anglo-Norman conquest.

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3

Crombie, Laura. "Sisters of Saint George: female membership and material remembrance within the Crossbow Guild of late medieval Ghent." Women's History Review 25, no. 6 (March 7, 2016): 871–86. http://dx.doi.org/10.1080/09612025.2015.1083227.

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4

Delvingt, Anne. "Une oeuvre retrouvée de Hans van den Elburcht, franc-maître à Anvers en 1536." Oud Holland - Quarterly for Dutch Art History 115, no. 3-4 (2001): 167–86. http://dx.doi.org/10.1163/187501701x00226.

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AbstractThe origins of the Martyrdom of Saint James the Less, an anonymous painting in the convent of the Sisters of Charity at Saint-Grhislain, have been traced. It was formerly one of the wings of a triptych that stood on the altar of the Fishmongers Guild in Antwerp Cathedral until 1798. The style and type of the figures in the Martyrdom of Saint James the Less are, in fact, analogous to those in the central panel of this triptych, the Miraculous Draught of Fishes (Antwerp Cathedral) as well as in its left wing, the Baptism of the Eunuch by Saint Philip, which was recognised in 1966 by Josua Bruyn in the Boijmans Van Beuningen Museum in Rotterdam. The subjects of the triptych's individual panels correspond with the dedication of the Fishmongers' Altar to Saints Peter, Philip and James the Less at the end of the sixteenth century. The Martyrdom of Saint James the Less is an extremely rare subject in Early Netherlandish painting, which serves as a decisive argument for identifying the panel in Saint-Ghislain as the right wing of the triptych. The artist, Hans van den Elburcht, employed the same engraving dated 1556 for the composition of the central panel as well as for two figures in the right wing, which thus provides a Terminus post quem of 1556 for the production of the triptych. A date of execution in the 1570s is most likely, since the style of the work is close to that of compositions by Maerten de Vos of the 1560s (cf. a series of the story of Rebecca in Rouen). Consequently, Van den Elburcht's triptych probably replaced an altarpiece that was destroyed during the Iconoclastic fury of 1566.

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5

Peeters, Natasja. "The Guild of Saint Luke and the Painter's Profession in Antwerp between c. 1560 and 1585: Some Social and Economic Insights." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 59, no. 1 (2009): 136–63. http://dx.doi.org/10.1163/22145966-90000067.

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6

Jurković, Ivan. "Family Ties and Written Multilingual Heritage of the Frankapani at the Dawn of the Early Modern Period." Tabula, no. 17 (November 16, 2020): 205–38. http://dx.doi.org/10.32728/tab.17.2020.7.

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In the second half of the fifteenth and the first half of the sixteenth century the Frankapani of Krk, Senj, and Modruš were at the peak of their power. This family of Croatian counts was networked through marriage from the Adriatic to the Baltic Sea with Italian, Hungarian, Austrian, and German royal and aristocratic families. Their presence in the courts of their next of kin, as well as their in-laws, is therefore not surprising, whether it be the Roman Curia or the Hohenzollern Branderburger Palace in Berlin. In such a wide system of communications, the Frankapani presented themselves to the European public as a multilingual family ready to promulgate not only the written heritage nurtured during the Middle Ages in Croatia (Latin and Glagolitic), but also ready to adopt, promote, and disseminate the written heritage of their spouses (Italian, German, Hungarian). The following examples attest to this statement: the Roman breviary translated into the German language by Christopher Frankapan and his wife Apollonia Lang printed in 1518 in Venice, the anti-Turkish speech in Latin delivered by Christopher’s father, Bernardin, before the German assembly in Nuremberg and printed in 1522 for the occasion, the translated epistles of Saint Paul, from Latin to Hungarian, donated by Catherine Frankapan married to Gabriel (Gábor) Perényi, printed in Krakow in 1533, and the first Croatian- language breviary written in the Latin script, rather than in the Glagolitic, commissioned by Catherine Frankapan married to Nicholas Zrinski, published in 1560 in Padua.

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7

Tamarkin, Elisa. "The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America." Prospects 24 (October 1999): 417–47. http://dx.doi.org/10.1017/s0361233300000442.

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When edwin austin abbey, with eleven other artists and all the ritual of a new male order — round table, cob pipes, stone bottles of cider — founded the Tile Club in 1877, his sobriquet was “The Chestnut.” If not boating down the Erie Canal or on holiday in Easthampton, the men would make tiles for the home, ceramic wares of Shakespeare or rustics and florals, in the style of William Morris and his decorative arts. Twenty years before Charles Eliot Norton's Society of Arts and Crafts, such Tilers as Abbey, Augustus Saint–Gaudens, and Elihu Vedder would draw on the same crafts ideal, namely, an aesthetic for hard work and the “simple” productions of artisanal labor as an antidote to urban luxury. The club would find in guild fraternalism a weekly hobby, twelve men with sardines and crackers, noms de plume and seals, to revive a handicraft seen as both republican in its ethic and fashionably medieval. If modern life meant the enervation of Veblen's foppish and leisured class, the Tile Club was an authentically male pastime.

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8

Harvey, Carol. "Dramatising the Romance: from La Manekine to La Fille du roy de Hongrie." Florilegium 19, no. 1 (January 2002): 109–26. http://dx.doi.org/10.3138/flor.19.006.

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In the fourteenth century, a new kind of religious drama gained popularity in France, the miracle play or miracle par personnages. The genre originated in the numerous legends of the Virgin Mary in both Latin and French, of which the most famous are those collected by the thirteenth-century monk Gautier de Coincy. The miracle play was intended for the edification of the people, and its overarching theme is the Blessed Virgin's intercession in favour of mortals who have gone astray or who are otherwise in distress. The earliest-recorded dramatisation of the non-scriptural miracles attributed to Mary is Rutebeuf's well-known Miracle de Théophile, in which the cleric Theophilus rashly sells his soul to the devil and does his bidding for seven years; then, repenting of his sins and transgressions he invokes the aid of Mary, who conquers the devil and restores Theophilus to the path of righteousness. However, the major source of our knowledge of miracle plays is the two-volume Cangé manuscript (Bibliothèque nationale de France MS fr. 819-820), a remarkable record of dramatic production comprising forty miracles composed and performed in Paris, over the lengthy period between 1339 and 1382, during the annual assembly of the Saint-Éloi Gold and Silversmiths' Guild.

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9

Salzman-Fiske, Ellen. "John Lovejoy Elliott and the Social Settlement Movement." Prospects 30 (October 2005): 383–93. http://dx.doi.org/10.1017/s036123330000209x.

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During the Progressive Era, American social settlements played a critical role in helping immigrants adjust to a new life that was puzzling, difficult, and often grueling. Settlements offered immigrants medical help, language classes, art and music lessons, day-care services — and sometimes a place where they could learn to be community leaders. Most often, it is the inspiring work of women reformers that one thinks of in connection with the important work of social settlements. Yet among the many prominent women, several men in the settlement movement were influential and extraordinary in their own right. John Lovejoy Elliott, founder and head worker of the Hudson Guild in New York City, was a prime example.Although Elliott held such impressive posts as President of the Board of Directors of the National Federation of Settlements (from 1919 to 1923) and was described by one of his contemporaries as “one of the great social workers and spiritual leaders of our time…. a kind of lay saint,” historically Elliott's work has been overshadowed by that of his more famous female counterparts. Yet one could argue that it is Elliott who created and put into practice a settlement house that best addressed the needs of immigrants and most helped the immigrant underclass achieve some independence and political power.Although John Lovejoy Elliott had a single focus (helping immigrants), female settlement head workers, such as Jane Addams, often pursued a dual goal. They were concerned about helping immigrants, but also were intent on giving college-educated, middle-class or upper-class young American women something to do with their lives. “We have in America,” wrote Addams, “a fast growing number of cultivated young people who have no recognized outlet for their active abilities.”

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10

Stachowiak, Monika. "Plucked-keyboard instruments built in Flanders as based on the collection of the Muziekinstrumentenmuseum in Brussels." Notes Muzyczny 2, no. 10 (December 20, 2018): 73–101. http://dx.doi.org/10.5604/01.3001.0012.9813.

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The article touches on the topic of keyboard-plucked instruments, which were made in one of the most significant European centres – Flanders. The Ruckers family working there created unique works serving as an inspiration for subsequent generations of instrument makers as well as modern makers of copies of historical instruments. The text is aimed at presenting the history of Flanders and instrument building in that region, and analysing selected exhibits from the Muziekinstrumentenmuseum in Brussels. The names of authors of numerous old instruments still need to be determined or confirmed, and a thorough study of connections between families of builders, their relations with other makers, and the ornaments placed on instruments, may facilitate the identification. The article describes the history of the Guild of Saint Luke in Antwerp, uniting artists and instrument makers. The most recognised representatives of this group were the Ruckers and the Couchet families, and biographical sketches of their selected members are presented further along in the article. There is also a description of different instruments from that region, such as: harpsichord (Flűgel), virginal, spinet, muselar, de moeder met het kind and ottavino. The conclusion includes an analysis of selected items from the Belgian museum which come from the region of Flanders and were built by the Ruckers and Rouchet families. These exhibits are distinguished by their structure, external appearance and history. The descriptions and photos will allow readers to learn more about the presented material. The text is addressed to people interested in the topic of the plucked-keyboard instrument making, as well as to harpsichordists who need to know about the origin of instruments. This kind of information is crucial for adjusting the right temperament, registers and articulation in a given piece. The knowledge about the types of historical keyboard instruments is equally important.

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Books on the topic "Guild of Saint Apollonia"

1

Printers, Oxford Guild of. The Oxford Guild of Printers 2000. Oxford: Oxford Guild of Printers, 2000.

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2

Gaba, Latif. Guild of Saint Samuel Handbook. Independently Published, 2020.

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3

Claire, Bolton, and Oxford Guild of Printers, eds. The Oxford Guild of Printers, 2000. Bicester: Oxford Guild of Printers, 2000.

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4

Guild of Students at the University of the West Indies, St Augustine, 1962-2012. University of the West Indies Press, 2013.

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Book chapters on the topic "Guild of Saint Apollonia"

1

FINGAROVA, Galina. "The Church of Saint Mary in Apollonia: An Expression of Byzantine Imperial Claims." In Studies in Byzantine History and Civilization, 115–37. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.sbhc-eb.5.121920.

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2

Van der Stichelen, Katlijne, and Filip Vermeylen. "10. The Antwerp Guild of Saint Luke and the Marketing of Paintings, 1400−1700." In Studies in European Urban History (1100-1800), 189–208. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.seuh-eb.4.00067.

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3

Glover, Angela. "What Constitutes Sculpture? The Guild Dispute of 1544 over the Saint Gertrude Choir Stalls in Leuven." In Studies in European Urban History (1100-1800), 99–111. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.seuh-eb.5.114003.

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