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Journal articles on the topic 'John, the Baptist, Saint'
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1
Todd, Margo. "What's in a Name? Language, Image, and Urban Identity in Early Modern Perth." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 85, no. 1 (2005): 379–95. http://dx.doi.org/10.1163/187607505x00236.
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AbstractThe corporate identity of the Scottish royal burgh of Perth was in the Middle Ages tied closely to its patron saint, John the Baptist. After the reformation of 1559-60 had abolished all veneration of saints, this identification did not disappear. The town was still called Sanctjhonstoun, the festivals of the Baptist continued to serve as calendar dates, and the St. John's bell continued to call parishioners to the kirk. Even more striking, images of the Baptist survived — on the bells, in the hammermen's silver marks, and in the town seal. Protestant usage would eventually shift the meanings associated with the Baptist, but the saint would never disappear entirely from the town's constructed identity.
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Smith, Kathryn. "“A Lanterne of Lyght to the People”: English Narrative Alabaster Images of John the Baptist in Their Visual, Religious, and Social Contexts." Studies in Iconography 42, no. 1 (2021): 53–94. http://dx.doi.org/10.32773/mlbe2471.
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English narrative alabaster reliefs depicting the public life and martyrdom of John the Baptist are a fascinating yet understudied corpus. The starting point of this essay and its place of return is a series of three fifteenth-century panels depicting Saint John the Baptist Before Herod Antipas, The Burial of Saint John the Baptist, and The Burning of Saint John the Baptist’s Bones and the Scattering of his Ashes. Once possibly part of an altarpiece made for export, the reliefs are now in The Victoria and Albert Museum. Drawing on a broad range of literary, liturgical, homiletic, folkloric, and artistic sources, the essay examines the multifaceted nature of late medieval devotion to John the Baptist, focusing in particular on the saint’s connection to women, fertility, and healing, and on the festal, celebratory dimensions of his cult. The essay concludes by offering a reading of the V&A reliefs in light of the popular beliefs and customs that would have informed the English alabaster carvers’ lived experience and speculates on the roles of lived experience and memory in the creation and reception of images.
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Fortin, John R. "Saint Anselm’s Prayer to Saint John the Baptist." American Benedictine Review 72, no. 1 (March 2021): 71–83. http://dx.doi.org/10.1353/ben.2021.a923925.
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Haldenwang, Sigrid. "Zu den Heiligennamen „Bartholomäus“ und „Johannes“ im Siebenbürgisch-Sächsischen, die auf biblische Heilige und deren Geburtstage zurückgehen." Germanistische Beiträge 47, no. 1 (December 1, 2021): 193–208. http://dx.doi.org/10.2478/gb-2021-0011.
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Abstract The article initially covers the historical information regarding two biblical saints „Saint Bartholomew“ and „John the Baptist“ and their birthdays. In vernacular documents from 1900 to 1980 inclusively, the Transylvanian-Saxon names „Bartholomew“ and „John“ were related to the respective saint. The vernacular documents show that their birthdays were playing a role in seasonal determination for peasant work as well as being used in descriptive country sayings, in idioms and in traditional customs. The case examples are taken from the Transylvanian-Saxon Dictionary, the North Transylvanian Dictionary, as well as relevant specialist and vernacular literature.
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Richter, Elinor M. "DONATELLO'S "SAINT JOHN THE BAPTIST" IN SIENA." Source: Notes in the History of Art 5, no. 3 (April 1986): 21–26. http://dx.doi.org/10.1086/sou.5.3.23202397.
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Anderson, Michael Alan. "The One Who Comes After Me." Journal of the American Musicological Society 66, no. 3 (2013): 639–708. http://dx.doi.org/10.1525/jams.2013.66.3.639.
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Abstract Studies of the past two decades have shown that late medieval and Renaissance composers participated in a culture of symbolic representation by inscribing Christian figures and concepts into musical design. One figure who has been overlooked in this line of scholarship is John the Baptist, the precursor of Christ. This essay outlines the Baptist's historical impact on the conception of Christian temporality and proceeds to demonstrate some distinct experiments in fourteenth- and fifteenth-century music for John that express his predecessory character through emblematic manipulations of temporal parameters. By the sixteenth century, several inscriptions found in Vatican manuscripts reveal that the Baptist was associated with a particular musical craft that controls masterfully the unfolding of time: the art of canon. Drawing heavily on Scripture (especially John 1:15, 27, 30) to articulate the compositional conceits, the rubrics likened the leader (dux) and follower (comes) of a canon to the relationship between John (the forerunner saint) and Jesus. The analogy intensified around the papal chapel choirbook Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38.
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Andrews, Frances. "Doubting John?" Studies in Church History 52 (June 2016): 17–48. http://dx.doi.org/10.1017/stc.2015.2.
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This essay focuses on the figure of John the Baptist in prison and the question he sent his disciples to ask Christ: was he ‘the one who is to come’ (Matthew 11: 2–3)? Having observed how the Fathers strove to distance John from the perils of doubt in their readings of this passage, it traces the way their arguments were picked up by twelfth- and thirteenth-century biblical exegetes and then by authors of anti-heretical dispute texts in urban Italy, where the Baptist was a popular patron saint. So as to give force to their own counter-arguments, learned polemicists, clerical and lay, made much of heretics’ hostility to John, powerfully ventriloquizing a doubting, sceptical standpoint. One counter-argument was to assign any doubts to John's disciples, for whose benefit he therefore sent to ask for confirmation of the means of Christ's return, neatly moving doubt from questions of faith to epistemology. Such ideas may have seeped beyond the bounds of a university-trained elite, as is perhaps visible in a fourteenth-century fresco representing John in prison engaging with anxious disciples. But place, audience and genre determined where doubt was energetically debated and where it was more usually avoided, as in sermons for the laity on the feast of a popular saint.
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Dragić, Marko, and Helena Dragić. "Saint John the Baptist in Croatian Traditional Heritage." Croatica et Slavica Iadertina 15, no. 1 (March 10, 2020): 275–330. http://dx.doi.org/10.15291/csi.2977.
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Sv. Ivan Krstitelj, prethodnik i krstitelj Isusov, iznimno se štuje u kršćanstvu. Ivan Krstitelj rodio se pola godine prije Isusa. U smislu folklornih običaja u Hrvata najbogatiji su Badnjak, blagdan sv. Jurja (23. travnja) i blagdan sv. Ivana Krstitelja (24. lipnja). U hrvatskoj tradicijskoj baštini, kao i u tradicijskoj baštini drugih naroda u Europi i svijetu, uz blagdan sv. Ivana Krstitelja vezuju se razni običaji, ophodi, divinacije, vjerovanja, hodočašća, procesije, svete mise, pučka veselja, sajmovi, ivanjske pjesme, molitve. U Hrvata i uopće u Europi običaj je paljenja ivanjskih vatri u sumrak uoči blagdana sv. Ivana Krstitelja. Stari je običaj da se mladić i djevojka uzmu za ruke i preskaču vatru ivanjskoga krijesa, a vatru mladež preskače i pojedinačno. Taj običaj ima lustrativnu i apotropejsku funkciju. Pored krjesova, u hrvatskoj tradicijskoj baštini u ivanjske vatre spadaju i bakljari, mašalanje, lilanje. Prastaro je vjerovanje da vještice, more i druga demonska bića neće moći djelovati dokle god se vidi ivanjskih vatra i dokle god im se dim proširi. Blagdan sv. Ivana Krstitelja prije izlaska sunca prate i ophodi krijesovalja (krisnica, ladarica), hodanje po pepelu od ivanjskoga krijesa, umivanje i kupanje na vrelima, u rijekama i moru. Nekoć su se kuće, dvorišta, ulazna vrata (kapije) kitili za blagdan sv. Ivana Krstitelja, a žene i djevojke u zoru iznosile su odjeću i tkanine da ih ivanjske zrake obasjaju i zaštite od moljaca. Uz blagdan sv. Ivana Krstitelja vezuju se ljubavne divinacije kao i divinacije o tome tko će od ukućana prvi umrijeti. U čast sv. Ivanu vjernici poste, zavjetuju se i na blagdan mnogi bosonogi hodočaste svetištima posvećenima sv. Ivanu te na koljenima obilaze oko svetišta ili oko kipa sv. Ivana Krstitelja moleći za izlječenje svojih tjelesnih i duševnih boli. Nakon procesije i svete mise tradicionalno se organiziraju pučka veselja. Narod sv. Ivanu Krstitelju pjeva usmene lirske pjesme i upućuje molitve.
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Gausová Zörnerová, Markéta. "Vznik a zánik narativu na příkladu putování jedné svatojánské sochy." Lidé města 25, no. 3 (December 1, 2023): 305–23. http://dx.doi.org/10.14712/12128112.3961.
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Using the example of the statue of St John of Nepomuk outside Saint John the Baptist Church (Na Prádle) in Prague’s Lesser Town, the author presents a reflection on the wide range of ideas upon which the narrative of a historical monument located in the city’s landscape depends on. This sculpture is especially admired as an example of Baroque art. The location of this statue in front of Saint John the Baptist Church is one of the factors that creates the impression of a picturesque and visually attractive spot. At the same time, however, this statue is known to have been originally located on the opposite shore of the Vltava River. Until the beginning of the 20th century, it was part of a religious cult, and its presence in the Cattle Market (now Charles Square) was seen as part of a greater pilgrimage site in which St John of Nepomuk was revered. By studying sources and literature, the author gradually uncovers layers of meanings intertwined with this particular work. At the same time, the author reflects on the possible consequences of transferring (not only) religious monuments from their original locations, especially with regard to the city’s memory.
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WALTER, Ch. "Salome and the Head of Saint John the Baptist." Revue des Études Arméniennes 23 (January 1, 1992): 509–23. http://dx.doi.org/10.2143/rea.23.0.2017149.
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White, Eric Marshall. "ALBRECHT ALTDORFER'S BOTANICAL ATTRIBUTE FOR SAINT JOHN THE BAPTIST." Source: Notes in the History of Art 15, no. 2 (January 1996): 15–21. http://dx.doi.org/10.1086/sou.15.2.23205516.
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Barolsky, Paul. "THE MYSTERIOUS MEANING OF LEONARDO'S "SAINT JOHN THE BAPTIST"." Source: Notes in the History of Art 8, no. 3 (April 1989): 11–15. http://dx.doi.org/10.1086/sou.8.3.23202683.
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Marzo, Alessia. "Nuove miniature del Maestro del Libro d’Ore di Modena e altri frammenti tardogotici lombardi a Torino." Zeitschrift für Kunstgeschichte 86, no. 3 (September 1, 2023): 318–39. http://dx.doi.org/10.1515/zkg-2023-3003.
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Abstract Seven unpublished illuminated fragments from the Museo Civico d’Arte Antica in Turin are examined and placed in the context of Lombard Late Gothic book illumination. An antiphonary with Proper and Commons of Saints decorated by the Master of the Modena Book of Hours is partially reconstructed. A miniature depicting the Imago Pietatis is traced back to one of that master’s masterpieces, the Parma Book of Hours. The well-known miniature with Saint John the Baptist is all that survives of a lost Book of Hours closely related to Michelino da Besozzo’s models, while an initial with Saint Augustine is traced back to a lost antiphonary made in Pavia, perhaps to be ascribed to the Master of Laura Bossi around 1485.
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Lisdiyanto, Stephanus. "Mangupa Lahiron Daganak sebagai Representasi Penghayatan Iman Kristiani Umat Suku Batak Toba." Jurnal Teologi Kontekstual Indonesia 4, no. 1 (June 30, 2023): 63. http://dx.doi.org/10.46445/jtki.v4i1.589.
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In this article, the author would like to express his appreciation for the faith of the Toba Batak Catholics in the parish of St. John the Baptist, Perawang Riau, Padang Diocese, related to the Mangupa Lahiron Daganak tradition carried out in the Toba Batak tribal community. The Mangupa Lahiron Daganak tradition is one of the ceremonies to welcome and give thanks for the birth of a child in the Toba Batak family. This tradition is no longer carried out completely by Toba Batak Catholics in the parish of Saint John the Baptist Perawang Riau. Several instruments are used in the ritual of the Mangupa Lahiron Daganak ceremony. The function of this instrument is to make the ceremony run smoothly, wisely, and meaningfully. The instruments used in the ceremony contain symbols that are meaningful in people's lives. The purpose of this paper is to find and interpret the symbols in the Mangupa Lahiron Daganak ceremony, not only from a social point of view but more on theological meanings that can strengthen the appreciation of the faith of Catholics, especially the Toba Batak people. The results showed that the Toba Batak Catholics in the St. John the Baptist Perawang Riau parish were able to find social meaning, which was then transformed into an appreciation of the Christian faith, even though the Toba Batak people in the St. John the Baptist Perawang Riau parish no longer held the full Mangupa Lahiron Daganak ceremony.
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Herráez Ortega, María Victoria. "Orfebrería y liturgía en San Isidoro de León. Custodias y relicarios del siglo XVI." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 311. http://dx.doi.org/10.18002/ehgha.v0i19.6768.
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<span>The treasury of San Isidoro of León keeps three magnificent mostrances of the l6th century. Two of them, corresponding to the Early Renaissance, are used as reliquaires of Saint Martino and Saint John Baptist. The change in the function doesn't pose any structural problem; it was taking place as the monastery, which enjoyed a cultural and economic development during the l6th century, owned a more luxurious and adecuate piece for the exposition of the Sacrament. The iconographic program shows, anyway, the original function.</span>
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Stouck, Mary-Ann. "Of Talking Heads and Other Marvels: Hagiography and Lay Piety in Sir Gawain and the Green Knight." Florilegium 17, no. 1 (January 2000): 59–72. http://dx.doi.org/10.3138/flor.17.004.
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Among the unresolved issues in our understanding of Sir Gawain and the Green Knight is the function of the hagiographical references, comprised both of saints whom the poet mentions explicitly (Julian, Peter, Giles, John the Evangelist and/or Baptist), and of those whom he seems to have in mind but does not explicitly name. Since Ronald Tamplin's 1969 essay in Speculum substantially introduced the subject, scholars have traced numerous parallels between the stories of the saints and Gawain's adventures with a view to discovering whether the analogies function positively or ironically—that is, whether Gawain is more or less saint-like in his behaviour. Briefly, then, there is broad agreement as to the special importance of saints' references in the poem, but there remains disagreement as to their significance.
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Keshelava, Grigol. "Hidden Cardiovascular Anatomy in “Saint John the Baptist” by Leonardo da Vinci." AORTA 10, no. 02 (April 2022): 89–91. http://dx.doi.org/10.1055/s-0042-1742698.
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AbstractLeonardo da Vinci conducted many anatomical studies during his life. Today, almost the complete set of these anatomical drawings and comments is owned by the British Crown and resides in the Royal Library at Windsor Castle, United Kingdom.Through the program Paint X, we moved two details on the painting “Saint John the Baptist.” The moving details are circled along the faint contour by Leonardo da Vinci himself. We obtained heart and aortic arch imaging.
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Keshelava, Grigol. "Hidden Cardiovascular Anatomy in “Saint John the Baptist” by Leonardo da Vinci." AORTA 10, no. 02 (April 2022): 89–91. http://dx.doi.org/10.1055/s-0042-1742698.
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AbstractLeonardo da Vinci conducted many anatomical studies during his life. Today, almost the complete set of these anatomical drawings and comments is owned by the British Crown and resides in the Royal Library at Windsor Castle, United Kingdom.Through the program Paint X, we moved two details on the painting “Saint John the Baptist.” The moving details are circled along the faint contour by Leonardo da Vinci himself. We obtained heart and aortic arch imaging.
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Jules Iskandar, Amine. "The Monastery of Saint John the Baptist of Hrach: Two Syriac Epigraphs." Arts and Architecture Journal 1, no. 2 (December 1, 2020): 29–49. http://dx.doi.org/10.21608/aaj.2020.234700.
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Хионина, А. Ю. "The Icon of Saint John the Baptist with Selected Saints in prayer to the Icon of Our Lady of the Sign in collection of Ekaterinburg Museum of Fine Arts." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 188–95. http://dx.doi.org/10.46748/arteuras.2024.01.014.
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Статья посвящена исследованию иконы избранных святых из собрания Екатеринбургского музея изобразительных искусств, выполненной в 1914 году, согласно датирующей вкладной надписи, и представляющей собой образец поздней старообрядческой иконописи. Рассматривается исторический контекст вкладной иконы: мобилизация ратников на Первую мировую войну, указ «Об укреплении начал веротерпимости», культурная традиция русского старообрядчества в целом и уральских старообрядцев в частности. Автор статьи подробно останавливается на выборе избранных святых и иконографии их образов в рамках старообрядческой иконописной традиции и круге памятников уральской иконописи. Подбор святых и выбор иконографии образов демонстрируют комплексное отношение к функциональному назначению икон со святыми молитвенниками. The article examines the Icon of Saint John the Baptist with Selected Saints from the collection of the Ekaterinburg Museum of Fine Arts. The icon was created in 1914, as indicated by the dating inscription, and represents a late example of Old Believer iconography. The inscribed icon's historical context is taken into consideration, including the mobilisation of soldiers for the First World War, the emperor’s act of religious freedom of 1905, and the cultural tradition of Russian Old Believers, particularly those in the Ural region. The article discusses the selection of saints and their iconography within the Old Believer icon-painting tradition and the range of Ural icon-painting monuments. Selection of saints and chosen types of iconography demonstrate a complex attitude to the functional purpose of icons with saint patrons.
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Peno, Zdravko. "Sophia - the truth about the pre-eternal logos or a beautiful fairytale about the “The world’s ideal personality”." Zbornik Matice srpske za drustvene nauke, no. 164 (2017): 697–710. http://dx.doi.org/10.2298/zmsdn1764697p.
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Sophia - the Wisdom of God - is an important theme in ?Russian religious renaissance?, which encompassed many Russian intellectuals by the end of 19th and the beginning of 20th century. Particularly important figure among them was Pavel Florensky, nicknamed ?Russian Leonardo Da Vinci?, who was a priest of great erudition and expert in patristic theology. However, Pavel Florensky?s and other Russian thinkers? efforts to develop the theme of Sophia in accordance to the Fathers of the Church does not mean that they were trying to find evidence for the existence of Sophia in patristic literature; they were actually trying to prove that this teaching had always existed in theological tradition. One might confidently claim that Florensky?s theology of Sophia was not an essential contribution to Christian faith and theology. Florensky?s distancing from patristic Christology and his emphasizing of the idea of sophianity in iconology produced an incorrect definition of Christian identity among the sympathizers of this teaching. In the very essence of sophianism there is the idea of sophianity that, when combined with the idea of absolute unity, transforms into pluripotent pansophianism. According to George Florovsky, this approach was an esthetic temptation for Russian theology. The idea of sophianity was also criticized by Saint John of Shanghai, Florensky?s contemporary, who claimed that, for sophianists, Theotokos and Saint John the Baptist, depicted in deesis of the Church of Sophia in Novgorod, were almost as necessary for the salvation of mankind as was the Son of God. Theotokos and John the Baptist are followed by the remainder of humanity, and all of them, ?according to the measure of their own sophianity?, occupy corresponding places in the ?ideal person of humanity?. For sophianists, accomplishing unity with God means accomplishing identity of sophianity, and not accomplishing theosis in real unity with Christ in the Eucharist.
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Jolly, Anna. "A Terracotta Bust of Saint John the Baptist Attributed to Agnolo di Polo." Bulletin of the Detroit Institute of Arts 73, no. 1-2 (March 1999): 72–80. http://dx.doi.org/10.1086/dia23182665.
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Baert, Barbara. "The Head of Saint John the Baptist on a Platter: the Gaze of Death." IKON 4 (January 2011): 163–74. http://dx.doi.org/10.1484/j.ikon.5.100693.
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Nassif, Charbel. "Les gravures des livres imprimés au XVIIIe siècle au Monastère-Saint-Jean-Baptiste à Khenchara – Mont Liban." Collectanea Christiana Orientalia 21 (May 30, 2024): 73–96. http://dx.doi.org/10.21071/cco.v21i.17046.
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This article aims to present the books of the printing press founded by the AleppianʿAbdAllāhZāḫir (1684-1748) at the Saint John the Baptist Monastery in Khenchara (Mount Lebanon) in the 18th century, the motherhouse of the Choueirite Basilian Order. The Khenchara printing press stands out as one of the most important in the 18th century in the Middle East, playing a crucial role in the spread of Catholicism while making a significant contribution to the enrichment of the Melkite Greek Church through the printing of liturgical works. Its artistic heritage is remarkable, blending iconographic motifs from the Byzantine tradition with Western motifs, thus illustrating the cultural and religious diversity that characterizes the Melkite environment.
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Zaspa, Iryna, and Oleksandr Bezruchko. "Photo Art Project ‘Female Multi-Component Associative Image ‘Fern Blossom’. Part 1." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 286–96. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248776.
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The author’s idea. What the phenomenon of ‘Fern blossom’ is, whereas according to scientific data, the fern does not bloom and does not form inflorescences. Fern flower in the East Slavic mythology has the character of a magical plant that gives a person magical power. With the help of the fern flower, the owner of it could understand the language of animals and trees, see hidden precious treasures under the ground, heal people from various diseases, predict the future and more. It is believed that the fern blossom can be found only on Ivan Kupala night. This holiday is traditional in Ukraine and is named after the Christian Saint John the Baptist, but originates in the distant past from the pagan faith.
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Muralha, Vânia S. F., Sara Canaveira, José Mirão, Susana Coentro, Teresa Morna, and Carlo Stefano Salerno. "Baroque glass mosaics from the Capela de São João Baptista (Chapel of Saint John the Baptist, Lisbon): unveiling the glassmaking records." Journal of Raman Spectroscopy 46, no. 5 (March 16, 2015): 483–92. http://dx.doi.org/10.1002/jrs.4669.
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Sulikowska-Bełczowska, Aleksandra. "Old Believers and the World of Evil: Images of Evil Forces in Old Believer Art." Ikonotheka 27 (July 10, 2018): 71–91. http://dx.doi.org/10.5604/01.3001.0012.2318.
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The article considers the Old Believers’ beliefs about, and the manner of depicting, the Antichrist, the end of the world, Satan and the devils. It discusses how both Old Believer literature and philosophy relate to their art, which was created between the second half of the 17th century and 1917. The subject matter includes popular images from Old Believer iconography, such as images of John the Baptist, the Angel of the Desert, the Archangel Michael, the Archistrategos of the Heavenly Hosts, Saint Nicetas fighting a devil, or Saint George slaying a dragon, as well as several illustration sets from various editions of the Old Believer Annotated Apocalypse. Many of the Old Believer icons, drawings and craftworks from various groups and workshops display angels, but also Satan and the devils. The latter may be considered particularly controversial in the light of the doctrine of icon painting and of the Old Believers’ particular beliefs. The article attempts to answer the question as to what reasons stood behind the fear of such representations and why they were ultimately accepted by the faithful.
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Tadic, Milutin, and Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac." Glasnik Srpskog geografskog drustva 91, no. 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.
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The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Stopka, Krzysztof. "Jeszcze o losach "Ewangeliarza ze Skewry"." Lehahayer 6 (December 31, 2019): 329–34. http://dx.doi.org/10.12797/lh.06.2019.06.08.
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Some More Insight into the Fate of the "Skevra Evangeliary"
The colophons of the Armenian manuscripts from Crimea that were recently published by Tatevik E. Sargsyan make it possible to put forward a thesis that the 12th-century evangeliary created in Skevra (Cilician Armenia), which is now held in the National Library in Warsaw, was kept in Crimea during the 15th century. At the time it belonged to Simeon, a monk from the hermitage of St. Gregory the Illuminator, next to Saint John the Baptist Church in Otuz, and was later sold in 1422 to its next owner known under the name of Khutlupek. There are no other records of this book prior to those found in Lwów (Lviv) in 1592. Its history before that year remains unknown.
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Jolivet-Lévy, Catherine, and Nicole Lemaigre Demesnil. "Yoḥannәs Mäțmәq (Saint-Jean Baptiste) de Gazen (Tәgray) : l’église et son baptistère. Nouvelles hypothèses." Annales d'Ethiopie 34, no. 1 (2022): 213–44. http://dx.doi.org/10.3406/ethio.2022.1719.
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Dedicated to the rock-hewn church of John the Baptist (Yoḥannәs Mäțmәq) of Gazen, in Eastern Tәgray, which has received little attention so far, this paper aims to specify its chronology and to shed light on its function. It is a vast three-aisled basilica, covered with ceilings, the naves being separated by pillars supporting an architrave. The sanctuary, extended by a semicircular apse, is flanked by annexes, including, at the southern end, a baptistery, which adds to the very few examples so far recorded in Ethiopia. If the precise ceremony ritual procedures escape us, we can at least reconstruct the dynamics of circulation of baptismal candidates. The architecture of the church has many points in common with the basilicas of the Aksumite period, but also, more broadly, with the early Christian churches of the Eastern Mediterranean, which leads us to suggest a 6th century or early 7th century dating ; this hypothesis is not contradicted by the evidence recently brought by archaeology for this region. Furthermore, this chronology, if accepted, could invite reconsideration of that of other rock-cut churches (Dәgum Sәellase, Bäraqit Maryam, Ḥawzen Täklä Haymanot). Easily accessible, of imposing dimensions, with benches along the walls and endowed with a baptistery, the church of Yoḥannәs Mäțmәq was intended to accommodate a large number of faithful. Its use was not limited to a funeral function, hitherto privileged in scholarship ; the hypothesis of a pilgrimage center, where baptism could be carried out, can be considered. Finally, the church of Gazen, whose commissioners are unknown, but which testifies to a substantial investment, may have played a role in the Christianization process of the rural populations of Eastern Tәgray.
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Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.
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The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.
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Posset, Franz. "Martin Luther on Deësis: His Rejection of the Artistic Representation of "Jesus, John, and Mary"." Renaissance and Reformation 32, no. 3 (January 22, 2009): 57–76. http://dx.doi.org/10.33137/rr.v32i3.11576.
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At times, Reformation scholars and art historians are confused about Luther's attitude toward the visual arts which depict saints as intermediaries between God and humanity. Rarely do they thematize the issue in relation to the deësis, i.e. Christ enthroned, with Mary and John the Baptist as intercessors. After a review of the wide-spread motif of the deësis, light is being shed on Luther's statements of the 1530s which reflect his rejection of the motif.
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Pearson, Andrea. "Visuality, Morality, and Same-Sex Desire: The Infants Christ and Saint John the Baptist in Early Netherlandish Art." Art History 38, no. 3 (February 3, 2015): 434–61. http://dx.doi.org/10.1111/1467-8365.12135.
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Van Den Brink, Peter B. R. "Davidgeeft Uria de brief voor Joab: Niet Govert Flinck, maar Jacob Backer." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 177–86. http://dx.doi.org/10.1163/187501797x00203.
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AbstractThe large Daivid gives Uriah Joab's letter in the Gemäldegalerie Alte Meister in Dresden has long been regarded as a late work by Govert Flinck, and compared with his David and Bathsheba, dated 1651, in Dublin. The two paintings are undoubtedly comparable as far as the composition is concerned. Nevertheless, these two history pieces differ considerably in style and technique. The figures in the Dublin picture are clearly recognizable as Flinck's stock-in-trade types, whereas none of the figures in David and Uriah seem to display any relationship to his painted oeuvre. Kurt Bauch pointed out the close relationship between the Dresden composition and the work of Jacob Backer as early as 1926, but did not question the traditional attribution. However, David gives Uriah Joab's letter was indeed painted by Jacob Backer and not by Flinck, his younger companion in Lambert Jacobsz.' Leeuwarden workshop. The painting, an early one, might best be compared with Backer's Saint John the Baptist Admonishing Herod and Herodias, signed and dated 1633, in Leeuwarden. Other paintings from this period, such as David and Nathan, Tribute Money (Stockholm) and thc recently auctioned Christ und the Woman Taken in Adultery, also have much in common stylistically with David and Uriah. Two figures in the Dresden painting certainly merit a closer examination. The old clerk who has just written Uriah's death sentence is a familiar face in Backer's oeuvre. He can be seen in several other paintings, including the early Democritus and Hippocrates, now in the collection of Alfred Bader. This face was evidently one of Backer's favourite 'tronies', for he painted at least four versions of this old man's head, two of which are also in Dresden. Another familiar face is that of Uriah himself. We encounter it in two studies, one of a Shepherd in Leeuwarden, the other of a Drinker in Berlin. Like the 'tronies' of the old man, these two seem to have been painted in the early 1630s. One wonders why the obvious relationship between the Dresden painting and several of Backer's history pieces and 'tronied' went unnoticed for so long. The chief reason seems to be that our knowledge of Backer's early development as a history painter has always been obscure: the signed Duvid and Nathan and the signed and dated Saint John the Baptist were published only recently.
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Voulgaropoulou, Margarita. "Artistic, Commercial, and Confessional Exchanges between Venetian Crete and Western Europe: The Multiple Lives of an Icon of the Virgin and Child from Harvard Art Museums." Arts 12, no. 4 (June 26, 2023): 130. http://dx.doi.org/10.3390/arts12040130.
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In the collections of the Harvard Art Museums there is an icon of the Virgin and Child with Saints John the Baptist and Roch. Although a typical product of Cretan icon painting of the turn of the sixteenth century, the icon stands out from similar contemporary artworks due to its unusual subject matter and materiality. The iconographic analysis of the icon places it at the intersection of the Latin and Byzantine traditions and suggests that it was intended as a votive offering against the plague, featuring one of the earliest depictions of the anti-plague saint, Roch of Montpellier in Eastern Orthodox art. Examination of the verso of the icon further underscores the Western European associations of the panel. The presence of an elaborate incised design on the back side of the icon suggests that the wooden panel originated from a reused piece of furniture, in all probability, a fifteenth-century Italian chest. With this case study as a point of reference, this article discusses the commercial, artistic, and cross-confessional exchanges that took place in the ethnically and culturally pluralistic societies of Venice and its Mediterranean colonies, including the trans-confessional spread of cults, the dissemination of artistic trends, as well as the mutual transfer of artworks and objects of prestige, such as icons and chests.
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Ustinova, Julia. "The Tsar and the “Angel of the Tzar”: the problem of image-related interpretation of historiosophical conceptions of the 16th century in the miniatures of the convolute from Chudov monastery of the 1560s." St. Tikhons' University Review. Series V. Christian Art 46 (June 30, 2022): 9–33. http://dx.doi.org/10.15382/sturv202246.9-33.
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The article is devoted to the analysis of the iconographic program of the miniature "Word for the Conception of St. John the Baptist" in the manuscript from the Chudov Monastery dated 1560s (Russian State Library. F. 98, Collection of E.E. Egorov. No 1844, fol. 132 v. – 186). Its elaborate composition combines the image of the tsar sitting on the throne surrounded by His entourage, God the Father and Christ, sending the young John the Baptist into the world, and the image of paradise with the Old Testament saints (f.151v – 155). The miniature program visualizes the ideas of the publicists of the 16th century about the role and purpose of the Moscow Kingdom and the Russian tsar in world history. It reflects the historiosophical ideas popular in this era of the translation of the Roman Empire into Russia, the concept of "royal sacrifice", as well as topical issues of the correlation of personal freedom of a citizen and the boundaries of autocratic power over him. It also clearly indicates the place of the cult of the "angel of the sovereign" in the formulated system of the ideology of the kingdom, its inspiring and teaching role in the process of his moral education.
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Rohmann, Gregor. "Tanz als Krankheit, Tanz als Therapie. Die Formierung eines religiös-medizinischen Konzepts (15. und 16. Jahrhundert)." Das Mittelalter 23, no. 2 (November 6, 2018): 281–307. http://dx.doi.org/10.1515/mial-2018-0016.
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Abstract‘Dancing mania’ has often been understood as an expression of purportedly ‘typical medieval’ mass hysteria. Yet evidence suggests that a better interpretation would be to see it as a disease, the idea of which was shaped by patterns tracing back to antique cosmology. During the later Middle Ages, this concept became reality as a form of suffering primarily determined by spiritual forces (e.g. the might of Saint John the Baptist) which typically struck only individuals or small groups in narrowly defined regions. This article closely examines a key shift in the semiotic setting of how this disease was interpreted: During the 15th and early 16th centuries, it became medicalised and desacralized. Evidence of this development can be found in isolated instances of ‘dancing mania’ in towns of the Rhine and Moselle area which at first glance would appear to be of little significance. As a medical concept, ‘dancing mania’ would survive the Reformation, and as a concept of primarily medical understanding it would later be re-integrated into the renewed Catholic culture of the late 16th and 17th centuries.
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Gillot, Claude. "Recto: Actors Making Ready, 1705/10 Verso: Studies of the Holy Family and Saint John the Baptist, 1705/10." Art Institute of Chicago Museum Studies 26, no. 1 (2000): 34. http://dx.doi.org/10.2307/4104419.
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Rose, Edwin J. "The Church of Saint John The Baptist, Reedham, Norfolk: The Re-Use of Roman Materials in A Secondary Context." Journal of the British Archaeological Association 147, no. 1 (January 1994): 1–8. http://dx.doi.org/10.1179/jba.1994.147.1.1.
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Martens, Didier. "Un disciple tardif de Rogier de la Pasture: Maître Johannes (alias Johannes Hoesacker?)." Oud Holland - Quarterly for Dutch Art History 114, no. 2-4 (2001): 79–106. http://dx.doi.org/10.1163/187501701x00406.
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AbstractThe triptych which has hung above the main altar of Our Lady of the Immaculate Conception at Maria-ter-Heide (Brasschaat, near Antwerp) since the nineteenth century unfolds a highly unusual iconographical programme. The representation on the central panel is a 'Holy Kinship' with Saint Anne; the left and right shutters show a 'Tree of Jesse', and the 'Kinship of Effra and Ismeria' respectively. This unusual combination of themes, and the coat of arms of the abbey at Tongerlo on the staff of the kneeling donor on the left shutter, enable us to identify the triptych from an old description, predating 1615, of the art treasures in the abbey at Tongerlo. As early as 1888 canon Van Spilbeek was able to demonstrate on the basis of two entries in the abbey's ledgers that the retable was made around 1513-1515. It was commissioned by the then abbot of Tongerlo, Antonius Tsgrooten. The painter's name appears on both bills of payment of 1513-1515. He was called Johannes, and he was married to Marie Hoesacker. His apparent lack of a surname might intimate that he was a foundling. Hitherto, the triptych in Maria-ter-Heide was the only known work by 'Johannes'. The author suggests that he also painted the monumental triptych with scenes from the lives of Christ and Mary which has been on loan to the museum at Àvila since 1971 from the Provincial Council. In 1968 Karel G. Boon attributed this work to an anonymous North-Netherlandish painter. According to Boon the same artist painted two wings with John the Baptist and Saint Agnes (Paris, private collection) and a 'Baptism of Christ' (Madrid, private collection). 'Johannes' could be the maker of these three works. What is more, the painter of the triptych in Maria-ter-Heide could be credited with two retable wings which have been in the Museo de Santa Cruz in Toledo since the 19608. Their subjects are 'Saint Andrew with Saint Francis' and 'Saint James with Saint Antony of Padua'; on the back of these panels is a 'Visitation'. Judging by the numerous figures he borrowed from Rogier van der Weyden, 'Johannes' seems to have been fascinated by the great Brussels master. His interest in Van der Weyden's art and the fact that he worked for the abbot of Tongerlo suggest that he was active in Brabant. The Dutch elements which Boon claimed to recognise on the Àvila triptych are quite inconspicuous, proving how dangerous it is to determine an artist's provenance solely on the basis of aesthetic impressions. The iconographic programme on the triptychs in Maria-ter-Heide and Avila and the retable wings in Toledo is highly unusual. This indicates that they were not made for the open market on the painter's own initiative, but were ordered specially. Perhaps 'Johannes' ability to convert such iconographic programmes into pictures was one of the reasons for his success a success which, in view of the presence of two of his works in Castile, assumes an international dimension.
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Tucci, G., V. Bonora, A. Conti, and L. Fiorini. "DIGITAL WORKFLOW FOR THE ACQUISITION AND ELABORATION OF 3D DATA IN A MONUMENTAL COMPLEX: THE FORTRESS OF SAINT JOHN THE BAPTIST IN FLORENCE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 679–86. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-679-2017.
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In recent years, the GeCo Laboratory has undertaken numerous projects to digitalize vast and complex buildings; the specific nature of the different projects has resulted in a case-by-case approach, each time working on past experiences and updating not only the hardware and software tools but also the management and processing methods. This paper presents the workflow followed for the survey of the Fortress of Saint John the Baptist in Florence, an on-going interdisciplinary project. Presently Florence’s main trade fair congress centre, at the same time it hosts various buildings that bear witness to the fortress’s life-history, combining constructions from the Medici and Lorraine eras with recently built exhibition facilities. Now new research has been required due to the realization of new pavilions and the regeneration of the whole complex. This has included a critical survey, material testing, diagnostic investigations and stratigraphic analyses to define the building’s state of preservation. The working group comprises specialists from different institutions, amongst which the Italian Military Geographic Institute, the University of Florence, the National Research Council Institute for the Preservation and Enhancement of the Cultural Heritage, and the Florence City Council.
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Сазонова, Наталия Ивановна, Елена Робертовна Фендель, Максим Викторович Артамонов, and Ярослава Юрьевна Шкляр. "SIBERIAN MONASTERY AND THE CITY SPACE: PROBLEMS OF INTERACTION (ON THE EXAMPLE OF THE TOMSK SAINT JOHN THE BAPTIST CONVENT)." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(31) (February 10, 2022): 127–52. http://dx.doi.org/10.23951/2312-7899-2022-1-127-152.
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Анализируются роль и место сибирского монастыря в пространстве города на примере Иоанно-Предтеченского женского монастыря, существовавшего с 1876 по 1922 год в городе Томске, выявляются проблемы взаимодействия традиции монастырского строительства с секуляризирующейся культурой сибирского общества XIX века. С древности монастырь являлся фактором освящения пространства как города, так и прилегающих к нему территорий. В таком случае монастыри становились как бы «спутниками» города, находясь на его окраинах – месте взаимодействия с неосвященной окружающей территорией. Кроме того, существовала практика сооружения монастырей вне города, если речь шла о миссионерстве среди нехристианских народов. Процесс присоединения Сибири к Русскому государству идёт в условиях постепенной секуляризации культуры, нарастания влияния светского элемента. Поэтому известные традиции монастырского строительства продолжают существовать, но постепенно изменяются. Дальнейшая секуляризация культуры, а также государственная политика ограничения монашества, которую проводит правительство с XVIII века, приводят к тому, что сакральная и градообразующая роль монастыря как духовного центра перестает восприниматься городским сообществом. К концу XIX века городские власти начинают воспринимать монастырь не как сакральный объект, а как конкурента города, претендента на городские земли. Анализ структуры и составляющих пространства Томского Иоанно-Предтеченского женского монастыря позволяет говорить о том, что ему в целом удалось сохранить символическую структуру пространства обители. Столкновение традиции и ценностей, которые представляет монастырь, с секулярной культурой приводит в начале XX века к разрушению монастыря, а затем к полной десакрализации его пространства. В условиях сложного отношения городского сообщества к монастырю как части пространства города, а также переформатирования бывшего пространства обители выходом являются историческая реконструкция и музеефикация территории бывшего монастыря. The article analyzes the role and place of the Siberian monastery in the space of the city on the example of the Saint John the Baptist Monastery, which existed from 1876 to 1922 in Tomsk, reveals the problems of the interaction of the tradition of monastic construction with the secularizing culture of the Siberian society of the 19th century. Since ancient times, monastery has been a factor of consecration of both the city and the adjacent territories space. In this case, monasteries became “satellites” of the city, being on its outskirts – a place of interaction with the unconsecrated surrounding territory. Monasteries were often built outside the city if missionary work among non-Christians was necessary. The accession of Siberia to the Russian state took place in the conditions of a gradual secularization of culture as a result of the growing influence of secular elements. Therefore, the well-known traditions of monastic construction continued to exist, but changed gradually. The further secularization of culture, as well as the state policy of restricting monasticism, which had been carried out by the government since the 18th century, led to the fact that the sacred and city-forming role of the monastery as a spiritual center ceased to be perceived by the urban community. By the end of the 19th century the city authorities began to perceive monastery not as a sacred object, but as a competitor to the city, a contender for urban lands. The analysis of the structure and components of the Tomsk Saint John the Baptist Convent estate suggests that the convent preserved the symbolic structure of a monastery land. The confrontation of monastery traditions and values with secular culture led to the destruction of the convent at the beginning of the 20th century and the total desacralization of its land. In the context of a complicated attitude of the urban community to the convent as a part of the city space, and considering the reformation of the monastery space, the proposed aim of the research is a historical reconstruction and establishment of a museum on the territory of the former convent.
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Baltzer, Rebecca A. "Another Look at a Composite Office and its History: The Feast of Susceptio Reliquiarum in Medieval Paris." Journal of the Royal Musical Association 113, no. 1 (1988): 1–27. http://dx.doi.org/10.1093/jrma/113.1.1.
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The feast celebrated annually on 4 December as the Reception of the Relics is one that was peculiar to Notre Dame of Paris in the later Middle Ages. It commemorated the reception of relics of five saints into the still unfinished Gothic cathedral, including several hairs of the Virgin Mary, three teeth of John the Baptist, an arm of St Andrew the Apostle, some stones from the lapidation of St Stephen the Protomartyr and a large part of the head of St Denis. The event that prompted this feast in Paris took place during the reign of King Philip Augustus, who was on the throne from 1180 to 1223, and it has been the subject of occasional comment, debate and research ever since, with the most recent discussion coming in the excellent article by Craig Wright in the Festschrift for John Ward.
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Dimitrova, Elizabeta. "On the donors' composition and the new dating of the fresco painting of the Church of the Holy Virgin in Mateic." Zograf, no. 29 (2002): 181–90. http://dx.doi.org/10.2298/zog0329181d.
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The painted decoration of the Church of the Holy Virgin in Mateic, the second largest fresco ensemble from the 14th century in the Balkans' region comprises one of the most interesting donors' compositions of the Late-Byzantine period. The figures comprised by the donors' composition are united by the conception of the Deesis scene, composed by the image of Christ in the lunette of the southern wall, the representation of the Virgin Hodegetria above the entrance to the diaconicon and the figure of John the Baptist, depicted in the southern part of the eastern wall of the naos. The broader context of the donor's composition, in addition to the images of the donors - tzarina Jelena and young king Uros, who in the presence of tzar Dusan, present the model of their endowment to the patron saint, contains also the image of the patriarch Joanikije, depicted as the head of Serbian Orthodox Church. Within the donor's composition, one can see the images of Makarije, the abbot of the monastery and St. Stephan the great martyr dressed in deacon attire, represented with his traditional role as a defender of the rulers and donors from the Nemanjic dynasty...
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Žeňuch, Vavrinec. "Obraz Užskej stolice na základe kanonickej vizitácie z roku 1734." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (February 24, 2022): 439–54. http://dx.doi.org/10.1556/060.2020.00034.
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Text kanonickej vizitácie sleduje farnosti Užhorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, dnes Сторожниця) a Ruská.V Užhorode bol chrám zasvätený svätému Jurajovi, ktorý sa nachádzal na soľnej ulici. Vo vnútri chrámu boli umiestnené tri väčšie a dva menšie oltáre. Väčšie oltáre boli zasvätené svätému Ladislavovi, sv. Štefanovi, sv. Jurajovi a sv. Panne Márii. Menšie oltáre boli zasvätené sv. Alžbete, sv. Kataríne a sv. Jánovi Nepomuckému so svätou Rozáliou a Kristom v uprostred.Farnosť Jovra mala farský chrám zasvätený Panne Márii Kráľovnej. Chrám bol murovaný a mal tri oltáre. Prvý bol zasvätený Panne Márii, menšie boli zasvätené sv. Barbore a sv. Šebastiánovi. V Jovre vyučoval učiteľ Michal Kertés, ktorý bol platený v naturáliách a jedným florénom.Farnosť Ratovce mala murovaný chrám v hroznom stave. Chrám sa rekonštruoval v roku 1734 a oltár bol bez obrazu či patrocínia. Správcom farnosti bol Ján Enickej jeho rekatolizačná činnosť bola zameraná na modlenie litánii s umiestnení obyvateľmi v ich jazyk.Farnosť Ruská sa nachádzala v nábožensky zmiešanom regióne. Chrám bol murovaný z tehál nachádzali sa v ňom dva oltáre. Tretí oltár sa začal vyrábať, mal byť zasvätený sv. Krížu. Farnosť spravoval Andrej Moštenský, ktorý sa modlí s miestnymi v ich jazyku modlitby ako Otče náš, ruženec, krédo alebo litánie.Vo farnosti Pavlovce nad Uhom stál murovaný chrám s jedným oltárom. Oltár nemal patrocínium, preto nemôž chrám v minuloti používali kalvíni. Správcom miestnej farnosti bol Mikuláš Berekovič.Farnosť Senné spravoval Ján Ziffian. Miestny chrám bol tehelný a nachádzali sa v ňom tri oltáre. Hlavný bol s titulom Nanebovzatia Panny Márie. Na menšom oltári boli na okrajoch vyobrazenia evanjelistov a v strede sa nachádzali obraz sv. Panny Márie, sv. Juraja a Baránka Božieho. Ako tretí oltár bol zasvätený sv. Jurajovi. Titul chrámu bol sviatok Navštívenia Panny Márie.Onokovská farnosť sa nachádzala severnej od Užhorodu. Chrám v Onokovciach bol drevený, zasvätený Nanebovzatiu Panny Márie. Patrocínium chrámu bolo totožné s titulom chrámu, ďalšie obrazy sa v kostole nenašli. Farnosť spravoval Sebastián Kašaj, ktorý mal 40 rokov. V jeho okolí boli hlavne obyvatelia gréckeho rítu.Najšpecifiskejšou farnosťou bola Vojnatina. Farnosť bola misijným územím, kde pôsobil Ján Patkovič. Medzi Užhrorodom a Michalovcami, bolo veľké množstvo rozbitých alebo zdevastovaných chrámov. Ako prvý bol obnovených chrám vo Vojnatine. Chrám bol tehelný, vo vnútri sa nachádzal len jeden oltár, ktorý bol zasvätený sv. Krížu a bol presunutý z Užhorodu.The canonical visitation focused on parishes Uzhgorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, today Сторожниця), and Ruská.In Uzhgorod, there was a temple dedicated to Saint George, which was situated on the salt street and inside were three bigger and two smaller altars. The bigger altars were dedicated to Saint Ladislaus and Saint Stephen, Saint George, and Saint Mary the Virgin, while the smaller altars were dedicated to Saint Elisabeth and Saint Catherine, Saint John of Nepomuk with Saint Rosalie, and Christ in the middle.The parish Jovra had a parish temple dedicated to Virgin Mary Queen. The local temple was from brick and had three altars. The first one was dedicated to Virgin Mary, the smaller ones were dedicated to Saint Barbara and Saint Sebastian. In Jovra, there was a teacher named Michal Kertés, who was paid in kind and with one florin.The parish Ratovce had a brick temple in a horrible condition. The temple was being under reconstruction in the year 1734 and there was an altar without a picture or a patron. The administer of the parish was John Enickei, his re-Catholic activity was focused on praying litany with the locals in their language.The parish Ruská was located on a confessionally mixed territory. The temple was made from brick and there were two altars. The third one was being produced, it should have been dedicated to Holy Cross. The parish was administered by Andrej Moštenský, who prayed prayers such as Our Father, Hail Mary, I believe in God, or Litany with the locals in their language.In the parish Pavlovce nad Uhom, there was a brick temple with one altar. The altar did not have a patrocinium since the temple had been used by the Calvinists. The administer of the local parish was Nicolas Berekovič.The parish Senné was administered by John Zaffian. The local temple was made from brick and inside there were three altars. The main was with the title of Assumption of Virgin Mary. The smaller altar had depictions of Evangelists in corners, and in the middle, there was a picture of Virgin Mary, Saint George, and Lamb of God. The third altar depicted John the Baptist. The title of the temple was Visitation of the Virgin Mary’s holiday.Onokov’s parish was located north of Uzhgorod. The temple in Onokovce was made from wood and dedicated to the Assumption of Virgin Mary. The title of the temple was depicted on an altar, other altars or pictures were not found in the church. The parish was administered by Sebastian Kašaj, who was 40 years old. In his surroundings, there were mainly presbyters orientated to Greek ceremony.The most specific parish was Vojnatina. The parish was a mission village where John Patkovič worked. Between Uzhgorod and Michalovce, there was a big amount of broken or devastated temples. As the first one, the temple in Vojnatina was renewed. The temple was from brick and inside there was one altar with the title of Holy Cross brought from Uzhgorod.
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Mitterauer, Michael. "Name of Saints Between Byzantium and Europe." Balkanistic Forum, SOCIAL ANXIETY AND SOURCES OF MOBILISATION 31, no. 3 (September 15, 2022): 9–17. http://dx.doi.org/10.37708/bf.swu.v31i3.1.
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The text, which is an excerpt from a book about the city of Amalfi in the Middle Ages, examines the spread of the cultural practice of giving the name of the Mother of God in the Middle Ages from Byzantium to Europe and the development of the socalled " Marian group" of names around the names Mary (Maria) and Anna. The naming after the name of John the Baptist, which became the most popular male name was also related to the Mother of God and had its origins in Byzantium. The spread of Saints’ names was connected also with the cultural processes following icon veneration over iconoclasm in the middle of the 9th century. An important role in this spread during the Middle Ages was played by the Italian towns in Campania region, and especially Amalfi and Naples and their communications with Byzantium.
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Zalewska, Karolina. "The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588." Ikonotheka 27 (July 10, 2018): 187–209. http://dx.doi.org/10.5604/01.3001.0012.2333.
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The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identified as Christoff Schreiber), used graphic patterns in the composition of biblical scenes and included crypto-portraits of Griffin rulers in the depictions of the Last Supper and Crucifixion. After Anna of Stettin married Ulrich III of Mecklenburg, another (also unknown) artist repainted the face of one of the apostles into a high-quality portrait of the duke of Mecklenburg.
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Stamnas, A., O. Georgoula, and P. Patias. "DEVELOPMENT OF A PROTOCOL FOR A GIS RELATED TO THE RESTORATION OF CULTURAL HERITAGE BUILDINGS AND SITES THROUGH DOCUMENTATION STAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 705–12. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-705-2021.
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Abstract. The Conservation and the Restoration of Cultural Heritage is a particularly specialized and interdisciplinary process. It requires scientific monitoring and planning and incorporation of skills and knowledge in the academic milieu. Relevant studies programs and courses are primarily designed to explore the possibility of cooperation between scientists (archaeologists, architects, surveyors, engineers etc.). Participating in such an educational institution (Interdepartmental Program of Postgraduate Studies “Protection, Conservation and Restoration of Cultural Monuments”, AUTh, Greece), the development of a protocol for a GIS related to the restoration of cultural heritage buildings and sites through documentation stage was born out of necessity.Α GIS application including the documentation (geometric, architectural, structural etc.) of the historical complex of Saint John, the Baptist (19th century, Kavala, Greece), while using modern 3D representational techniques (laser scanner, topography, photogrammetry, GPS), and the related thematic information (analysis, archive data) has been organized for that purpose and has been used as a case study.The main objectives of the project are to give guidelines regarding the collection, the processing and the management of heritage data, to articulate the cross-disciplinary collaboration/synergy and to provide an educational toolkit. The methodology is proposed to be applied to other objects of study such as archaeological sites, individual structures, monuments and sites of different dating and use (e.g., industrial, religious, fortification etc.).
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da Cunha, Ariadini Silva, and Michelle Figueiredo Neves. "O logos segundo o pensamento de Joseph Ratzinger/Bento XVI: uma reflexão introdutória." Coletânea 20, no. 39 (June 20, 2021): 37–52. http://dx.doi.org/10.31607/coletanea-v20i39-2021-2.
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: The comprehension of the concept of logos is one of the central points of Joseph Ratzinger/Benedict XVI’s theological thought, which, based on the Gospel of Saint John, establishes the following truth: Jesus is the Logos himself, who gives meaning to all things. This introductory study is limited to the compendia “Introduction to Christianity: lectures on the Apostolic Symbol” (1968) and the volumes of the work “Jesus of Nazareth: The Childhood of Jesus” (2012) and “from the baptism in the Jordan to the transfiguration” (2007). It demonstrates, in general lines, how the greek word logos is understood in different philosophical movements. It addresses the theme according to the New Testament writings, especially in those books written by John, which demonstrates the term logos to be inserted in the Mystery of Salvation. Joseph Ratzinger/Benedict XVI corroborates the fact that the real face of Jesus Christ is marked by the principle that orders the cosmos and reason, uniting all existence to Himself, giving it real meaning.
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Zivkovic, Valentina. "On the trail of a painting bequeathed to St. George’s abbey on the islet near Perast the testaments of Nycolaus and Johannes Glauacti (as of 1327 and 1336)." Zograf, no. 38 (2014): 113–21. http://dx.doi.org/10.2298/zog1438113z.
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The paper reviews the last will of the Kotor nobleman Nycolaus Marini Glauacti made in 1327 to bequeath to St. George?s church on the small island near Perast a depiction of the Madonna, St. Nicholas and St. John the Baptist. On the one hand, the legacy is analyzed in the context of the compositions involving the three saints in Kotor?s religious medieval art and, on the other, in the context of ad pias causas bequests and the concept of preparing for a good death (ars moriendi). The contents of the testaments of Nycolaus and his brother Johannes Marin Glauacti as of 1336 are contrasted, especially in terms of the number of pro remedio animae items bequeathed and their distribution. A special emphasis is laid on the comparison of the representations between the Franciscan and Benedictine Orders as the recipients of pious bequests.