Academic literature on the topic 'Nicholas Church (Great Yarmouth)'
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Journal articles on the topic "Nicholas Church (Great Yarmouth)"
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Zivkovic, Milos. "Unknown and less known icons from Praskvica monastery: Works by painter Radul, Dimitrije Daskal and Maksim Tujkovic." Zograf, no. 36 (2012): 199–222. http://dx.doi.org/10.2298/zog1236199z.
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This paper deals with the attribution of several icons from the treasury of the Praskvica monastery in Pastrovici. The earliest is the icon of Great Deesis, painted in 1680 by the painter Radul, for the iconostasis of the monastery Church of the Holy Trinity. The works by his apprentice, Dimitrije of Risan - the Great Deesis, the Deesis icon, and the icon of St. Demetrius with an unknown holy woman - we repainted in 1693 and in tended for the earlier monastery church dedicated to St. Nicholas. The same painter was the author of the icon of the Mother of God with Christ and the Royal Deesis, in Praskvica to day, which were painted for the iconostasis of the Church of St. Nicholas in Podostrog. The monastery of Praskvica also houses the icons painted by Maksim Tujkovic in 1714, the Hospitality of Abraham and the Crucifixion, preserved in fragments, which were initially positioned on the iconostasis in the Church of St. Nicholas.
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Neskovic, Jovan. "Portals of the Church of Saint Nicholas in Bari." Zograf, no. 29 (2002): 21–34. http://dx.doi.org/10.2298/zog0329021n.
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The Church of Saint Nicolas in Bari, in southern Italy, is known as a church of great renown and importance, in view of the fact that it was built to receive the remains of Saint Nicholas, which are still kept in the church?s crypt, in the part of the building from where its construction began, at the end of the XI century. This church played a highly significant role in the creation of the specific, Romanic style of architecture in this region, so several important buildings were constructed using the basic typological and stylistic characteristics of the Church of Saint Nicholas. It was built as a triple-naved basilica with a transept and a dome designed at the intersection of the main nave and the transept, and the specific rendition of the altar section, with side towers and a flat facade wall that encloses the inner apse was applied in a similar manner on several churches in Apulia. Its great renown in the Christian world is well-known, reflected both in the strong connection between the churches in Bari and Kotor, and through the donations by the medieval Serbian rulers, among which is the large icon of Saint Nicholas, a gift from Stefan Decanski, which is still preserved in the church?s crypt. The importance of this and the other churches in Apulia was undoubtedly one of the factors that have led to discussion in literature about the question of their possible influence on architectonic creation in related artistic fields, including the monuments of the Raska stylistic group, particularly in connection with the architectural and sculptural plastics on portals because of the similarity of some of the shapes and motives in the stonemasonry...
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Cvetkovski, Saso. "The royal doors from the Church of St. Nicholas in the village Prisovjani." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 567–73. http://dx.doi.org/10.2298/zrvi0744567c.
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In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum in Belgrade) from St. Panteleimon in Nerezi, and the those from the church of St. Nicholas at Korenica. The Royal Doors from Prisovjani bear two key features from the above mentioned works, the carving and the painting. The carving is distinct by the concept of the tablets, and the motifs: the interlacing ornament, known as 'Solomon's seal', the running meander, and the ornament resembling a maggoty effect. The style of the icon painting, and the manner in which the depiction of Archangel Michael and the Holy Virgin were achieved had led previous scholars to believe that these works were accomplished under the influence of the Cretan painting of this period. The Royal Doors from Prisovjani are dated to the mid 16th century, the period of the Ohrid Archbishop Prochor, a period of great prosperity in all arts moreover since the archbishop himself was one of the great patrons.
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Barbour, Reid. "The Caroline Church Heroic: The Reconstruction of Epic Religion in Three Seventeenth-Century Communities." Renaissance Quarterly 50, no. 3 (1997): 771–818. http://dx.doi.org/10.2307/3039262.
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In his biography of Nicholas Ferrar, A.L. Maycock speaks volumes in describing the Ferrar family's transition in 1625 as a movement from one venture (the Virginia Company) to another, the “great adventure” of Little Gidding. In this one phrase Maycock comprehends the view of its founders that no less than the Virginia Company's epic plantation of true religion among the Indians, the community at Little Gidding ranks as a heroic enterprise, the discursive preoccupation of which proves to be the very nature of Christian heroism itself. Even if readers of the Ferrar papers do not know how highly Nicholas Ferrar prized the Acts and Monuments, it is impossible for them to miss the Foxeian narratives of “heroic suffering” so pervasive in the “story books” left as folio records of the dialogues performed by the so-called Little Academy.
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Cvetkovski, Saso. "Notes from the church of the Virgin at the island of Mali grad." Zograf, no. 34 (2010): 111–24. http://dx.doi.org/10.2298/zog1034111c.
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In this text the unknown parts of the wall paintings from the Church of the Virgin at the island of Mali Grad (The Great Prespa Lake) are analyzed: the figure of a monk praying to St. Paraskeve, on the southern wall of the nave, as well as the painting on the southern fa?ade with the depictions of St. George on horseback, the Virgin as Empress enthroned, and the bust of two saints, St. Paraskeve and St. Nicholas. The monk is identified with the hegoumenos Jona, mentioned in the donor?s inscription dating from 1369.
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Savina, L. N. "On the question of handing over in 1948 to the Laura the iconostasis of church of St. Nicholas called “Nicholas the Great Cross”." Theological Herald 30, no. 3 (2018): 206–26. http://dx.doi.org/10.31802/2500-1450/2018-30-3-206-226.
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Moody, Christopher. "‘The Basilica after the Primitive Christians’: Liturgy, Architecture and Anglican Identity in the Building of the Fifty New Churches." Journal of Anglican Studies 15, no. 1 (May 11, 2016): 37–57. http://dx.doi.org/10.1017/s1740355316000152.
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AbstractThe London churches built by Nicholas Hawksmoor – the architect required by the Commission for the Fifty New Churches to provide a template for the new churches according to the principles laid down in 1712 – are often regarded as the idiosyncratic creations of the architect’s individual genius. They were, however, as much the creation of the particular intellectual, theological and political context of the late Stuart period, an expression of a high church attempt to reconnect the Church of England with the early centuries of the Christian Church, particularly the great basilicas built under Constantine and Justinian. Conservative in intent, they were at the same time fed by the new spirit of intellectual enquiry led by the Royal Society and the expansion of global trade at the start of the eighteenth century. These express a new Anglican denominational identity as the inheritor of the ‘purest’ traditions of the ‘primitive’ church, ancient yet modern, orthodox and, at the same time, reformed: one that still influences discussion across the Communion today.
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Luchka, Liudmyla Mykolaivna. "To the History of Samara Desert-Nicholas Monastery Archive and Book Collections." Dnipropetrovsk University Bulletin. History & Archaeology series 25, no. 1 (March 21, 2017): 175. http://dx.doi.org/10.15421/261719.
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The works by archimandrites Havriil (V. F. Rozanov) and Feodosiy (O. G. Makarevsky), historians A. O. Skalkovsky, D. I. Yavornitsky and V. O. Bidnov were the first documents on the history of the monastery (Novomoskovsk, Dnipropetrovsk Region). The monastery suffered from raids, fires, epidemics and robberies. The monastic archives were largely lost in the military operations. A lot of original documents didnʼt survive. The epidemic of 1750 did a great damage. The paper archive, infected things and monastery items were burned. The archive consisted of clerical documents, volumes of ancient laws, manuscripts and correspondence. The archive contained some other documents of great importance. They are so-called Universals, 11 statements with seals of Zaporizhian Sich Kosh (Leader) and priorsʼ complaints. The monastery archive contained manuscripts by the last Kosh Otaman (leader) − P. Kalnyshevsky. The archive included documents of state and local authorities and supreme church governing boards – reports, orders, decrees, warrants referring to the monastery property, inventories of monastery household items. A certain percentage of documents was correspondence among priors referring to internal discipline and economic life of the monastery. The names of famous visitors of the monastery are known: archimandrites Havriil and Feodosiy, A. O. Skalkovsky, A. P. Chirkov, P. M. Sochinskiy, V. D. Mashukov, D. I. Yavornitsky and V. O. Bidnov. They worked with documents and left published articles, essays and reviews. Except manuscripts the monastery had printed editions. The monastery library kept 150 liturgical books of Kyiv and Moscow publishing of the 17th − 18th centuries. Six printed books from Samara Desert-Nicholas Monastery are kept in Dnipropetrovsk National Historical Museum. The library collection of the 19th century was quite big. The research of the archive and the library of the monastery give an opportunity to highlight some of the unknown facts on library science and find rare editions of Ukrainian culture heritage.
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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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Ivashko, R. "THE JUBILEE YEAR OF 15th CENTURY IN THE KINGDOM OF POLAND." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 138 (2018): 15–19. http://dx.doi.org/10.17721/1728-2640.2018.138.3.
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The author has analyzed the content of the bull of Pope Nicholas V of 1450, which is located in the Central Historical Archive in Lviv, in the article. It was found that the pope provided special conditions for Christians to conduct the Jubilee Year in the Kingdom of Poland. Pope Nicholas V had installed specific obligations regarding the celebration of it for the Polish king Casimir IV Jagiellon, his mother Queen Sophia, the papal collector Mykola Spichimir, etc. The Polish chronicler Jan Dlugosz left the information about the peculiarities of the jubilee celebrations in the Kingdom of Poland. Similar jubilee celebrations introduced by Pope Boniface VIII were celebrated for the sixth time in the Latin Church. The need for their conduct was further substantiated in the 14th century. The creation of the investigated document was due to the fact that the lands of Rus were vulnerable to constant attacks by the Tatars. The khan of the Great Horde Sa'id-Akhmat who with the Tatars subordinated to him had been made the raid on the Galician and Podolian lands in the autumn of 1450, directly caused to the creation of the bull. The mechanism of protection of the Eastern European borders by Сatholics was reflected in the content of the document.
Dissertations / Theses on the topic "Nicholas Church (Great Yarmouth)"
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Hayden, Andrew. "The organs and organists of St Nicholas, Great Yarmouth, 1733-1894." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/116729/.
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This study explores the relationship which developed between the organ and organists of St Nicholas's Parish Church, Great Yarmouth, and the Borough of Great Yarmouth and its administrative body, the Corporation and Assembly. Hitherto, most research regarding organs and organists has tended to view them in isolation without exploring the interactions that might take place between them as the apparatus of the church's music, and secular bodies, in this case the governing agencies and populace of the Borough. That the two became so entwined and that the fortunes of one were so heavily dependent on the other and hence so mutually influenced, is the key finding of this research. It has revealed how it was to separate the immediate function of the organ and its players—namely, to provide music for the church's liturgy--from what the organ represented in the eyes of the Borough; how the organ became symbolic of the Borough's wealth and status: an outward display of the power and authority wielded principally by the Borough and to which the Church itself had become subordinated. It is also shown here that the ability of the organ to channel these attributes resided not in its physical qualities as first constructed, though they represented a starting point, but in the shifting perceptions of what the organ came to mean when measured against prevailing ideas of progress and modernity. Missing was any kind of ability to attribute value to historical sentiment, though there were those for whom this did have meaning. The result was that the physicality of the organ became ever more diluted until all that was left were a few remnants such as the organ's casefront, and even that demoted to irrelevance. Instructively, the Church appears to have concurred with a perception of the instrument as a 'civic church organ', while at the same time looking to the Borough to give concrete expression to that perception.
Books on the topic "Nicholas Church (Great Yarmouth)"
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Society, Buckinghamshire Family History, ed. Great Kimble: St. Nicholas. Aylesbury, Bucks: Buckinghamshire Family History Society, 2008.
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Anne, Rowe, and Hertfordshire Family and Population History Society., eds. Monumental inscriptions of St. Nicholas, Great Munden. Hertfordshire Family & Population History Society, 1989.
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Memorial inscriptions at the Church of St. Nicholas Great Doddington. Northamptonshire Family History Society, 1999.
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(Editor), Julia Barrow, and Andrew Wareham (Editor), eds. Myth, Rulership, Church and Charters: Essays in Honour of Nicholas Brooks. Ashgate Pub Co, 2008.
Find full textBook chapters on the topic "Nicholas Church (Great Yarmouth)"
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Kizenko, Nadieszda. "Confession at a Time of Revolution." In Good for the Souls, 237–75. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896797.003.0008.
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Chapter 7 explores how changes set in motion by rapid industrialization first climaxed in the Revolution of 1905, dropping confession rates. The Great War, initially sparking enthusiasm for the sacraments, dropped them further yet. After the February Revolution and the abdication of Nicholas II, all state structures compelling or supporting annual confession vanished. Bishops, parish priests, monastics, and ordinary laypeople struggled to make sense of the revolutionary climate, exploring such new forms as general confession or seeking to drop confession altogether. This experience helped prepare them for the savage attack on religion under Soviet rule and the decades that followed, creating new forms of confession. It also informed the evolution of confession in different strands of the émigré Russian Orthodox Church. The legacy of confession in the empire would become even more important after the fall of communism, when the Russian Orthodox Church rejected Soviet-era changes and tried to embrace pre-revolutionary practice with unexpected fervour.
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Herrin, Judith. "The Pentarchy." In Margins and Metropolis. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691153018.003.0012.
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This chapter examines the fate of both the theory and reality of pentarchy from the 640s until the 880s, a period that links the Arab conquests of the Near East with the Eighth Ecumenical Council. The pentarchy formalized the existence of a hierarchy of five major sees—Rome, Constantinople, Alexandria, Antioch, and Jerusalem—which assumed collective responsibility for the united direction of the entire church within the confines of the Byzantine Empire. The chapter considers the replacement of the rule of five by a distinct authority vested in the bishop of Rome by virtue of his Petrine tradition. It looks at two great intellectuals of the ninth century, Pope Nicholas I and Patriarch Photios, who developed quite different theories of ecclesiastical authority. It shows how the conversion of the Bulgars triggered a new conflict between the Christians of East and West that inevitably brought the pentarchy into question. It also discusses East–West divisions over the filioque.