To see the other types of publications on this topic, follow the link: Parish Church of the Blessed Virgin Mary.
Journal articles on the topic 'Parish Church of the Blessed Virgin Mary'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Parish Church of the Blessed Virgin Mary.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Płotkowiak, Maciej. "Concept And Its Implementation During The Reconstruction Of The Church Of Blessed Virgin Mary In Chojna." Civil And Environmental Engineering Reports 19, no. 4 (December 1, 2015): 87–98. http://dx.doi.org/10.1515/ceer-2015-0055.
Full textAbstract:
Abstract St. Mary's parish church in Chojna was erected at the turn of XIV and XVc. in a shape of three aisles, hall church without transept, completed from the west with a single tower and from the east with polygonal presbytery with an ambulatory attached. The convergence of characteristic structural and decorative features with employed ones in medieval churches being attributed to Hinrich Brunsberg's fabric resulted in such a way, that also authorship of St. Mary in Chojna was assigned to this legendary architect and master builder of late Middle Ages period. The church was destroyed by fire during WWII in February 1945 and since then had remained as an open ruin. In 1997 reconstruction procedure of the church was begun under the leadership of the author and it still continues. This text consists of the sum of experiences connected with confronting design ideas and solutions with their executions on the site during construction works.
2
Lichota, Piotr. "The Blessed Virgin Mary, Mother of the Church Parish in Warnice in the Years 1977–2018." Colloquia Theologica Ottoniana 1 (2019): 115–41. http://dx.doi.org/10.18276/cto.2019.1-07.
Full text
3
Miletić, Drago, and Marina Valjato Fabris. "Reconstruction of the Templar Phase of the Parish Church of the Assumption of the Blessed Virgin Mary in Gora." Portal 5 (2014): 49–70. http://dx.doi.org/10.17018/portal.2014.4.
Full text
4
Škarić, Ksenija, and Vanesa Gjini. "Nove spoznaje o korskim sjedalima u crkvi Uznesenja Blažene Djevice Marije u Rabu." Ars Adriatica 9 (February 28, 2020): 45–60. http://dx.doi.org/10.15291/ars.2923.
Full textAbstract:
Research on the late Gothic choir stalls in the parish church of Rab, formerly the Cathedral of the Assumption of the Blessed Virgin Mary, conducted by the Croatian Conservation Institute in 2018, indicates a gradual construction of the benches, which took place in several stages and was completed by 1445. In addition to the stylistic and technical similarities between the choir stalls in Zadar and Rab, both of which have been attributed to the woodcarving workshop of Matteo Moronzon, significant differences in the concept of polychromy have been observed. Since their completion, the choir stalls in Rab have been purposefully modified at least twice. The renovation in the second half of the 17th century is particularly interesting as an attempt to modernize them by simplifying their form and introducing new elements that are convincingly integrated. Subsequent modifications have remained conspicuous as a foreign element.
5
Dudkiewicz, Margot. "Application of PiCUS® Sonic Tomograph 3 in studies on the cultural heritage of the Lublin region – restoration of the Eastern Orthodox church of the Dormition of the Blessed Virgin Mary in Uhrusk." Annals of Warsaw University of Life Sciences - SGGW - Horticulture and Landscape Architecture, no. 40 (January 15, 2020): 3–14. http://dx.doi.org/10.22630/ahla.2019.40.1.
Full textAbstract:
Uhrusk is a small town located in eastern Poland, in the Lublin region, along the border river, the Bug. The temple is situated on the outskirts of the village, on a low hill, where there was a castle founded by Prince Daniel Halicki in the Middle Ages. The Orthodox church existed here before 1220, and for the first decades of its functioning it had the status of a council. Today, the existing church building was erected in 1849 as a Greek Catholic temple founded by the owner of local estate, Laura Kirsztejnowa. In 1915, the church was abandoned when the Orthodox residents of Uhrusk became refugees. In the years 1920-1927, it was renovated, due to significant losses suffered during the First World War and the Polish-Bolshevik war. The building was open again from 1920 to 1947, after which it was closed following the deportation of Orthodox Ukrainians as part of the “Wisła” Operation. At the end of the 1950s, the Orthodox church was restored for liturgical use as a branch of the parish in Włodawa. The style of the building is defined as classicist-Byzantine with neo-Romanesque and neo-Gothic elements. In 2017, on the initiative of the Dialog Foundation in Lublin, a general renovation of the temple building and its surroundings began. Studies conducted with the use of specialized diagnostic equipment in the form of a Picus 3 sonic tomograph were important for the dendrological inventory. Within the boundaries of the property, 11 trees are growing, at different ages and in a healthy state. On the basis of the material collected, possible directions for the restoration of the Orthodox church’s surroundings were presented.
6
Motušić, Eugen. "Porušena crkva Rođenja Blažene Djevice Marije u Silbi." Ars Adriatica, no. 4 (January 1, 2014): 347. http://dx.doi.org/10.15291/ars.508.
Full textAbstract:
It is known that the Church of the Nativity of the Blessed Virgin Mary at Silba was demolished in 1828 so as to provide the necessary building material for the completion of the new parish church which inherited the dedication from the old one. As we learn from the archival records, the demolition was authorized by the Archbishop of Zadar Josip Nowak who stipulated that the Franciscan Church of Our Lady of Carmel would function as the local parish church while the new one was being built. All that remains from the old church today is the bell tower which continued to be used by the new parish church. It is obvious from the schematic ground plan and the dimensions of the demolished church, recorded in the now lost document from the parish church archive, that it was a single-nave longitudinal structure with a rectangular sacristy to the east, two shallow chapels extending from the lateral walls and a porch of the lopica type (resembling a loggia) at the front which abutted onto the corner of the bell tower with its own south corner. Apart from the high altar, placed against the back wall, the church had three pairs of side altars. The analysis of the canonical visitations carried out during the second quarter of the seventeenth century demonstrates that the church, recorded for the first time in 1579, was a modest building in which the oil for the anointment of the sick was being kept because the local parish church of that time, dedicated to St Mark, was too far from the village. The church was provided with five side altars put up by the more distinguished individuals and members of the lay fraternities the most prominent of which was that of Our Lady of the Rosary after which the church was called by eighteenth-century locals. Based on the analysis of the 1670 visitation of Archbishop Evangelisto Parzaghi who described the renovation during which certain altars changed their places, the article argues that the church was completed just before this visit. The bell tower was mentioned as a campanile for the first time in 1678.By means of comparative analysis, it can be established that the Church of the Nativity of the Virgin at Silba belonged to the same architectural type as a large group of simple yet spacious churches which were built in rural communities along the east Adriatic coast by local masters during the seventeenth and eighteenth centuries. The activity of such masters on the island of Silba is corroborated by contemporary birth, marriage and death records as well as a number of monuments such as a tombstone in the Church of St Mark and the door lintel in the house of master builder Franić Lorencin (1660), both of which depict building and carving tools. The analysis of the land registry maps and topographical drawings of 1824 and 1833 shows that the church’s south wall, to the east of the chapel of Our Lady of the Rosary, was laid in a different direction compared to that of the rest of the wall, indicating that this portion belonged to an earlier layer of the building which, judging from everything, seems to have been medieval. Therefore, the wall was widened and extended towards the west during the rebuilding documented in the visitation of 1670. This possibility, which a future excavation of the site ought to be confirm, is strengthened by the frequency of such alterations as can be seen on the seventeenth- and eighteenth-century churches on the island of Ugljan and in particular on the Church of St Lawrence at Lukoran, built in 1632, which is the best example of that architectural type.Another feature of these churches is the lopica-type porch which stands out as an architectural element typical of Istria and the Quarnero gulf to which, geographically speaking, the island of Silba gravitates. The lopica porch of the Church of the Nativity at Silba had a particularly elongated plan and featured two symmetrical sets of three supports and an axial main entrance into the porch, that is, the church. It is unlikely that the porch was added prior to the late seventeenth century because during that time, Silba was exposed to the raids of the Turkish pirates who threatened it directly. It is certain that the bell tower was used for defensive purposes and the addition of a porch would have diminished its importance as a fortification structure and hampered the visual communication with the entrance to the church.The examination of the architecture of the bell tower revealed two different building phases: an earlier one which included the body of the bell tower and a later one which saw the addition of the pyramidal structure together with a shallow square drum. In its original form, the bell tower had a compact body featuring a round-headed opening at the centre of each side of the two topmost storeys. Their stylistically undefined morphology corresponds to modest bell towers which were built in this area from the late sixteenth to the eighteenth century. The original pyramidal top had to be dismantled in 1858 due to wear and tear and it was replaced by the present one which has oval openings at the bottom of each side of the drum. This structure is almost identical to the top of the bell tower of the Church of Our Lady of the Rosary at Preko on the island of Ugljan which was built in 1844.Based on the archival records, the article also establishes that the substantially repainted image of the Virgin and Child with SS Mark and Matthew, today at the high altar of the parish church, was originally larger. It was the object of ex-voto veneration and numerous offerings had been placed in its glass case. The painting was cropped so that it could be inserted into the niche of the marble altar piece designed by Ćiril M. Iveković (1898) which meant the loss of the two evangelists. According to the preserved contract and drawing, the lower part of the altar was set up in 1860 by Giovanni dalla Zonca, an altar maker from Vodnjan, and it featured the still preserved wooden statues of SS Peter and Paul which are dated to the mid-seventeenth century on the basis of their stylistic features. Therefore, it can be concluded that painting and the statues were taken from the high altar of the demolished church.
7
Dzik, Janina. "The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 7–32. http://dx.doi.org/10.18290/rh.2019.68.4-1en.
Full textAbstract:
The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015).
The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763).
The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa.
The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
8
Krstulović, Nevena. "Glavni oltar Uznesenja Marijina iz župne crkve Uznesenja Blažene Djevice u Vrbniku: valorizacija primjene Poly(2-etil-2-oksazolina) kao zamjene za tutkalo." Portal 6 (December 21, 2015): 221–32. http://dx.doi.org/10.17018/portal.2015.15.
Full text
9
Borodenko, Olena. "Metric books as a source in the study of the marriage of the second half of the XVIII – the first half of the XIX century: possible research risks." Universum Historiae et Archeologiae 2, no. 2 (October 11, 2020): 185. http://dx.doi.org/10.15421/26190213.
Full textAbstract:
The aim. The author studies metric books as church sources of the second half of the 18th ‒ the first half of the 19th century, which were compiled by representatives of the parish clergy and therefore some certain errors and inaccuracies are presented. Research methods. Data sources determined the range of general scientific and special-historical methods used in the research, first of all they are deconstruction, historical and comparative, critical methods, etс. Scientific novelty based on the analysis of the directive and administrative, statutory, accounting and statistical documents, and metric books, the author for the first time made an attempt to reveal a number of violations of the executive discipline in some parishes in terms of maintaining some church documents, mostly marriage records. Main results. In order to avoid research traps, possible informative inaccuracies of the mentioned accounting and statistical documents were found out, fragments of the primary sources were cited, examples of individual married couples were given. We focus on the importance of correct records about the age of people who determined the minority/majority, readiness for recruitment, the acquisition of property rights, the person’s legal responsibility for the crimes committed, the choice of guardian, etс. The metric book and the marriage searches of the Nativity of the Blessed Virgin Mary (Rizdvo-Bohorodytska) Church of the village of Mykolaevka, Romny povit, Poltava province were analyzed, the calculated quantitative indicators of marriage are presented in the table, a comparative analysis of the content is made and the differences in the records of the two church registries are shown, and the quantitative indicators of the matrimonial unions for certain years are compared. At the same time, the probable reasons for the lack of registration of persons for certain years in metric books, as well as factors that could cause dynamic fluctuations in the number of weddings annually and in leap years are emphasized. The author indicates the possible reasons for omitting some entries in the metric books of certain periods, and analyzes the factors that determined the violation of the registration procedure by representatives of clergymen in the church documentation. The following violations were revealed: the discrepancy in the entries in some metric, auditing and marriage-search books; omitting the marital registration between landowners or officials with their serfs; brides’ age fabrication in the church documents; mistakes and corrections in the anthroponomic data, topographical errors in entering brides’ origin etс. The average number of marriages registered in 1763–1858 in the village of Mykolaevka is 11.3. The number of weddings registered in different years including leap years is from 3–4 to 26–28 per year. Originality. The author used the unique metric books, church searches and analyzed church documents previously studied by some Polish and Ukrainian scholars. Practical significance. It is recommended for publishing in scientific journals, historical, demographic, gender and local research, for educational and methodological manuals, and further investigation in social history of Ukraine. Article type: analytical.
10
Woźniak, Robert J. "Stanisław Ludwik Piech, Parafia na świętojakubowym szlaku. Dzieje parafii Najświętszej Maryi Panny Matki Kościoła i św. Jakuba Apostoła w Brzesku 1385-2010 [Parish on the St. James' Way: The History of the Parish of Blessed Virgin Mary, Mother of the Church and St. James the Apostle in Brzesko 1385-2010], Brzesko 2012." Roczniki Teologiczne 64, no. 4 English Online Version (2017): 174–75. http://dx.doi.org/10.18290/rt.2017.64.4-11en.
Full text
11
Arlow, Ruth, and Will Adam. "Re Church of the Blessed Virgin Mary, Hambleton." Ecclesiastical Law Journal 11, no. 3 (August 6, 2009): 359. http://dx.doi.org/10.1017/s0956618x09990160.
Full text
12
Španjol-Pandelo, Barbara. "Prilog poznavanju djelovanja Mateja Andrijina Moronzona*." Ars Adriatica, no. 6 (January 1, 2016): 103. http://dx.doi.org/10.15291/ars.179.
Full textAbstract:
Matteo Moronzon, a member of the Venetian family of woodcarvers, was mentioned for the first time in 1407 according to the present known archival documents. Probably after being trained in his father's workshop in Venice, he moved to Zadar with his family – his wife Francisca and sons Pietro and Francesco. In 1418 he undertook the commission of furnishing carved choir stalls for the cathedral of St. Anastasia in Zadar. Various archival documents testify that Matteo lived and worked in Zadar for many years. Therefore it can be assumed that he probably founded his own workshop in Zadar where his son Francesco was trained too. Apart from the attempt to reconstruct Matteo's life and career, the aim of this paper is to interpret one important woodcarving work of art preserved in situ: choir stalls in the former cathedral of Rab, today the arch parish church of the Assumption of the Blessed Virgin Mary in Rab. Without doubt Matteo was the master carver in the production of the choir stalls in Zadar. Since he lived in Zadar it was not unusual that he had the main role in carving the stalls. In Zadar the selection of motives is more balanced and there are no significant differences in the modelling of decorative elements. However, the question whether Matteo carved absolutely everything or he had assistants arises. Considering the amount of work that had to be done it must be assumed that he had assistants who participated in work and helped him to shape the stalls. However, in literature Matteo was considered the only and undisputed author of the choir stalls in Zadar, mostly because of the preserved document. The analysis of the choir stalls in Rab by Ivo Petricioli as well as their evident formal and stylistic similarities with the stalls from the cathedral in Zadar have led to the general acceptance of the hypothesis that they were carved at the workshop of Matteo Moronzon. However, a comprehensive comparative analysis that could confirm that hypothesis was still missing. The analysis of the details and the whole led to the overall conclusion that there were a huge number of similarities between the choir stalls in Rab and Zadar. Therefore it was concluded that Matteo was the principal designer of the choir stalls in Rab who also carved the best parts in Rab, while others, less successful parts, were made by his apprentices and assistants who at the time lived on the island of Rab. In this respect, if Matteo was accepted as the author of the choir stalls of the cathedral in Zadar he must also be accepted as the author of the choir stalls from the excathedral in Rab.
13
Kabatha, Zachary Ndegwa. "The Blessed Virgin Mary As Our Mother. The Lucan Marian Perspective." Studia Theologica Varsaviensia 57, no. 1 (November 1, 2019): 73–89. http://dx.doi.org/10.21697/stv.2019.57.1.04.
Full textAbstract:
The person of the Blessed Virgin Mary among Christians has been throughout Christian tradition a source of inspiration as far as the Christian faith is concerned. Many papal Encyclicals, Apostolic exhortations, conciliar and post conciliar documents have all made reference to our blessed mother due to her close proximity to her son our Lord Jesus Christ. She is thus not a foreigner to the people of faith. The modern man today looks forward for a person who is both faithful and trustworthy to accompany him or her in the earthly life and offer an assurance of everlasting joy. Examining the role of Mary in the writings of St Luke in the New Testament we see Mary as the one who fits in this desire of the modern man. Her role as a mother in the Luke’s view is very central in understanding the notion of companionship. However many people today do not understand Mary to be a faithful companion, perhaps this is due to the misunderstanding of Mary’s position in the Salvation History. Moreover the Sacred Scriptures from the infancy narratives to the neophyte church in Acts of the Apostles Mary makes a journey of faith with Jesus and his disciples. Thus in this article we examine briefly the companionship of the blessed Mary to the Word of God as we invoke her companionship to our Christians today on their pilgrimage to the Promised Land.
14
Kochaniewicz, Bogusław. "Początki kultu maryjnego na ziemiach polskich." Poznańskie Studia Teologiczne, no. 33 (December 11, 2019): 7–22. http://dx.doi.org/10.14746/pst.2018.33.01.
Full textAbstract:
This article is an attempt to reconstruct the devotion to the Blessed Virgin Mary at the beginning of the Polish state. Based on the liturgical books and the calendars from the 9th–11th centuries preserved in Polish archives, the form of the Marian devotion in the Poznań diocese was sought. Despite the lack of preserved monuments representing the oldest Polish diocese, it was established that the service to the Blessed Virgin Mary had a liturgical character. The four main feasts in hon- or of the Mother of God, celebrated in the Western Church, were celebrated in Poznań, too. An analysis of the oldest liturgical formularies preserved in Polish and Western archives did not yield satisfactory results. Based on the available monuments, it is not possible to determine the content of the formularies destined for Marian feasts celebrated in Poznań.
15
Landecka, Halina. "Saint Virgin Mary Parish Church in Kraśnik – new research results after I phase of studies 2008-2009." Budownictwo i Architektura 7, no. 2 (December 13, 2010): 053–66. http://dx.doi.org/10.35784/bud-arch.2269.
Full textAbstract:
The town of Kraśnik is one of the oldest of its kind in the Lublin region – archaeological researches confirmed that that in the XIII century in the same place existed a settlement with castle and a church. Municipal rights were granted to Krasnik in 1377, when town was ruled by Gorajski family. A brick church was founded by Teczynski family around 1448. Today this is reflected by the chancel build around the altar from Gothic bricks, to which in the next phases vestry and treasury has been constructed. In 1461 a n Canons Regular of the Lateran Order has been brought to Krasnik from Cracow. The Order extended the original structure and built a monastery. From stone blocks they erected main nave and church aisles and Gothic church was incorporated in the new form. Consecutive rebuilding continued in 1st half of XVI century (raising of church walls, new arches, Renaissance decorations, polychrome wall paintings, memorial chapels). After damages to the church caused by the wars with Sweden, it became a property of Zamoyski family, who rebuilt it in the Baroque style (new elevation copings, building of new chapel in which the foundation date remained – 1657). In the year of 1864 after the cessation of the Order, church has been taken under the control of Russian government. Damaged by fires it required renovations (front elevations, roof). In 1911 the last phase of modifications was recorded – extension to the clock tower. Church in Krasnik with its 600 years of history always attracted attention from architectural researchers and scientists. In 2007 renovation of front elevation commenced. Initial works on removing plaster revealed perfectly preserved stone blocks and details from the earliest phases of the construction (fragments of a Gothic arch, stone window framings, front walls). Conservatory and archaeological researches inside the church on the foundation, roof and elevation levels uncovered new architectural elements and therefore allowed to understand in more complete way the construction phases of the church. As the results of the research, a decision has been made to restore the Gothic form of the church (rarely found in Lublin region) and to expose the oldest brick front, stone contour with beautiful stepped facade, portal, high windows and architectural details from the II phase of construction. Research to reveal more about the history of church, monastery and the town itself continues along with reconstruction works.
16
SYGULSKA, Anna, Tomasz CZERNIAK, and Adrian CZARNY-KROPIWNICKI. "EXPERIMENTAL INVESTIGATIONS AND COMPUTER SIMULATIONS TO SOLVE ACOUSTIC PROBLEMS IN THE MODERN CHURCH." Engineering Structures and Technologies 10, no. 1 (April 27, 2018): 34–45. http://dx.doi.org/10.3846/2029882x.2018.1445037.
Full textAbstract:
Architectural acoustics of contemporary sacred buildings is still an under-appreciated issue. Many contemporary churches are not functional enough due to acoustic defects which occur there. The study discusses issues of the modern Catholic church, where acoustic problems surface as high reverberant noise levels. The building under investigation, i.e. the Church of the Visitation of the Blessed Virgin Mary, is the biggest contemporary church in Poznań, Poland, as its internal volume amounts to 16,800 m³. On the basis of in situ investigations, a computer model of the church was built and a series of simulations were carried out to determine correct treatment in order to achieve satisfactory acoustic conditions. The main assumption was to find such a solution as not to affect the modernist architecture of the church.
17
URSU, Natalia, and Ivan HUTSUL. "ANNUNCIATION OF THE BLESSED VIRGIN MARY CHURCH IN VINNYTSIA: questions of history, existence and artistic heritage." Ethnology Notebooks 157, no. 1 (February 22, 2021): 163–69. http://dx.doi.org/10.15407/nz2021.01.163.
Full text
18
Sygulska, Anna. "CONTEMPORARY TWO-STOREY CHURCHES – ACOUSTIC INVESTIGATIONS." Journal of Architecture and Urbanism 39, no. 2 (June 30, 2015): 140–48. http://dx.doi.org/10.3846/20297955.2015.1056444.
Full textAbstract:
The paper discusses the idea of two-storey churches, with insight into socio-political conditions which influenced their construction. The analysis of the issue was carried out on the basis of investigations in five two-storey churches in Poznań. The churches under investigation were: Visitation of Blessed Virgin Mary Church, Christ the King Church, Our Lady of Częstochowa Church, St. Lawrence Church, and Christ the Redeemer Church. In total, ten interiors were examined. The churches were erected in the late 70s and early 80s of the 20th century. The acoustic conditions were analyzed in terms of cubature, the shape of the interior and finishes. The upper and lower churches were compared within one building; the investigation also involved comparing the churches against each other. Moreover, functionality of the buildings was analyzed, which included aspects of acoustic as well as architectural functionality.
19
Chernov, Anatolii, Dariusz Dziubacki, Martina Cogoni, and Alexandru Bạ̌descu. "First conclusions about results of GPR investigations in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland." Geoscientific Instrumentation, Methods and Data Systems 7, no. 1 (March 27, 2018): 123–28. http://dx.doi.org/10.5194/gi-7-123-2018.
Full textAbstract:
Abstract. The article presents results of a ground penetrating radar (GPR) investigation carried out in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland, dating from the 14th to 16th centuries. Due to the 20th century wars, the current state of knowledge about the history of the church is still poor. Under the floor of the Catholic temple, unknown structures might exist. To verify the presence of underground structures such as crypts and tombs, a GPR survey was carried out in chapels and aisles with 500 and 800 MHz GPR shielded antennas. Numerous anomalies were detected. It was concluded that those under the chapels were caused by the presence of crypts beneath the floor.
20
Kirkus, M. Geoffrey. "‘Yes, My Lord’: Some Eighteenth and Nineteenth Century Bishops and the Institute of the Blessed Virgin Mary." Recusant History 24, no. 2 (October 1998): 171–92. http://dx.doi.org/10.1017/s0034193200002466.
Full textAbstract:
That we may freely and consistently persevere in our intention … we will that … all and each of ours shall make a vow never to seek directly or indirectly nor to allow others to seek … that except the Chief Pontiff to whom alone we humbly beg to be subject, any religious order whatsoever or any person whomsoever or any bishop or any one else appointed by the Pope to visit us, should have us so committed to his charge as to exercise over us authority, power, or jurisdiction.(Memorial of Mary Ward, translated from the Latin original, Archivum Romanum Societatis Jesu, Anglia 31, 11, pp. 675-685).The above are strong words, even from a forthright Yorkshirewoman, and they are almost startling when one considers how submissive, personally, was their author to all authority in the Church. But, in this Memorial, Mary Ward describes the constitution she envisages for her Institute. The firm lines she draws are even more accentuated in her Third Plan of 1622: ‘We most humbly beg that the entire hierarchical structure of this work should depend entirely on the Holy See and not on any other authority’. Another document headed Reasons why we may not alter makes it clear that the proposals admit of no compromise. The genesis of this attitude is not far to seek. Mary Ward considered she had received divine intimation that she was to undertake some new work to the greater glory of God and for this she was to follow St. Ignatius’ Society of Jesus with its direct responsibility to the Holy See. Sr. Immolata Wetter points out that Mary Ward’s ideas were further sharpened by the contemporary situation of the Catholic Church in England: ‘adherence to the primacy of the Pope distinguished the English martyrs and confessors of the faith. For their loyalty to the Vicar of Christ these brave men and women suffered restrictions both in public and private life.
21
Stefański, Krzysztof. "Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”." Porta Aurea, no. 19 (December 22, 2020): 294–310. http://dx.doi.org/10.26881/porta.2020.19.15.
Full textAbstract:
The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciechowski re-Gothycized the building, giving it a ‘cathedral’ form featuring a magnificent façade with two high towers. These works coincided with the growing popularity of the idea of the ‘Vistula-Baltic Gothic’ as the Polish national style in church construction. The Warsaw architect used the forms of the cathedral he rebuilt to develop his own vision of the church in the ‘Vistula-Baltic style’, competitive to the solutions used by Józef Dziekoński. The incarnation of this vision was the church of the Assumption of the Virgin Mary in Łódź, followed by a series of smaller buildings erected in villages and in small towns within the Russian partition, in which the architect repeated his pattern on a smaller or larger scale. The culmination of Wojciechowski’s creative path was the Church of the Holy Family in Częstochowa (the current Cathedral), built from 1901.
22
Sargent, Michael G. "Nicholas Love as an Ecclesiastical Reformer." Church History and Religious Culture 96, no. 1-2 (2016): 40–64. http://dx.doi.org/10.1163/18712428-09601003.
Full textAbstract:
Nicholas Love was the prior of the Carthusian house of the Assumption of the Blessed Virgin Mary at Mount Grace from its incorporation into the Order at the General Chapter of 1410 until shortly before his death, which occurred between 15 March and 28 July, 1423. He is most commonly known to present-day scholarship as the author of The Mirror of the Blessed Life of Jesus Christ and because of the licensing of the Mirror by Archbishop Thomas Arundel in accordance with the stipulations of the Lambeth Constitutions of 1409, as an agent in the archbishop's campaign against the followers of John Wyclif, and against Wycliffite translation of the scriptures into the vernacular. It would be better, however, to see him as an actor in his own right, a promoter, like his continental European Carthusian confrères, of the reform of the western Church in the fifteenth century.
23
Rolska, Irena. "Fundacje sakralne wojewody wołyńskiego Seweryna Józefa Rzewuskiego (po 1694–1755)." Artifex Novus, no. 3 (October 1, 2019): 76–95. http://dx.doi.org/10.21697/an.7064.
Full textAbstract:
SUMMARY
Seweryn Józef Rzewuski was the son of Stanisław Mateusz Rzewuski (1662–1728), grand crown hetman and Belz voivode, and Ludwika Eleonora Kunicka (coat of arms: Bończa; d. 1749). He was the older brother of Wacław Piotr Rzewuski (1706–1779), grand crown hetman and castellan of Cracow. The main house of Seweryn Józef and Antonia from the Potocki Rzewuski was the castle in Olesko. Before 1745 the voivode carried out renovation works at the castle, decorating it with stuccos and sculptures. The main building Rzewuski founded was the church and Capuchin monastery located below the castle. The single-nave church has a double-span nave enclosed by two rows of lower, rectangular-shaped side chapels linked by narrow passages. The church has an austere, flat facade with one portal on the axis, typical for Polish Capuchin architecture. Monastery buildings were located on the northern side of the church. The wings of the monastery surrounded a rectangular inner viridary, uncommon for Capuchin monasteries. The monastery in Olesko was one of the most magnificent Polish Capuchin monasteries. Seweryn Józef and Antonina Rzewuski revered the blessed John of Dukla. This was manifested by their decision to found the building of a column dedicated to Blessed John of Dukla in Lviv in 1736. The Rzewuski kept good relations with the Greek Catholics from Chełm and the Chełm starosty. Rzewuski founded baroque side-altars for the orthodox church in Kanie, which are now in the local parish church. He was also one of the initiators of the coronation of the icon of Our Lady of Chełm. Seweryn Józef Rzewuski inherited Łęczna (1737), and as the city’s owner he began renovating the parish church of Saint Mary Magdalene, rebuilding the burned city hall, two market squares and establishing a third one. Rzewuski founded two new, baroque altars for the church. Two side-altars, the pulpit, baptismal font and two altars in side chapels remain until this day. The remains of the programme, that can be found on the altars, indicate a close link between the passion and eucharistic worship. In 1745 Seweryn Józef finished building and decorating a small, single-navechurch in Łuszczów. All aforementioned buildings and art founded by Seweryn Józef Rzewuski, except from the column dedicated to the blessed John of Dukla in Lviv, were located on territories which belonged to the voivode.
24
Greatrex, Joan. "Marian Studies and Devotion in the Benedictine Cathedral Priories in Later Medieval England." Studies in Church History 39 (2004): 157–67. http://dx.doi.org/10.1017/s0424208400015060.
Full textAbstract:
On 15 November 1407, in the monastic infirmary of Christ Church, Canterbury, Thomas Wykyng breathed his last with a prayer for the intercession of the Virgin Mary on his lips. The brethren in attendance, so the memoir continues, were convinced that at the moment of his departure the Blessed Virgin summoned him to herself (‘ad se evocavit’) because next to his trust in God he had always placed supreme confidence in her. He was remembered as a model monk who had served his turn in many offices including those of cellarer, sacrist, novice master, and warden of Canterbury College, Oxford. To the many young monks who owed their instruction in the celebration of mass to him he strongly recommended that this same prayer be included as part of their personal devotions as they stood at the altar.
25
Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia." Journal of the Society of Architectural Historians 70, no. 4 (December 1, 2011): 466–91. http://dx.doi.org/10.1525/jsah.2011.70.4.466.
Full textAbstract:
Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Roof Tiles and National Style in Nineteenth-century Croatia, this architecture is placed in the context of the Gothic Revival in the Austro-Hungarian monarchy and the collecting and analysis of traditional textiles by the amateur ethnographer Felix (Srećko) Lay.
26
Kirkus, M. Gregory. "‘Wandering Nuns’: The Return of the Institute of the Blessed Virgin Mary to the South of England, 1862–1945." Recusant History 24, no. 3 (May 1999): 384–96. http://dx.doi.org/10.1017/s0034193200002582.
Full textAbstract:
‘Woods, M. Joseph died ye 20 April 1822, the last of ye Ladies of ye Establishment’So ends the register of the convent founded in Hammersmith in 1669, and with the death of Sister Joseph the Institute of Mary became extinct in the south of England. But in distant Belfast the story of its revival was already taking shape. On 1st April 1812 a little girl, Mary Petronilla, was born there to a Protestant Doctor Barratt and his wife. We know nothing of her childhood, but it is thought that as a young woman she taught singing in a Loreto convent. About the year 1835 she was received into the Catholic Church, and so embarked upon a career that was to have far-reaching effects. The presence of a Roman Catholic daughter may have been embarrassing to the doctor’s household, or perhaps it was just the desire to learn German and to see the world that prompted Mary Barratt to follow the advice of the Loreto Sisters and to accept a teaching post advertised in Augsburg. There she not only learned German in return for giving English lessons, but she observed religious life as lived in the oldest house of the Institute. Strict as the régime was (the nuns rose at 4.30 am. all the year round) she fell in love with it and asked to be received into the novitiate. On 10th September 1844 she was clothed in the habit and given the name Sister Petronilla, though this was later changed to Sister Ignatius.
27
Metom, Philipus Benitius. "MENDALAMI GELAR-GELAR SANTA PERAWAN MARIA BUNDA ALLAH DALAM PENGAKUAN DAN AJARAN FRANSISKUS." Lumen Veritatis: Jurnal Filsafat dan Teologi 11, no. 1 (October 1, 2020): 19–36. http://dx.doi.org/10.30822/lumenveritatis.v11i1.697.
Full textAbstract:
There is a line of titles of Saint Mary mentioned by Pope Francis in his published encyclicals and apostolic exortations. However, we summarize them into seven new titles, namely, Saint Mary is the daughter of Zion, mother, queen, woman, star, bride, and the spring of happiness for the little people. We consider that the number seven title has opened the minds of the faithful about the joy of believing in the Triune God who saves the world and the significant role of Saint Mary in the success of this exalted work. The recognition of the seven new titles aims to support the understanding of the faith of the Catholic faithful in the Blessed Mary as Mother of God and Virgin. Apart from that, another goal is that the quality of the Church's faith in the virginity of Saint Mary and her mother of God will be strengthened. What kind of quality do you want to affirm? What he wants to affirm is the quality of the Church's faith which is rooted in the past of the Old Testament, which is flourishing and expanding in the present, and which will bear fruit to await eternal happiness in the future (eschatological). Thus, the seven new titles of Saint Mary can reveal the faith of the Church to live at all times.
28
Lux-Sterritt, Laurence. "Mary Ward's English Institute: The Apostolate As Self-Affirmation?" Recusant History 28, no. 2 (October 2006): 192–208. http://dx.doi.org/10.1017/s0034193200011249.
Full textAbstract:
Mary Ward (1585–1645) is known as the foundress of the Institute of the Blessed Virgin Mary, an Order of women which continues to educate thousands of girls around the world. During the first decades of the seventeenth century, her foundation was a religious venture which aimed to transform the Catholic mission of recovery into one that catered for women as well as men. It maintained clandestine satellites on English soil and opened colleges on the Continent, in towns such as St Omer (1611), Liège (1616), Cologne and Trier (1620–1), Rome (1622), Naples and Perugia (1623), Munich and Vienna (1627) and Pressburg and Prague (1628). There, it trained its own members and undertook the education of externs and boarders. The Institute's vocation was not only to maintain the faith where it was already present but also to propagate it; as such, it went far beyond the accepted sphere of the feminine apostolate and its members were often labelled as rebels who strove to shake off the shackles of post-Tridentine religious life. To some modern historians, Mary Ward was an ‘unattached, roving, adventurous feminist’; to others, she was a foundress whose initiative deliberately set out to lay tradition to rest and begin a new era for the women in the Church.
29
Taves, Ann. "Context and Meaning: Roman Catholic Devotion to the Blessed Sacrament in Mid-Nineteenth-Century America." Church History 54, no. 4 (December 1985): 482–95. http://dx.doi.org/10.2307/3166515.
Full textAbstract:
A French visitor to a nineteenth-century Irish Catholic parish in the United States described the scene as follows: Behold them, when the sanctuary bell announces the moment of consecration; they raise their hands, they extend their arms in the form of a cross, they pray and sigh aloud; at times some leave their pew and prostrate themselves in the aisle, in order to assume a more suppliant and adoring attitude. … If you wait until the end of mass, you will be further edified. You will see them approach as near as possible to the high altar, before which they bow profoundly, making several genuflections, and frequently remain for a moment almost prostrate to the ground. From here they go to kneel at the altar of the Blessed Virgin, then before that of St. Joseph. Then follows a last and touching station before the body of the dead Christ which the Italians call the pietá; they pray here for a few moments, and respectfully press their lips to the five wounds of the Saviour. At the door of the church they take holy water, sign themselves with it repeatedly, and sprinkle their faces with it; then turning to the tabernacle they make a last genuflection, as if to bid farewell to our Lord, and finally withdraw.
30
Proniewski, Andrzej. "Blessed Virgin Mary, the Mother of God in the mystery of the Church. In the 50th anniversary of the Dogmatic Constitution on the Church “Lumen Gentium”." Studia Koszalińsko-Kołobrzeskie 22 (2015): 131–42. http://dx.doi.org/10.18276/skk.2015.22-09.
Full text
31
Zinko, Yuriy, Marta Malska, and Taras Hrynchyshyn. "Religious-pilgrim tourism in the west of Ukraine: main centres and shrines." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 144–66. http://dx.doi.org/10.30970/vgg.2019.53.10671.
Full textAbstract:
This study analyzes the formation factors and major centres and shrines of pilgrimage and religious tourism in the Western region of Ukraine. The article presents structure of the religious space of 8 regions of Western Ukraine in the context of major Christian denominations. According to the latest statistics in the West of Ukraine, among the Christian denominations we can see dominance of believers and communities of the Ukrainian Greek-Catholic Church, the Orthodox Church of Ukraine, the Ukrainian Orthodox Church of the Moscow Patriarchate and the Roman Catholic Church. The main pilgrimage centres that represent the Christian denominations of the region are characterized by attracting their faithful and at the same time serving as religious tourism centres for a wider range of people. These include, among others: Univ Lavra, Krekhiv and Hoshiv Monasteries, the Marian Spiritual Centre in Zarvanytsia (Greek-Catholic Church); Maniava Skete, St. George Monastery on the Cossack Graves (Orthodox Church of Ukraine); Pochayiv Lavra, Zymne and Mezhyrich Monasteries, Monasteries in Bukovyna and Transcarpathia (Orthodox Church of the Moscow Patriarchate). At the same time, the Roman Catholic Church is represented by sanctuaries: Basilica of the Assumption of the Blessed Virgin Mary in Lviv, churches in Stryi, Bilshivtsi, Chortkiv, Letychiv and other settlements. The annual number of visitors to these major centres is between 30 and 100 thousand people a year. Regarding non-Christian religions, there are important shrines in the region for Hasidic pilgrims in Belz, Medzhybizh and other towns. At the same time, a number of regional centres are important destinations. There are many temples in Lviv, Ivano-Frankivsk, Lutsk, Ternopil, which, given the presence of objects of religious worship and significant architectural appeal, perform both a pilgrimage and a religious-tourist function. Religious shrines, which are primarily of natural origin, are often an important component of the pilgrimage-tourist movement in the West of Ukraine. These include the appearance of the Virgin Mary, including individual hills or springs, as well as ancient cave monasteries. Numerous pilgrimage and travel agencies actively promote visits of believers and tourists to them. Development of religious and pilgrimage centres is related to the development of service infrastructure, service complexes and a network of different types of accommodation. It may be recommended to organize more educational and scholarly events of ecumenical nature and meetings of faithful of different denominations in the well-known religious centres of the region. Key words: pilgrimage, religious tourism, denominations, temple, shrine, pilgrimage centre, infrastructure.
32
Dudkiewicz, Margot. "Application of sound tomography in the revitalization of the area surrounding the nativity of the Blessed Virgin Mary orthodox church in Włodawa." Geomatics, Landmanagement and Landscape 3 (2018): 7–22. http://dx.doi.org/10.15576/gll/2018.3.7.
Full text
33
DANIELEWSKI, MARCIN. "PHOTOGRAPHS FROM 1887. NEW SOURCES FOR THE STUDY OF THE ARCHITECTURE OF THE ROMANESQUE CHURCH OF THE BLESSED VIRGIN MARY IN INOWROCŁAW." Historia Slavorum Occidentis 9, no. 2 (December 31, 2015): 1–3. http://dx.doi.org/10.15804/hso150207.
Full text
34
Jakóbczyk-Gola, Aleksandra. "The Akathist Hymn to the Blessed Virgin Mary and Polish Marian Songs in Context of Performative Practices in Litany Tradition." Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 145. http://dx.doi.org/10.18290/rh.2019.67.1-10.
Full textAbstract:
The article analyses Akatyst ku czci Bogurodzicy [Akathist to the Mother of God], which, together with the accompanying icon, was one of the important components of the Marian Orthodox cult, whose influence went beyond the Orthodox Church, affecting among others also Polish lands. The aim of the article is not to develop a monograph on this phenomenon, but, focusing on the recognition of its complex media characteristics, to study various forms of its performance and to pay special attention to the performativity aspect. The purpose of this characterization is to bring out the complex functions that the Akathist performed, serving the purposes of memory – having also a heterogeneous character, realised in various ways and playing different roles. The analysis encompasses selected research fields – history of literature, religion and culture from the perspective of changes in the media of words, as well as art history.The second part of the article shows analogous phenomena in the Polish Marian song and traces its relations to the Akhatist to the Mother of God. In particular, the analysis focuses on the song O przenasławniejsza panno czysta... The structure of the akhatist icon was reflected in the Gothic altar stands in Lesser Poland, in which the image of the Virgin Mary of the type of Madonna Piekarska was centrally placed, surrounded by other representations.The key concept for the article is the litany tradition, which is understood here broadly, i.e. including specific language formulas, the communication strategy, issues of presence, mnemonic formulas, the ideas of spatial relations, movement and performance. In conclusion, the article attempts to define the multi-aspectual character of this phenomenon, with particular focus on the dynamics of this tradition, the need to act and recall using memory.
35
Shashkova, Agneta. "PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 170–79. http://dx.doi.org/10.33838/naoma.28.2019.170-179.
Full textAbstract:
This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the painting layer features of the author icon painting style of Mr. Yizhakevych and stylistic features that are typical for his late creative period between 1940 and 1960 have been analyzed.Based on the comparative analysis between the above icons and other icons painted by Mr. Yizhakevych we have specified the attribution and considered the possibility of author icon finishing painting in a given period in order to return brightness to faded areas and restore partially lost ones. The possibility of repainting of separate parts of icons in order to specify dimensions of separate fragments or change in the compositional position of figures is also studied.In this paper we have specified typical techniques of the author style of Ivan S. Yizhakevych used by him for the primary layer of icons and author renewal and the assumption has been made that his students had likely helped him in preparation activities and painted parts of painting that are secondary according to their composition. Based on the analysis of the painting technique and features of Mr. Yizhakevych’s style the assumption have been made that the non-author finishing painting had been made approximately between 1990 and 2000 during one of the thorough repairs of the church.In this paper it has been established that the latter non-author renewals had significantly damaged the appearance of both icons by adding the rude and unprofessional performance to their separate elements which is not typical for the artist; this fact causes major difficulties when considering these icons to be integral works of Ivan S. Yizhakevych.This paper is illustrated by pictures of icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” as well as their schematic images including the analysis of author and non-author renewals.
36
Helytovych, Mariia. "Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 73–88. http://dx.doi.org/10.37131/2524-0943-2019-39-05.
Full textAbstract:
The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century
37
Piekarski, Stanisław. "Zakład zdrojowy diecezji przemyskiej w Brzozowie 1927-1948." Seminare. Poszukiwania naukowe 2021(42), no. 1 (March 31, 2021): 135–58. http://dx.doi.org/10.21852/sem.2021.1.10.
Full textAbstract:
The purpose of this article is to present aspects related to building and maintaining health and leisure centre of the Przemyśl Diocese in Brzozów - largely based on voluntary taxation. The Diocese was the most successful in this area of health prevention in the interwar period. Within several months, the faithful of the Church and the clergy of this region - under the aegis of Bishop Anatol Nowak - managed to open in summer 1927 the magnificent spa facility with its own brine and baths accessible for clergy and seminarians. No Polish professional community recorded such success in the interwar period. The health and leisure centre was manager under the authority of the bishopric by the Congregation of the Sisters Servants of the Blessed Virgin Mary Immaculate from Nowa Wieś. During the occupation The Przemyśl Seminary was placed in the centre. In parallel, both German and Soviet soldiers used the spa facility. After the war, the spa did not manage to return to its pre-war splendor. It definitively ceased to exist in 1948.
38
Bakovych, Olena. "ICONOSTASIS OF CHURCH OF INTRODUCTION TO THE TEMPLE BLESSED VIRGIN MARY OF THE VILLAGE REKSHYN BEREZHANY DISTRICT OF TERNOPIL REGION: ARTISTIC AND COMPOSITIONAL FEATURES." Ethnology Notebooks 141, no. 3 (June 21, 2018): 651–55. http://dx.doi.org/10.15407/nz2018.03.651.
Full text
39
Dulibić, Ljerka, and Iva Pasini Tržec. "Austrijski slikar Leopold Kupelwieser i biskup Josip Juraj Strossmayer." Ars Adriatica, no. 6 (January 1, 2016): 209. http://dx.doi.org/10.15291/ars.186.
Full textAbstract:
All 20th-century chronologies of the collector’s activity of Bishop Josip Juraj Strossmayer (1815-1905) and overviews of the evolution of today’s Strossmayer’s Gallery of Old Masters at the Croatian Academy of Sciences and Arts mention the bishop’s cooperation with the Austrian Nazarene painter Leopold Kupelwieser (1796-1862), father of Paul Kupelwieser, the former owner of the Brijuni islands. This episode from the “prehistory” of Strossmayer’s Gallery has hitherto been known only as a brief notice repeated in almost identical formulations: “In 1857, the bishop sent the first larger group of paintings to Vienna in order to be restored under the supervision of painter Leopold Kupelwieser.” Research of archival documents mentioning the cooperation between Bishop Strossmayer and painter Kupelwieser has now been complemented with an overview of Kupelwieser’s activity in Croatia, with an aim of promoting the preservation and evaluation of this segment of his painting oeuvre. Besides paintings ordered by Strossmayer (presently at the Diocesan Museum of Zagreb), Kupelwieser produced two paintings for Croatian churches independently of his cooperation with the bishop (for the church of St Stephen of Hungary, today’s church of the Immaculate Conception of the Blessed Virgin Mary in Nova Gradiška, and for the chapel of St Peter and Paul in Dvor na Uni). Two more paintings are preserved on the Brijuni islands that do not directly belong to Kupelwieser’s oeuvre yet are closely linked to him.
40
Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.
Full textAbstract:
The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.
41
Yudin, V. "Architectural and Artistic features and manufacturing wooden iconostasis of the church of the introduction to the temple of the blessed virgin mary, Emanzhelinsk, Chelyabinsk region." IOP Conference Series: Materials Science and Engineering 451 (December 14, 2018): 012129. http://dx.doi.org/10.1088/1742-6596/451/1/012129.
Full text
42
Yudin, V. "Architectural and Artistic features and manufacturing wooden iconostasis of the church of the introduction to the temple of the blessed virgin mary, Emanzhelinsk, Chelyabinsk region." IOP Conference Series: Materials Science and Engineering 451 (December 14, 2018): 012129. http://dx.doi.org/10.1088/1757-899x/451/1/012129.
Full text
43
Gawałkiewicz, Rafał, and Mikołaj Skulich. "Surveying monitoring of the Annunciation of the Blessed Virgin Mary Church in Inowroc┼éaw, located in a mining area, applying reflectorless technologies and precise levelling." Geomatics and Environmental Engineering 6, no. 1 (2012): 29. http://dx.doi.org/10.7494/geom.2012.6.1.29.
Full text
44
Sobota Matejčić, Gordana. "Institute for History of Art, Zagreb." Ars Adriatica, no. 2 (January 1, 2012): 167. http://dx.doi.org/10.15291/ars.447.
Full textAbstract:
In 2005, during the composing of the Inventory of the Moveable Cultural Heritage of the Church and Monastery of St Francis of Assisi at Krk, three wooden statues were found in the attic. These had once belonged to a lavish Renaissance triptych at the centre of which was a figure of the Virgin (107 x 45 x 27 cm), flanked by the figures of St John the Baptist (c. 105 x 28 x 30 cm), an apostle with a book (c. 93 x 32 x 22 cm), and, in all likelihood, St James the Apostle. A trace of a small left foot in the Virgin’s lap indicates that the original composition was that of the Virgin and Child. It is highly likely that these statues originally belonged to the altar of St James which mentioned by Augustino Valier during his visitation of the Church of St Francis of Assisi in 1579 as having a pala honorifica . Harmonious proportions, fine modelling of the heads, beautifully and confidently carved drapery of the fabrics, together with almost classical gestures, all point to a good master carver who, in this case, sought inspiration in Venetian painting of the 1520s and 1530s. When attempting to find close parallels in the production of Venetian wood-carving workshops from the first half of the sixteenth century, without a doubt the best candidates are two signed statues from the workshop of Paolo Campsa de Boboti: the statue of the Risen Christ from the parish church of St Lawrence at Soave in Italy, dated to 1533, and the statue of the Virgin and Child in a private collection in Italy, dated to 1534. To these one can add a statue from the Gianfranco Luzzetti collection at Florence, which has been attributed to Campsa’s workshop. Judging from all the above, the statues from St Francis’ might be dated to the 1540s. In the parish church of Holy Trinity at Baška is a wooden triptych which, according to a nineteenth-century record, was inscribed with Campsa’s signature and the year 1514. When Bishop Stefanus David visited the Chapel of St Michael at Baška in 1685, he described in detail this wooden and carved palla on the main altar dedicated to St Michael, noting that the altar is under the patronage of the Papić family who had founded it and made considerable donations to it. The high altar in the Church of St Mary Magdalene at Porat, also on the island of Krk, has a polyptych attributed to Girolamo and Francesco da Santa Croce. Until now, it has been dated to 1556 - the year of the dedication of the altar and the church. However, more frequently than not, a number of years could pass between the furnishing of an altar and its dedication. With this in mind and having re-analyzed the paintings, the polyptych can be dated as early as the previous decade. Until now, the Renaissance statue of St Mary Magdalene (105 x 25 x 13 cm), originally part of an altar predella but today housed in the Monastery’s collection, was not discussed in the scholarly literature save for its iconography. Based on the morphological similarities between the statue of St Mary Magdalene and the three statues at Krk, it can be concluded that they were carved by the same master carver. Written sources inform us that after 1541 Paolo Campsa was no longer alive. Great differences between the works signed by Campsa have already been the subject of scholarly debate and it is known that due to high demand, his workshop included a number of highly skilled wood carvers. In the case of Krk, perhaps the master carver was an employee at Campsa’s workshop who outlived him and who, after its closure, went his own way and was considered good enough to be hired by fellow painters from the Santa Croce workshop. Installing a statue in a predella was a rare occurrence in sixteenth-century Croatia and Venice alike. Even in the case of Campsa. Reliefs were used more frequently. However, this arrangement was customary on contemporary flügelaltaren in the trans-Alpine north. It ought to be considered whether this northern altar design might provide a trail which would lead to a more specific location of a possible master carver.
45
Czyż, Anna S. "Program ikonograficzny wystroju wnętrza kościoła pw. Wniebowzięcia Najświętszej Maryi Panny i św. Augustyna w Kraśniku (wiek XVII i XVIII)." Archiwa, Biblioteki i Muzea Kościelne 108 (December 20, 2017): 63–98. http://dx.doi.org/10.31743/abmk.12169.
Full textAbstract:
Modern furnishings of the church dedicated to the Assumption of the Blessed Virgin Mary and St. Augustine in Kraśnik were created over three hundred years. However, the oldest trace of the decor from the 16th century is scant. In the first half of the 17th century they were exchanged, and it was at the time when the monastery in Kraśnik joined the Cracow Congregation. The 1630s were particularly important in the creation of the new decor of the church as the following things were founded: choir stalls, including collator ones, paintings by Dolabella as well as the high altar and brotherhood’s one. The above-mentioned elements of the interior were means of conveying the most important themes: canonic (Ordo apostolicus, the patrons of the Cracow Congregation), Passion, Eucharistic, Marian (including SalvatorMundi and MaterMisericordiae) as well as patronal. It cannot be ruled out that intensive artistic investment was connected with the plan to convene the General Chapter in Kraśnik in 1635. In the following decades, especially in the mid-eighteenth centuries, the interior was supplemented and developed, within the aforementioned themes, through the foundations of new altars, a pulpit and paintings in the chancel. Comparing the themes of the church decoration in Krasnik with other churches of the Canons Regular of the Cracow Congregation, it should be noted that they are typical. They referred to monastic life, including the spirituality of the canons and the "primacy" of the congregation, as well as the pastoral ministry being developed on the basis of Passion, Eucharistic and Marian themes. They were presented in the context of the changes taking place in the life of the Church after the Council of Trent, the trend which was also adopted by the Cracow Congregation of Corpus Christi, which co-created a new model of the sacred art in the Republic of Poland.
46
Ivanchenko, Lesya. "FROM THE DUBOVICHI LIFE: REPRESSIONS AGAINST THE CHURCH IN THE 1920-1930'S." Journal of Ukrainian History, no. 40 (2019): 129–35. http://dx.doi.org/10.17721/2522-4611.2019.40.16.
Full textAbstract:
In the article, the author reveals fragments of the study about repressions of the 1920s and 1930s against the churches, as an institution of society, against the clergy, church services, active parishioners of one of the settlements in Sumy Region(Dubovichi village). Self-identification and peaceful living under the laws of honor in the socialist regime led to the destruction of employed citizens and clergy who lived by vocation and by traditional moral principles. After all, it was they - conscious citizens, intellectuals, who "threaten" the terrorist plot of the Bolshevik authorities on the territory of Ukraine. Special attention was to the citizens who supported Tikhonovsk and Ukrainian autocephalous Orthodox churches. The parishioners of these churches were in principle affirmative. "Tikhonovtsi" decided religious uncompromising, "autocephalous" were nationalistic. Those and others did not perceive the Bolsheviks. Both opposed the political regime. Everyone who was in contact or was attached to these groups was prosecuted and arrested with special severity. Under the repressions were relatives and neighbors. Blackmail of single persons and family, voluminous and falsification documents, taking hostages. That was happening with all who was not controlled during the formation of the Soviet power. Over the 50 people from Dubovichi village and their families fell under the pressure of repressions. Most of them were sentenced to death. Just few of them returned from exile and settled in distant places from their native village. Dubovichi village has a centuries-long history. Best known it is in the religious environment through the icon of Dubovytsi's Mother of God. The miraculous image of the Virgin was discovered in the middle of the 17th century. And the glory about it spread far beyond the then Russian empire. Church leaders from Kiev, from Chernigov gathered at the procession during the celebrations of 1861. The pilgrimage to the icon in Dubovich was round-the-year. Copies from the list of the Virgin Mary Dubovitskaya were in the St. Sophia Cathedral of Kyiv. Information about the icon was printed in church calendars and metropolitan directories of pilgrims. The grand stone church of the Nativity of the Virgin in 1777 in the center of the village, it was the pease of architectural art that was rare in the countryside. As evidenced by foreign sources, the parish church was kind of fortress. It was surrounded by a brick fence with four towers in corners. The entrance to the churchyard was through the gates that were under the bell. There were burials around the temple. Marble monuments were raised on the graves. Icons in the temple were in different kyots, precious stones. Church property included a number of priest clothing, silverware. In the village there were three temples. This provided the opportunity for the parish to have six priests, several clerks and psalms in the state. All were destroyed until 1940, despite the architectural value of the builders and the ancients. Dubovichi parish numbered more than three thousand people at the beginning of the twentieth century. It was glorified by the numerous, beautiful choir, active citizens. The church library was more than 2000 volumes. The priests performed not only the need. Archpriest Gusakovsky was the head of refuge. The village choir numbered more than 60 people. There was a spiritual orchestra, a theater group, a hut-reading room, a rural school and a parochial school, and a folk school in the village. Also there was paramedic station, veterinarian, pharmacy. The hospital unit numbered up to 10 beds. Tolerance and high moral consciousness were typical for the people of Dubovichi. Not only Orthodox lived in the village . Archival documents indicate that the daughter of the priest was offended with the Catholic. Jews lived in Dubovichi. The social group was represented. There were Gypsies among the participants of the school. Those were posterity of that who survived and took good place in life of theatre. Able to analyze falsifications of the campaign to destroy the Dubovichi parish, the destruction of church buildings- works of architectural art. Information from directories, archival documents and old people's buildings allows us to reconstruct conditionally events of those times. The author for the first time highlights this page of the Dubovichi life. As well as information from recently declassified documents from archives of higher authorities on the repressed residents of Dubovichi village. Human losses, disadvantaged families, tales of reletives about Soviet Union. All this make a mosaic of the historical stratum of our country. The coverage of this problem somehow outlines the massive crimes of Soviet politics in the 1920's and 1930's. It is a tribute to those who sacredly keep memories of the repressed.
47
Nocoń, Arkadiusz. "Kobieta w pismach Jana Kasjana." Vox Patrum 66 (December 15, 2016): 155–68. http://dx.doi.org/10.31743/vp.3452.
Full textAbstract:
John Paul II remarked, in his famous Letter to Women, that the “sons of the Church” also contributed to undermining the dignity of women over the centuries. Can John Cassian be counted amongst them? It was he who spread the doctrine of the Desert Fathers in the West, and some, such as Anatole France, accuse them of entertaining hatred towards women. By analysing the writings of John Cassian, we discover, however, that, besides the many interesting texts of his, uncommon in Christian literature, in which he talks of God as a mother, and alongside the fervent invitation to Christians to honour the Blessed Virgin Mary, the texts which concern women contain not a trace of discrimination. In his writings, woman is not inferior to man, either by nature or by virtue. On the contrary, there are times when he holds them out as examples to be followed for their great faith and virtue. If, at times, he also presents woman with reference to some vice, he does so only to illustrate the virtue of some other person. Generally speaking, therefore, the vision of woman found in his writings is basically positive, and it finds a place naturally in his ascetical doctrine of mediocritas. It was certainly not he who, by his writings, contributed to undermining the dignity of women.
48
Machalski, Jędrzej. "Działalność Zgromadzenia Sióstr Służebniczek Najświętszej Maryi Panny Niepokalanie Poczętej jako realizacja misyjnego posłannictwa Kościoła." Annales Missiologici Posnanienses, no. 25 (December 31, 2020): 133–45. http://dx.doi.org/10.14746/amp.2020.25.9.
Full textAbstract:
Since the apostolic times, the Church has continuously fulfi lled the invitation addressed by Jesus to his disciples: Go ye into all the world, and preach the Gospel to every creature (Mark 16:15). The Second Vatican Council, writing about the missionary nature of the Church, clearly emphasized the importance of the task of bringing the Good News to all people on Earth. This mission includes the activity of the Sisters Servants of the Holy and Immaculate Virgin Mary, a congregation founded by blessed Edmund Bojanowski. Although the congregation was not established with missionary work in mind, the fi rst Sisters left Poland as early as 1928, realizing the deep missionary awareness that had always been present in Bojanowski. Currently, the Sisters work almost on all continents, running schools and nurseries for children, serving the sick in clinics and hospitals, working for charity, parishes and pastoral care. The spring months faced the Sisters with the challenge of dealing with the covid-19 virus epidemic, which aff ected, among others, the functioning of the hospitals and schools run by the Sisters, putting many children in poor health at risk because of the conditions in which they live. The Sisters often added a request for prayer and support to the current news published on the Internet. Although due to the epidemic, the departures of volunteers became impossible, many people of good will supported and continue to support the missionary activity of the Sisters, remembering the words ofChrist: Truly I say to you, to the extent that you did it to one of these brothers of Mine, even the least of them, you did it to Me (Matthew 25:40).
49
Afanasyeva, Tatiana I., and Tatiana V. Burilkina. "Vatican Psalter Vat. slav. 8: Paleographic, linguistic, and textual features of the manuscript." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 4–17. http://dx.doi.org/10.21638/spbu09.2021.101.
Full textAbstract:
The article describes the graphic and orthographic features of the unique Old Russian Psalter stored in the Vatican Apostolic Library (under the code Vat. slav. 8). This codex has practically not attracted the attention of researchers because it was difficult to access. It is now available on the Internet and can be fully studied. The Psalter was written by a highly qualified scribe who developed a special font for his manuscript — a half-letter, built following certain principles as the study showed. The orthography of the manuscript is focused on the ancient Russian norms of the 16th century. However, it has very important innovations: superscripts appear that imitate a slight Greek aspiration, as well as the writing of omega and “uk” in the South Slavic manner. The localization and dating of the manuscript have been clarified. It was written no earlier than the 1420s as evidenced by the special “bead” initials, as well as the spelling of omega with a high center. Some features of the Central Russian dialect can be traced in the scribe’s writing. The codex was brought to Italy by Metropolitan Isidore who fled from Moscow (from the Chudov Monastery) in September 1441 with many other Greek and Slavonic manuscripts. As a result, this Manuscript can be associated with the scribes of this monastery. A small format of the Vat. slav. 8 suggests that this was a travel book. Apparently, the scribe created this manuscript for personal needs. He included a number of rare church services in the codex, in particular, the unique Tuesday church service of the akathist of the Blessed Virgin Mary according to the charter of Mount Athos.
50
Kulesz, Aleksandra, and Jakub Michalik. "Modern Shoe Buckles from Archaeological Research in Gniew and Piaseczno (Pomerania Province, Poland)." Acta Universitatis Lodziensis. Folia Archaeologica, no. 35 (December 30, 2020): 151–65. http://dx.doi.org/10.18778/0208-6034.35.10.
Full textAbstract:
During archaeological research carried out from 2009 to 2016 in the Church of St. Nicholas in Gniew, a set of three metal buckles was found. Then, in 2017, excavations were conducted in crypts of the Church of the Nativity of the Blessed Virgin Mary in the village of Piaseczno, in the Gniew District. Two other pairs of buckles were uncovered at this site. All the buckles found differ considerably. Thanks to this, one can get an impression that apart from holding the shoe on the foot, they also served decorative purposes. One can distinguish two main types of buckles: those made of iron and those made of a copper alloy. The latter, considering ornaments, could be more valuable than their iron counterparts. Regardless of the alloy used, manufacturing techniques differed, some of which were those used in the case of buckles from Gniew and Piaseczno: wire forging, cutting out of thick metal sheet, and folding thin metal sheet.
On account of their jewellery-like character, this small collection of buckles discussed could be bequeathed, while most grave shoes were only fastened with tailor’s pins or put on the feet of the dead without fastening. This practice particularly concerned shoes with textile uppers, which mostly meant women’s shoes. It may suggest that the items in question were rather owned by men. The buckles described could be thus elements of the everyday attire.
Issues connected with a formal and typological interpretation of the buckles found indicate interpretive problems faced by archaeologists dealing with these aspects of costume studies. Modern shoes, due to the scarcity of artefacts in archaeological collections, remain mysterious and puzzling objects.