Relevant bibliographies by topics / Peter's Cathedral

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Academic literature on the topic 'Peter's Cathedral'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Peter's Cathedral"

1

SAYERS, JANE. "Peter's Throne and Augustine's Chair: Rome and Canterbury from Baldwin (1184–90) to Robert Winchelsey (1297–1313)." Journal of Ecclesiastical History 51, no. 2 (April 2000): 249–66. http://dx.doi.org/10.1017/s0022046900004243.

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The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.
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Campbell, Ian. "Planning for pilgrims: St Andrews as the second Rome." Innes Review 64, no. 1 (May 2013): 1–22. http://dx.doi.org/10.3366/inr.2013.0045.

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The planning of the burgh of St Andrews, founded in the twelfth century, with two major streets converging on the cathedral, resembles that of the Vatican Borgo, created in the ninth century. It is proposed that St Andrews was consciously modelled on the Borgo, and that the major dimensions of the cathedral are taken from Old St Peter's and St John Lateran, as part of an unsuccessful campaign to have St Andrews recognised as an apostolic see like its rival Compostela, the only other shrine in western Europe beyond Italy to claim the relics of an apostle.
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Facchini, F., E. Rastelli, and M. G. Belcastro. "Peri mortemcranial injuries from a medieval grave in Saint Peter's Cathedral, Bologna, Italy." International Journal of Osteoarchaeology 18, no. 4 (July 2008): 421–30. http://dx.doi.org/10.1002/oa.949.

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Harroff-Tavel, Marion. "Address at the memorial service held at St Peter's Cathedral, Geneva 20 December 1996." International Review of the Red Cross 37, no. 317 (April 1997): 136–39. http://dx.doi.org/10.1017/s0020860400085053.

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There were six of them. Six individuals who with their skills, their hands and their hearts brought shelter, care, comfort and a smile to the wounded of the conflict in Chechnya. They came from Norway, Spain, Canada, the Netherlands and New Zealand, all under the banner of the Red Cross. They worked in the ICRC hospital at Novye Atagi. And they are no longer with us. A seventh lies wounded by the bullet which was intended to kill him. The grief of those who witnessed that carnage is felt by us all.
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Sureda i Jubany, Marc. "Clergy, Spaces and Liturgy at Vic Cathedral: St Peter's Church in the 12th and 13th Centuries." Medievalia 17 (February 15, 2015): 279. http://dx.doi.org/10.5565/rev/medievalia.249.

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Marsden, Richard. "Manus Bedae: Bede's contribution to Ceolfrith's bibles." Anglo-Saxon England 27 (December 1998): 65–85. http://dx.doi.org/10.1017/s0263675100004804.

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Bede entered Wearmouth–Jarrow at the age of seven and thereafter, he tells us at the conclusion of his Historia ecclesiastica, spent all his life ‘applying myself entirely to the study of the Scriptures’. He goes on, ‘From the time I became a priest until the fifty-ninth year of my life I have made it my business, for my own benefit and that of my brothers, to make brief extracts from the works of the venerable fathers on the holy scriptures, or to add notes of my own to clarify their sense and interpretation.’ Bede's modest remarks preface an impressive list of his own works, which includes commentaries on Genesis, I Samuel, Kings, Proverbs, the Prophets, Mark, Luke, Acts and Revelation, and many other exegetical, didactic and historical volumes. Installed at Jarrow from about 679 until his death in 735, he contributed more than anyone to the intellectual distinction of early-eighth-century Northumbria. At the same time, the twin house of Wearmouth–Jarrow was winning lasting renown for the products of its scriptorium (or scriptoria). Not least among these were the three great Vulgate bible pandects which Abbot Ceolfrith caused to be made, an achievement celebrated by the chroniclers of the house, who included Bede himself. One of these pandects, which we know today as the Codex Amiatinus, was dispatched to St Peter's in Rome in 716, then spent more than 900 years at Monte Amiata in the Appenines, and is now in Florence (Biblioteca Medicea Laurenziana, Amiatino 1). The other two were for use in the Wearmouth and Jarrow churches. One of these has been lost without trace, but the second survived in the cathedral priory of Worcester until the sixteenth century, when an entrepreneurial Nottinghamshire family made use of some of its torn-out leaves as document wrappers. Twelve of these, with some fragments of a thirteenth, are now in the British Library under three different shelfmarks (Loan 81, Add. 37777 and Add. 45025).
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De Hond, Jan. "Een onbekende tekening van Saenredam: het portret van Johannes Petri Junius." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 187–96. http://dx.doi.org/10.1163/187501799x00364.

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AbstractIn 1910 the print room at Dresden acquired an unsigned portrait drawing of the clergyman Johannes Junius (c.1587-1635). The drawing has been successively attributed to Hendrick Goltzius and Jacob Matham and is currently regarded as the work of Matthias van den Bergh (1617-1665). In this article it is proposed to attribute the drawing to Pieter Saenredam (1597-1665). Junius' portrait was drafted in black chalk. At a later stage this chalk drawing was worked up in pen and brown ink. The ink version differs from the chalk drawing in a few important details. The figure is placed in an oval with a rectangular surround. Everything outside that surround is treated sketchily or left as it was. This suggests that the drawing was a preliminary study for an engraving. A caption at the top identifies the sitter as Johannes Junius at the age of 45 in 1632. To the left of the head the date is more specific: 'Anno 1632 den 5 Julij'. Jan Pietersz de Jonge (Johannes Petri Junius) was born in Assendelft c. 1587 and returned to his native village as a minister of the church in 1618. In 1630 he moved to Bois-le-Duc, which had been conquered by Frederik Hendrik a year previously and was now in sore need of clergymen. Junius worked in's-Hertogenbosch until his death in 1635. Assendelft was also the birthplace of Pieter Saenredam, a second cousin of Junius. In the summer of 1632 Saenredam spent a month in Bois-le-Duc. Twelve of the drawings he executed there have been preserved. They are views of the town and architectural studies of the town hall, St. John's Cathedral and St. Peter's Church. The first drawing dates from June 29), the last from July 23. The portrait of Junius dated July 5 1632 thus fits exactly into Saenredam's Bois-le-Duc period. It was drawn a mere five days earlier than Sacnredam's first drawing of St. Peter's, the church where Junius was a minister. The handwriting on Junius' portrait bears a close resemblance to the handwriting on other drawings by Saenredam. The same applies to the way the date is written. Unfortunately there is virtually no material for stylistic comparison. Portraits are rare in Saenredam's oeuvre. The only extant portrait acknowledged as his work is a chalk drawing of Jan Jansz. van Ermelo of 1636. There arc however a few engravings after Saenredam which are closely related to the portrait of Junius. In 1629 Jan van de Velde made four engravings of Counter-Reformational ministers and in 1632 a portrait of the historian Antonius Bor, all after designs by Saenredam. The poses of the sitters and the oval framework correspond to Junius' portrait. The ministers have a common background too, for they were all orthodox Calvinists. The portrait of Junius may have been a design for a print. Direct evidence of this is found not only in the composition of the drawing with its distinctive oval and the rectangular surround, but also in lines quoted from a poem by Wilhelmus Suerendonck in Jan van Oudenhoven's history of Bois-le-Duc of 1649 - lines eminently appropriate to an engraving of Junius. No such engraving has surfaced as yet, however.
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Ratkovčić, Rosana. "Katolička crkva Sv. Petra i dubrovačka kolonija u Starom Trgu kod Trepče." Ars Adriatica 7, no. 1 (December 19, 2017): 129. http://dx.doi.org/10.15291/ars.1389.

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The construction of a Roman Catholic church dedicated to St Peter in Stari Trg near Trepča can be related to the presence of Catholic migrants, Saxon miners and merchants from Dubrovnik and Kotor, who colonized the area around the rich mine during the medieval period. This article focuses on the role of the Ragusan colony in the construction and furnishing of the Kosovo church. Judging from the remnants of the church, it may be presumed that it was a three-nave structure, with a dome above the last bay of the central nave, same as the cathedrals of Dubrovnik and Kotor, and that a workshop from the littoral probably also decorated the church with paintings. The fact that in 1487 the parish priest at St Peter's church commissioned the altar polyptych from the Ragusan painter Stjepan Ugrinović shows that architects and painters may have been invited from Dubrovnik in the earlier centuries as well, and that there may have been continuity in their work on St Peter’s church in Trepča.
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Allen, Joanne. "Nicholas V’s Tribuna for Old St. Peter’s in Rome as a Model for the New Apsidal Choir at Padua Cathedral." Journal of the Society of Architectural Historians 72, no. 2 (June 1, 2013): 166–88. http://dx.doi.org/10.1525/jsah.2013.72.2.166.

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In 1486 the Padua Cathedral canons requested permission to build a new apsidal choir in “the way and structure of the church of St. Peter in Rome.” The canons were evidently referring to the unfinished Vatican tribuna: a deep vaulted apse at the west end of St. Peter’s. Newly published documents reveal that both Nicholas V and Paul II spent large sums on its construction. The Paduan case shows that the Vatican tribuna was influential in terms of architectural type and function. Although the physical extent of the fifteenth-century work is hard to determine, Bramante’s continuation of the extension in the sixteenth century shows it was considered substantial enough not to abandon completely. In Nicholas V’s Tribuna for Old St. Peter’s in Rome as a Model for the New Apsidal Choir at Padua Cathedral, Joanne Allen suggests that the St. Peter’s project could represent an important episode in the development of extended high altar chapels and retrochoirs, a phenomenon that gained momentum in the decades after work began on the Vatican tribuna.
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10

Gryglewski, Piotr. "Wpływ fundacji papieskich na polską architekturę początku XVI wieku. Watykański kontekst mauzoleum prymasa Jana Łaskiego." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 109–38. http://dx.doi.org/10.18290/rh20684-8s.

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The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initiative of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in preparing the Gniezno design. Undoubtedly, the Łaski foundation was influenced by his stay in Rome in 1513-1515, when the Archbishop was permitted to take some soil from the Roman necropolis of Campo Samo and use it to sanctify the cemetery at Gniezno Cathedral. The concept of the mausoleum was also connected with the tombstones ordered in Hungary in Giovanni Fiorentino studio. On the basis of the preserved line of foundations, we can distinguish a number of important features of the building. It had a central layout. The core part took the form of a cylinder, most probably vaulted by the dome. Three semi-circular apses formed a elear triconch. From the south there was an entrance to the chapel. No less important was location of the mausoleum, situated between the cathedral and St George’s a collegiate church. On the same axis was the original location of the tomb of St. Adalbert. The solutions applied in Gniezno may have had their sources in a Roman art centre. They were used in a sedes of projects and concepts appearing around the Julius II foundation, renovation of St. Peter’s Basilica and the concept of the papai mausoleum. They were related to the work of Donato Bramante and Giuliano da Sangallo. The Vatican architectural designs were formulated in the context of unique historical signifi of St. Peter’s burial place. A similar, ancient context appeared in Gniezno, a place associated with the beginnings of Christianity in Poland.
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Dissertations / Theses on the topic "Peter's Cathedral"

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Beaumont, David. "St. Peter's Cathedral, Adelaide : processes provenances and architectural schemes /." Title page, contents and introduction only, 1997. http://web4.library.adelaide.edu.au/theses/09ARCHSB/09archsbb379.pdf.

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Starzyk, Mary Celeste. "Bernini: The Magic Art." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1571831670841782.

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Mikeska, Pavel. "Vývoj gotického opěrného systému." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-335152.

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The diploma thesis deals with the development of Gothic supporting system. In particular, chronologically arranged chapters are given examples of individual buildings, which are grouped into chapters according to their geographical location. Starting with the first supporting systems, as well as the Gothic style in France, we come to the spread of new ideas into neighboring countries such as England, Italy, the Netherlands, Germany and the Czech Republic. Next chapter is devoted to the supreme form of the support system using the example of the cathedral in Amiens and Cologne. Whole work closes chapter devoted to St. Vitus Cathedral, as a leading work of Peter Parler with a detailed description of the support system of the high choir and transept. Keywords Gothic, architecture, evolution, flying, buttress, cathedrale, kostel, Peter, Parler
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Pavlíčková, Anna. "Náročné kamenické prvky v Parléřovské dílně v evropském kontextu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352502.

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The present work relates to the transfer of the inspirational elements used in St. Vitus Cathedral in Prague focusing on the hanging bolts in the sacristy of the cathedral. Two architects, Matthias of Arras and Peter Parler, participated in the construction of St. Vitus Cathedral in the 14th. Century Both of these builders were inspired by the most important buildings of contemporary Europe and the experience they gained was incorporated in the Prague cathedral. Through thorough research of the life of Matthias of Arras I am able to describe this builder as a unique personality who used a bold modern style for the construction of Prague cathedral and laid the foundation for cathedral architecture in Bohemia. Subsequent analysis of selected buildings constructed in the south of France during the 13th. and the first half of the 14th. centuries reveals many features which exhibit common characteristics with elements used on St. Vitus Cathedral, thus indicating the sources of inspiration for Prague cathedral. Both builders work meets in a space called "Old Sacristy" decorated with two unique pendant bosses. Thanks to exhaustive investigation it has been clarified that these bosses originated from southern France and Alsace. It has also been possible to chart their transmission throughout Europe and to...
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Urbanová, Karolína. "Zvířata v katedrále. Architektonická skulptura zvířat a fantaskních tvorů parléřovské huti v katedrále sv. Víta, jejich symbolika a ikonografie." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-346103.

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This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...
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Books on the topic "Peter's Cathedral"

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McMahon, John R. St. Peter's Cathedral Basilica, London, Canada. [London? Ont: s.n., 1985.

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Parente, Diane A. Saint Peter's Cathedral: A lesson in faith alive. [Scranton, Pa: St. Peter's Cathedral], 2000.

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Westin, Peter. An act of faith: The first fifty years of St. Peter's Cathedral. Charlottetown, P.E.I: St. Peter Publications, 1994.

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St. Peter's Cathedral (London, Ont.). Official directory and general information pertaining to the Cathedral and St. Mary's Church, London, Ont. Ottawa, Ont: Canadian Institute for Historical Microreproduction, 1998.

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Daly, Cahal B. Catholic areas don't deserve this: Homily by Bishop Cahal B. Daly, St. Peter's Cathedral, September 1988. Belfast: [Diocese of Down and Connor], 1988.

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Piet, Mary A. Early Catholic church records in Baltimore, Maryland, 1782 through 1800: From the original records of "Old St. Peter's Pro-Cathedral," baptisms, 1782 through 1800, marriages, 1783 through 1800, burials, 1783 through 1800. Westminster, Md: Family Line Publications, 1989.

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Synod, Church of the Province of Nigeria Diocese of Ideato. Synod report 2000: Report of the proceedings of the second session of the first synod of Diocese of Ideato held at St. Peter's Cathedral Church Arondizuogu, North L.G.A. Imo State from Saturday 26th August to Tuesday 29th August 2000. [ Nigeria: Unik Oriental Prints, 2001.

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Piero, Zerbi, Volpini Raffaello, and Galuzzi Alessandro, eds. Romana ecclesia, cathedra Petri. Roma: Herder editrice e libreria, 1991.

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The Cathedral of Saint Peter and Saint Paul. Charlottesville, Va: Howell Press, 1988.

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Church of the Province of Nigeria. Synod report 2000: Report of the proceedings of the second session of the first synod of Diocese of Ideato, held at St. Peter's Cathedral Church, Arondizuogo, Ideato North L.G.A. Imo State, from Saturday 26th, August to Tuesday, 29th August 2000 / Church of Nigeria, Anglican Communion, Diocese of Ideato. Imo State: Church of Nigeria, 2001.

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Book chapters on the topic "Peter's Cathedral"

1

Whedbee, Simon. "The Study of the Bible in the Cathedral Schools of Twelfth-Century France: A Case Study of Robert Amiclas and Peter Comestor." In Education Materialised, 49–70. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110741124-005.

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"The Baroque Renovation of the Cathedral of Santiago de Compostela. From an Emulation of the Basilica of St. Peter to a New Monumentality." In Groß Bauen, 215–30. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035609752-017.

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