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1
GRANSDEN, ANTONIA. "The Cult of St Mary at Beodericisworth and then in Bury St Edmunds Abbey to c. 1150." Journal of Ecclesiastical History 55, no. 4 (October 2004): 627–53. http://dx.doi.org/10.1017/s0022046904001472.
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This paper argues that the earliest church at Beodericisworth, the later Bury St Edmunds, was dedicated to the Virgin Mary. Probably in the reign of Athelstan, the (supposed) body of St Edmund, king and martyr, was translated into this church. The cult of St Edmund burgeoned and before the end of the eleventh century St Edmund's shrine had become one of England's foremost pilgrim centres and attracted the wealth which helped pay for the great Romanesque church built to house it. Nevertheless, a wide variety of sources, both written and visual, demonstrate that the cult of St Mary retained much vitality, becoming the pre-eminent secondary cult in Bury St Edmunds, one especially fostered by Abbot Anselm (1121–48). Finally, similar examples are cited of other churches where dedications to saints like St Mary, who enjoyed widespread veneration, were replaced by those of saints of more local fame but whose (supposed) bodies those churches possessed.
2
Magen, Y. "The Crusader Church of St. Mary in el-Bira." Liber Annuus 51 (January 2001): 257–66. http://dx.doi.org/10.1484/j.la.2.303536.
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Tadic, Milutin, and Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac." Glasnik Srpskog geografskog drustva 91, no. 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.
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The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Aslet, William. "Situating St Mary-le-Strand: The Church, the City and the Career of James Gibbs." Architectural History 63 (2020): 77–110. http://dx.doi.org/10.1017/arh.2020.3.
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ABSTRACTJames Gibbs's church of St Mary-le-Strand has often been interpreted as an expression of his training in Rome, his Tory politics and his Roman Catholic faith. These factors, as well as the growing clout of the Palladian movement, all supposedly contributed to the architect's dismissal from the Commission for Fifty New Churches. In fact, the design was discovered slowly and by compromise, and Gibbs's dismissal was brought about by a change of monarchy, the demise of his original patrons and by the cost-cutting agenda of the new Whig regime. Rather than recent Italian sources, St Mary-le-Strand derives many of its features from the architecture of London, particularly St Paul's Cathedral. The siting of the church on the royal processional way from Westminster to St Paul's Cathedral explains many of Gibbs's design choices. Queen Anne, under whose reign the church was conceived, used the route frequently.
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Lloyd, Richard. "Music at the parish church of St Mary at Hill, London." Early Music XXV, no. 2 (May 1997): 221–28. http://dx.doi.org/10.1093/earlyj/xxv.2.221.
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Morley, Beric M. "The Nave Roof of the Church of St Mary, Kempley, Gloucestershire." Antiquaries Journal 65, no. 1 (March 1985): 101–11. http://dx.doi.org/10.1017/s0003581500024719.
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The nave roof of the Norman church of St. Mary, Kempley, Gloucestershire, is hidden above a seventeenth-century ceiling. Recent study has shown the roof structure to be substantially original. The roof is described and its date considered against various dating schemes for the building. A preferred date of c. 1120 is proposed.
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Tracy, Charles, Hugh Harrison, and Daniel Miles. "The Choir-stalls at the Priory Church of St Mary, Abergavenny." Journal of the British Archaeological Association 155, no. 1 (January 2002): 203–54. http://dx.doi.org/10.1179/jba.2002.155.1.203.
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Lloyd, R. "Music at the parish church of St Mary at Hill, London." Early Music 25, no. 2 (May 1, 1997): 221–28. http://dx.doi.org/10.1093/em/25.2.221.
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Jewell, R. H. I. "IV. The Anglo-Saxon Friezes at Breedon-on-the-Hill, Leicestershire." Archaeologia 108 (1986): 95–115. http://dx.doi.org/10.1017/s0261340900011723.
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Let into various walls inside the church of St. Mary and St. Hardulph at Breedon-on-the-Hill, Leicestershire, is a group of frieze sculpture and relief-carved panels. It is now generally accepted that these are of Anglo-Saxon origin, and have been reused in the present church, of which no part is earlier than the twelfth century.
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Karydis, Nikolaos. "The development of the Church of St Mary at Ephesos from late antiquity to the Dark Ages." Anatolian Studies 69 (2019): 175–94. http://dx.doi.org/10.1017/s0066154619000103.
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AbstractThe Church of St Mary is one of the most significant monuments of Ephesos, but also one of the most enigmatic. Its repeated modifications prior to its destruction created an amalgam of different phases that have proven difficult to decipher within the present remains. Written records and inscriptions suggest that this church was the venue of the riotous Ecumenical Council of AD 431, but the identification of the phase of the building that corresponds to this event is controversial. And, although the remains make it clear that at some point the church was transformed into a domed basilica, the latter’s form and date have not been established with certainty. The present article tries to fill these lacunae through a new survey of the remains of the church and a re-examination of the evidence from the archaeological excavations of the 20th century. This new investigation of wall structures and design patterns within the remains leads to new interpretations of the evidence, and sheds further light on the history of the Church of St Mary from its late antique origins to the Dark Ages.
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Villius, Hans. "The Casket Letters: A Famous Case Reopened." Historical Journal 28, no. 3 (September 1985): 517–34. http://dx.doi.org/10.1017/s0018246x00003289.
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The place where the University of Edinburgh now stands was once the site of the church of St Mary in the Fields or, as it is usually called, Kirk o'Field. On a February night in 1567, in the small house close to the church, there occurred what is certainly the most frequently discussed event in the history of Scotland, the murder of Henry Stuart, Lord Darnley, consort to Mary Queen of Scots. Much discussed it has been, but since it is still not properly resolved it merits another look.
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Gem, Richard, Emily Howe, and Richard Bryant. "The Ninth-Century Polychrome Decoration at St Mary's Church, Deerhurst." Antiquaries Journal 88 (September 2008): 109–64. http://dx.doi.org/10.1017/s0003581500001360.
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This paper presents the results of a detailed analysis of surviving paintwork on the chancel arch, the carved animal heads and the figurative panel in the west porch at the Anglo-Saxon church of St Mary, Deerhurst, Gloucestershire, UK. The context of the polychromy in relation to the ninth-century fabric of the church is assessed. The detailed results of the technical analysis are presented. The original scheme of painted decoration is described, including the newly discovered plant scroll painted on the arch. The results of the examination are evaluated, setting the polychrome decoration of the ninth-century church into its contemporary context in England and on the Continent, with special regard to both the technical and the artistic aspects.
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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.
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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.
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Turner, Garth. "‘Aesthete, impressario, and indomitable persuader’: Walter Hussey at St Matthew’s, Northampton, and Chichester Cathedral." Studies in Church History 28 (1992): 523–35. http://dx.doi.org/10.1017/s0424208400012675.
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Until 1955, the setting of Walter Hussey’s life was buildings by Victorian masters: St Matthew’s, Northampton, built by Pearson’s pupil Matthew Holding; Marlborough College, with buildings by a series of Goths; Butterfield’s Keble; Street’s Cuddesdon; Scott’s St Mary Abbots, Kensington, and then St Matthew’s, Northampton, again, succeeding his father as vicar. But if this was the tradition in which he grew up, his achievement was to protest against its continuation inside the Church, when art outside employed a new idiom.
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Tracy, Charles. "The 14th-Century Canons' Stalls in the Collegiate Church of St Mary, Astley, Warwickshire." Journal of the British Archaeological Association 162, no. 1 (October 2009): 88–124. http://dx.doi.org/10.1179/006812809x12448232842411.
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Barber, Melanie. "Records of the Court of Arches in Lambeth Palace Library." Ecclesiastical Law Journal 3, no. 12 (January 1993): 10–19. http://dx.doi.org/10.1017/s0956618x00001678.
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The Court of Arches is the Archbishop's court of appeal for the Province of Canterbury. It derives its name from the church of St. Mary-le-Bow or St. Maria de Arcubus in the city of London where the court was held from at least the primacy of Archbishop Pecham (1279–92) until the church was destroyed by the Great Fire of London in 1666. The church was one of thirteen in the City of London which, before the abolition of peculiars in the middle of the nineteenth century, came within the Archbishop's jurisdiction of the deanery of the Arches. The judge or Official Principal who presided over the Court of Arches came to be known as the Dean of the Arches from his lesser office as judge of the court of the peculiar.
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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.
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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.
18
Jeffery, Paul. "The Church That Never Was: Wren's St Mary, and Other Projects for Lincoln's Inn Fields." Architectural History 31 (1988): 136. http://dx.doi.org/10.2307/1568539.
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McHardy, George. "John Hunter and the ‘Healing Window' in the church of St Mary Abbots, Kensington, London." Journal of Medical Biography 28, no. 2 (November 7, 2019): 96–101. http://dx.doi.org/10.1177/0967772019866519.
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During research into the reinterment in 1859 of John Hunter’s remains in Westminster Abbey, it was learnt that there was ‘a window to Hunter’s memory’ in St Mary Abbots church, Kensington, London. Research into that window shows that it in fact commemorates Hunter’s residence within the parish, and that also of two other Kensington worthies. Their place of residence is identified, Hunter’s is illustrated and a nice connexion is found with a window in Gloucester cathedral in memory of Drs Jenner and Baron.
20
Brødholt, E. T., and P. Holck. "Skeletal trauma in the burials from the royal church of St. Mary in medieval Oslo." International Journal of Osteoarchaeology 22, no. 2 (August 27, 2010): 201–18. http://dx.doi.org/10.1002/oa.1198.
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Banić, Silvija. "Zadarski gotički vezeni antependij u Budimpešti." Ars Adriatica, no. 4 (January 1, 2014): 75. http://dx.doi.org/10.15291/ars.490.
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The Museum of Applied Arts (Iparművészeti Múzeum) at Budapest houses an embroidered Gothic antependium which belonged to the church of St Chrysogonus, which was the seat of the Benedictine Abbey at Zadar. At an unspecified time, the antependium became part of the collection of Zsigmund Bubics, an art historian, collector and the bishop of Košice in present-day Slovakia from 1887 to 1906, and was donated to the Museum of Applied Arts in 1909. It measures 94 by 190 cm. The majority of the antependium’s surface is filled with the figures of saints set beneath three pointed, Gothic arches. The central field is occupied by the enthroned Virgin with the Christ Child, in the left field is St Chrysogonus and in the right St Benedict. In the upper section of the antependium one can see the busts of two saints who might be identified as St Gregory the Pope and St Donatus. Along the lateral edges of this triptych-like antependium are vertical borders, at the centres of which are niches with two small standing female saints who wear crowns (St Scholastica and St Anastasia). To the left of the Virgin’s throne is the figure of a donor depicted kneeling with his hands clasped in prayer, which has unfortunately not been provided with an inscription. It is clear, however, that he is wearing the Benedictine habit with a somewhat over-emphasized hood falling down his back. The Benedictine donor might be identified as one of the abbots of the monastery of St Chrysogonus. It is suggested in the article that this may have been John de Ontiaco (Joannes de Onciache) from the bishopric of Lyon, who was the abbot of the monastery of St Chrysogonus from 1345 to 1377. The author argues that the antependium was produced in a weaving workshop in Venice during the late 1360s or early 1370s, on the basis of comparisons with similar contemporary painted and embroidered artworks. Based on the iconographic programme which was depicted on the antependium, but also on the information found in archival records, the author proposes that the antependium was made for the altar of St Chrysogonus which stood in the north apse of the abbey church. Although it has not been established when the antependium left Zadar, based on the similarities between the crimson satin fabric, which replaced the original surface on which the embroidery was applied, on the antependium from the Church of St Mary at Zadar, and the antependium from the Church of St Chrysogonus, it is stated that both interventions were made in the Benedictine Convent of St Mary at Zadar during a short period of time in the last quarter of the eighteenth century. This is also understood as evidence that at that time the antependium from the Church of St Chrysogonus was still being carefully kept at Zadar.
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Zubin Ferri, Tea, Emina Pustijanac, Ines Kovačić, and Josipa Bilić. "Micro-analytical Evidence of Copper-Based Pigment and Fungal Contamination of Medieval Mural Paintings in Beram, Croatia." Microscopy and Microanalysis 25, no. 6 (September 27, 2019): 1471–81. http://dx.doi.org/10.1017/s143192761901496x.
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AbstractThe aim of the present study was to map the painting materials, degradation processes, and biological features present on the mural painting in the church of St. Mary in Beram (Croatia) to study their possible interaction and produce information helping the preservation of this valuable painting. The research was conducted on micro samples of painting materials taken from different sites along the painting and the characterization of the present fungal species was carried out. The painting samples, together with observable patinas and degradation products, were studied by optical microscopy (OM), scanning electron microscopy, energy-dispersive spectroscopy (SEM/EDS), Fourier-Transform Infrared spectroscopy, and powder X-ray diffraction. Fungal diversity was studied using cultivation methods followed by OM and SEM analyses in addition to molecular analysis. The results contribute to the characterization of the original painting materials, successively added materials and occurred interventions, to the understanding of degradation progressions and fungal biotransformation processes. A mineral, cumengite, a copper-based pigment extremely rarely used in art, was found. Its occurrence together with barium sulfate, gypsum, and calcium oxalate possibly produced by microbiological activity was studied and information was added regarding the composition of painting materials in St. Mary church mural cycle.
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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.
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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.
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Raedts, Peter. "St Bernard of Clairvaux and Jerusalem." Studies in Church History. Subsidia 10 (1994): 169–82. http://dx.doi.org/10.1017/s014304590000020x.
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Although Jesus wept while mourning the inevitable destruction of the city (Luke 19. 41), and St Paul taught the Christians of Galaria to look for it not on earth, but in heaven (cf. Gal. 4.25-6), the Christian imagination has always been haunted by the city of Jerusalem. As early as the second century Melito of Sardis travelled to Jerusalem to see for himself ‘the place where these things were preached and done’. And as soon as Christianity became a licensed religion under the protection of the Emperor, Christians from all parts of the Empire began to flock to Jerusalem to see for themselves the holy sites ubi steterunt pedes eius, where once his feet stood (Ps. 132. 7) Churches were built to mark all the places mentioned in the Gospels, monasteries were founded to receive the pilgrims, and stories began to circulate about the spectacular conversions which happened to pilgrims while visiting the Holy Places, such as that of St Mary of Egypt who turned from a nymphomaniac into a desert mother on the very doorstep of the church of the Holy Sepulchre. Quite soon earnest Church Fathers like St Jerome and St Gregory of Nyssa, both of them pilgrims to Jerusalem, had to issue dire warnings that true Christianity was a matter of the heart and not of geography, and that a trip to Palestine might perhaps be helpful but certainly not necessary in order to find Christ.
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Stankiewicz, Aleksander. "Kilka uwag na temat twórczości Krzysztofa Boguszewskiego." Artifex Novus, no. 3 (October 1, 2019): 20–33. http://dx.doi.org/10.21697/an.7061.
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SUMMARY
The article deals with the artistic activity of Krzysztof Aleksander Boguszewski (d. 1635), nobleman, spiritual and painter, active in Poznań in years 1624–1635. In the past, scholars tried to do all they could to expand his oeuvre by resorting to imprecise comparisons or overinterpretation of his works. Also, they wanted to found style of his paintings in works of Herman Han. In the light of documents, it is sure that Boguszewski was not the imitator or even pupil of Han. He probably learned to paint in confraternity of painters in Lublin or Lwów. In fact, we can only proof his signature in one existing work – The entry of St. Martin into Amiens from 1628, originally from Cistercian church in Paradyż, but today exposed in Poznań cathedral. Other paintings from Paradyż Abbey, like The Heavenly Jerusalem (1628?), The Immaculate Conception (1628?) and St. Paul (1628?) and effigies of St. Mary from church in Otorów and Biechów (1632) we can include in the works of Boguszewski using the compare method. The other painting attributed by scholars to artist are fundamentally different. The iconography of his works from Paradyż were projected by the Cistercian abbot, Marek Łętowski (d. 1629). His conception for Boguszewski works was based on the instructions of Church intellectualist, like Carlo Borromeo or Gabriele Paleotti. It is very probably, that the painter, who became a priest in parish church of St. Adalbert in Poznań in 1630, was personally involved in the idea of artists working for the reform of the Church after the council of Trent.
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Andrejic, Zivojin. "Interpretation of the icon of Three-handed Virgin Mary of the St. Trinity church in Karan." Zbornik radova Filozofskog fakulteta u Pristini, no. 46-4 (2016): 477–502. http://dx.doi.org/10.5937/zrffp46-6285.
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Morley, Beric M., and Daniel W. H. Miles. "The Nave Roof and other Timberwork at the Church of St Mary, Kempley, Gloucestershire: Dendrochronological Dating." Antiquaries Journal 80, no. 1 (September 2000): 294–96. http://dx.doi.org/10.1017/s0003581500050265.
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A description and analysis of the early roof at Kempley was published in the Journal fifteen years ago. At that time the roof was under repair and could be examined closely. Despite alterations in the seventeenth century, it was possible to reconstruct its original form on paper (fig 1). Its construction, in oak, with simple bare-faced lap-dovetail joints, and all members either horizontal or vertical, suggested an early date. The only direct parallels are on the Continent. The trusses could be shown to be integral with the walls, and a review of the evidence for the date of the masonry structure gave four possible models, two in the eleventh century and two at a date loosely referred to as ‘around 1120’. The author expressed a preference for the later date, and the arguments that supported it. Even so, if correct, it suggested that this was the earliest nave roof surviving in Britain.
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Willoughby, James. "Inhabited Sacristies in Medieval England: the Case of St Mary's, Warwick." Antiquaries Journal 92 (May 11, 2012): 331–45. http://dx.doi.org/10.1017/s0003581512000042.
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A transcript survives of the oath sworn in 1465 by the lay sacristan of the collegiate church of St Mary at Warwick on the occasion of his taking office. His duties are spelled out in detail, and include the striking requirement that he spend each night in the sacristy for the better security of the treasures. This paper prints the oath and aims to place it in its institutional context. The medieval sacristy at Warwick survives and details of the oath illuminate details of the architecture. Similar first-floor vestries are known elsewhere, and the suggestion is made that some other churches might also have had inhabited sacristies.
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Kwiatkowski, Dariusz. "San Giuseppe il modello della partecipazione nell’Eucaristia." Poznańskie Studia Teologiczne, no. 34 (August 28, 2020): 165–80. http://dx.doi.org/10.14746/pst.2019.34.10.
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Pope John Paul II in the encyclical Ecclesia de Eucharistia called Mary a ‘Woman of the Eucharist’. He pointed out the attitudes that can be described as Eucharistic. This article, using the principle of analogy and maintaining an appropriate balance, shows St. Joseph as a model of the Eucharistic ap- proach of every Christian. The life of Saint Joseph was characterized by deep faith and love for God and man, the ability to hear and receive the word of God and the constant willingness to sacrifice his life in order to be able to fulfill the will of God. All these qualities are needed to participate in the Eucharist in a conscious and active way. These attitudes result from participation in the Eucharist and should shape the life of every Christian. In addition, it should be emphasized that the Church introduced the name of St. Joseph to the Eucharistic prayers and ordered it to be mentioned immediately after Mary. Placing the name of St. Joseph in the most important prayer of the Holy Mass, introduces him to the heart of the Eucharist.
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BUCKLE, ALEXANDRA. "An English composer in royal and aristocratic service: Robert Chirbury, c. 1380–1454." Plainsong and Medieval Music 15, no. 2 (August 30, 2006): 109–22. http://dx.doi.org/10.1017/s0961137106000350.
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Four compositions in the first layer of the Old Hall Manuscript (GB-Lbl, Add. MS 57950) are attributed to R. Chirbury (or R. Chyrbury). This article argues that the Robert Chirbury who ended his days as Dean at the Collegiate Church of St Mary, Warwick was this composer. His career included stints at the Chapel Royal and probably also earlier employment in the London diocese, as well as service in the household of Richard Beauchamp, Earl of Warwick. Moreover, this individual can be differentiated from similarly named men in the Register of the London St Nicholas Fraternity of Parish Clerks, and the assertion that the composer was employed at St George's, Windsor can be discounted.
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Wizeman, William. "Re-Imaging The Marian Catholic Church." Recusant History 28, no. 3 (May 2007): 353–64. http://dx.doi.org/10.1017/s0034193200011420.
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The late Professor Geoffrey Dickens in his book, The English Reformation, condemned the Marian church for ‘failing to discover’ the verve and creativity of the Counter-Reformation; on the other hand, Dr Lucy Wooding has praised the Marian church for its adherence to the views of the great religious reformer Erasmus and its insularity from the counter-reforming Catholicism of Europe in her book Rethinking Catholicism in Reformation England. However, by studying the Latin and English catechetical, homiletic, devotional and controversial religious texts printed during the Catholic renewal in England in the reign of Mary Tudor (1553–58) and the decrees of Cardinal Reginald Pole's Legatine Synod in London (1555–56), a very different picture emerges. Rooted in the writings of St John Fisher—which also influenced the pivotal decrees of the Council of Trent (1545–63) on justification and the Eucharist—Marian authors presented a theological synthesis that concurred with Trent's determinations. This article will focus on three pivotal Reformation controversies: the intrepretation of scripture, justification, and the Eucharist.
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Josipović, Ivan. "Prilog Trogirskoj klesarskoj radionici." Ars Adriatica, no. 1 (January 1, 2011): 97. http://dx.doi.org/10.15291/ars.430.
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The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and in the analogies with other similar fragments of pre-Romanesque reliefs which have already been attributed to the same workshop. This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from Pađene, Brnaze, Malo polje of Trogir and Otres, but also those from Krković and Ostrovica. In addition, two fragmented reliefs which have been inserted as spolia in east wall of the parish church of St George at Pađene near Knin are also attributed to the same workshop. These fragments have been measured and photographed in more detail for the first time for this paper. The analysis of their decoration has resulted in the conclusion that these fragments belonged to a widely distributed type of chancel screen pilasters, with a somewhat more complex decoration consisting of a dense interlaced mesh of three-strand bands. Finally, the gable from the Trogir Town Museum, and other stylistically similar relief from Trogir, have been brought into a stronger connection with the church of St Mary, and its original liturgical furnishings in particular. Following from such a conclusion, as well as the fact that the same workshop produced liturgical installations in another hexaconchal church at Brnaze near Sinj, the author dates both structures to the period when the workshop was active (the first quarter of the ninth century), and places the construction of almost all Dalmatian hexaconchs in a relatively short time frame from the end of the eighth century to mid-ninth century.
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Bagshaw, Steve, Richard Bryant, and Michael Hare. "The Discovery of an Anglo-Saxon Painted Figure at St Mary's Church, Deerhurst, Gloucestershire." Antiquaries Journal 86 (September 2006): 66–109. http://dx.doi.org/10.1017/s0003581500000068.
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The church of St Mary at Deerhurst in Gloucestershire is well known for its Anglo-Saxon fabric and sculpture. In 1993 a painting of an Anglo-Saxon figure was discovered, and in 2002 it became possible for the authors to study the painting in detail.The painting is on one of a pair of triangular-headed stone panels set high in the internal east wall of the church. The discovery provides a significant addition to the tiny corpus of known Anglo-Saxon wall paintings. The identity of the standing, nimbed figure remains elusive, but the figure can be tentatively dated on art historical grounds to the middle to late tenth century.The authors also explore the structural context of the painting. It is suggested that in the first half of the ninth century the church had an upper floor over the central space (the present east end), and that this floor possibly extended over the whole church. At the east end, there were internal openings from this upper floor into a high-level space in the polygonal apse. At a later date two of these openings were blocked and covered by stone panels, one of which is the subject of this paper. It is possible that the panels flanked a high-level altar or an opening through which a shrine, set on a high-level floor in the apse, could be viewed.
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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.
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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.
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Duranović, Elvir. "Sultan Sulayman’s Mosque in Jajce from its Foundation (1528) until the Second World War (1941)." Anali Gazi Husrev-Begove biblioteke 27, no. 41 (February 19, 2021): 135–55. http://dx.doi.org/10.51719/25663267.2020.27.41.135.
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After the conquest of Jajce in 1528, by order of the Ottoman rule, the former Church of St. Mary was converted into a mosque which was named after the then sultan, namely Sultan Suleyman’s Mosque or the Emperor’s Mosque. Without referring to the pre-Ottoman period of the construction and activities of St. Mary’s Church for which our literature accumulated considerable material, this paper will focus on the period of the foundation of the mosque in 1528 until the beginning of the Second World War. Based on the archival material and published sources, this paper tries to explain why St. Mary’s Church had been converted into a mosque and how that had been done. More significant events from the history of the mosque are highligted, and also imams, hatibs, muezzins and other mosque officials are portrayed chronologically to the present day. Special attention is focused on the history of Sultan Sulayman’s Mosque in the 19th century when a fire broke out at the mosque, and it has never been restored to the present day. Referring to the sources from the archives of the Islamic Community in Bosnia and Herzegovina, the author has pointed to the causes of the fact that the mosque was not restored after the fire.
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Illampas, Rogiros, Ioannis Ioannou, and Paulo B. Lourenço. "Seismic appraisal of heritage ruins: The case study of the St. Mary of Carmel church in Cyprus." Engineering Structures 224 (December 2020): 111209. http://dx.doi.org/10.1016/j.engstruct.2020.111209.
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Hooper, Carole. "The unsaintly behaviour of Mary Mackillop: her early teaching career at Portland." History of Education Review 47, no. 2 (October 1, 2018): 186–96. http://dx.doi.org/10.1108/her-10-2017-0019.
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Purpose Mary Mackillop, the only Australian to have been declared a “saint” by the Roman Catholic Church, co-founded the Institute of the Sisters of St Joseph, a religious congregation established primarily to educate the poor. Prior to this, she taught at a Common School in Portland. While she was there, the headmaster was dismissed. The purpose of this paper is to examine the extent to which the narrative accounts of the dismissal, as provided in the biographies of Mary, are supported by the documentary evidence. Contemporary records of the Board of Education indicate that Mary played a more active role in the dismissal than that suggested by her biographers. Design/methodology/approach Documentary evidence, particularly the records of the Board of Education, has been used to challenge the biographical accounts of Mary Mackillop’s involvement in an incident that occurred while she was a teacher at the Portland Common School. Findings It appears that the biographers, by omitting to consider the evidence available in the records of the Board of Education, have down-played Mary Mackillop’s involvement in the events that led to the dismissal of the head teacher at Portland. Originality/value This paper uses documentary evidence to challenge the account of the Portand incident, as provided in the biographies of Mary Mackillop.
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Chae, Byung Kwan. "Confucian Habitus of the Anglican Church of Korea: Focusing on the Case of the Seoul Anglican Cathedral of St. Mary and St. Nicholas." Studies in Religion(The Journal of the Korean Association for the History of Religions) 80, no. 2 (August 31, 2020): 63–92. http://dx.doi.org/10.21457/kars.2020.8.80.2.63.
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Massa, Mark. "On the Uses of Heresy: Leonard Feeney, Mary Douglas, and the Notre Dame Football Team." Harvard Theological Review 84, no. 3 (July 1991): 325–41. http://dx.doi.org/10.1017/s0017816000024044.
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On the afternoon of 6 September 1952, the readers of the Boston Pilot—the voice of the Roman Catholic archdiocese—found on the front page of their usually staid weekly the text of a trenchant letter from the Holy Office in Rome. The text, dated August 8, addressed a group of Boston Catholics who had kicked up a fuss over the ancient theological dictum, extra ecclesiam nulla salus (“outside the church there is no salvation”)—a phrase going back to St. Cyprian in the third century and one of the pillars of orthodoxy for Christian believers.
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LINDLEY, KEITH. "WHITECHAPEL INDEPENDENTS AND THE ENGLISH REVOLUTION." Historical Journal 41, no. 1 (March 1998): 283–91. http://dx.doi.org/10.1017/s0018246x97007735.
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The existence of an Independent church at Stepney presided over by William Greenhill is already well known as too is the association of the eastern suburbs generally with religious and political radicalism in the 1640s. What is less familiar, however, is the fact that Stepney's neighbouring parish, St Mary Matfellon, Whitechapel, also came to possess an Independent church gathered under the divine Thomas Walley (or Whalley), and that prominent members of that church and their sectarian allies had for some time assumed key roles in local politics and were eventually to engineer an Independent take-over of the parish after a protracted struggle. This article will focus upon the composition of the Whitechapel Independents, the form taken by the parochial factionalism, the identities and reactions of their local opponents and the way in which events and personalities in Whitechapel related to broader religious and political themes in the capital.
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Вальков, Дмитрий. "Epitaph of Johann Jungshulz in the church of St. Mary of the former Dominican monastery in Elbląg (Elbing)." Masuro-Warmian Bulletin 304, no. 2 (July 20, 2019): 347–78. http://dx.doi.org/10.51974/kmw-134849.
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The funeral epigraphic material of Elbląg and the surrounding area, relating to the period preceding the XVIth century, remains, first of all thanks to the researches of Polish epigraphists, relatively more explored and introduced into the scientific circulation array. At the same time the Renaissance-Baroque gravestone monument of the XVIth–XVIIth centuries, which is extremely important for the comprehensive study of the reformed Circum-Baltic, often continues to need a detailed research commentary. To the epitaph of the burgomaster of Elbing (Elbląg) Johann Jungschultz (1583–1630), as well as to the Latin text of the funeral Eulogy, associated with this epitaph, composed by the Bohemian humanist Venceslav Klemens, is expected to address in this article. The epitaph of Johann Jungschultz was established in 1630–1640. From the compositional point of view closest to the epitaph of Johann Jungschultz, and almost prototypical for it, is the epitaph of Edward Blemke (1591), in the St. Mary’s church of Gdansk. It allows to speak about the author of the epitaph of Johann Jungschultz as oriented to samples of the Dutch monumental tombstones of the end of the XVIth century, or even as belonging to the circle of Willem van den Blocke (circa 1550–1628), which was the principal mediator of the influence of the Dutch art in the South-Eastern Baltic in the end of XVIth – the first quarter of the XVIIth century. The compositional and decorative solution of the epitaph also has close matches in the works of Johann Pfister (1573 – circa 1642/1645 or 1648).
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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.
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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.
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Tadic, Milutin, Aleksandar Petrovic, and Ratomir Veselinovic. "Orientation of the monastery churches of Ovcar-Kablar gorge (the Republic of Serbia)." Glasnik Srpskog geografskog drustva 93, no. 1 (2013): 35–50. http://dx.doi.org/10.2298/gsgd1301035t.
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Ovcar-Kablar gorge is after Fruska Gora Mountain the area with the largest number of old Serbian monasteries. This paper analyzes church orientation of all nine monasteries of the gorge from mathematical-geographical point of view, focusing on the churches of six monasteries that originate from the so called extended Middle Ages. Of these six churches only the axis of the Church of the Holy Trinity is directed exactly to the equinoctial east. Considering the means and methods that the chief architect could use, the orientation of monastery church of Vavedenje (?Presentation of Mary?) with the aberration of only 4? can be also regarded as accurate. Moreover, this aberration could be the consequence of a mistake made by the chief architect about the date of equinox, which is also the case with the aberration of the monastery church of Sretenje (?Presentation of Our Lord?). The axis of the monastery church of Blagovestenje (?Annunciation?) is approximately directed to the point of the sunrise of summer solstice. Only the axis of the monastery church of Nikolje (?St Nicholas?), the oldest in the group of six of conditionally medieval churches, is out of the eastern sector of the horizon i.e. only this axis is not oriented in accordance with the ideal-type church rule.
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Khripkova, Elena A. "THE BOOK OF THE PROPHET EZECHIEL IN THE ICONOGRAPHIC PROGRAM OF FRESCO CYCLE IN THE CHURCH OF ST. MARY AND ST. CLEMENT IN SCHWARZRHEINDORF." Articult, no. 3 (2019): 12–47. http://dx.doi.org/10.28995/2227-6165-2019-3-12-47.
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Salvador González, José María. "Iconography of The Birth of the Virgin Mary on the Basis of a Homily of St. John Damascene." Eikon / Imago 5, no. 2 (December 9, 2016): 39–68. http://dx.doi.org/10.5209/eiko.73494.
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As a consequence of the fact that the New Testament mentions few episodes and very few details of the real life of the Virgin Mary, among the Eastern Christian communities several apocryphal legends, that tried to supply this hermetic silence around the birth, infancy, youth, adulthood and death of the Mother of Jesus, arose during the first centuries of Christianity. These apocryphal accounts were then taken up and interpreted catechetically as a useful devotional matter by many Church Fathers, theologians and ecclesiastical writers. The reflections of these prestigious thinkers formed a solid corpus of doctrine, from which very important Marian devotions and liturgical feasts would soon follow. A primordial milestone in this “imaginary” life of Mary is her supernatural birth, after her miraculous conception in the bosom of her old and sterile mother Anne. As a natural fruit of these heterogenous literary and theological sources, from the tenth-eleventh centuries the medieval Byzantine and European artists approached with remarkable enthusiasm the iconographic theme of the Birth of the Virgin Mary as a significant episode of her life. On this basis, in this article we propose a triple complementary objective. First of all, after outlining the essential content of the apocryphal sources, we will broadly analyze the various theological theses that we believe are deductible from the emotional reflections that St. John Damascene expresses in a homily on the subject. Secondly, we will analyze some Byzantine and European paintings on the Birth of Mary, in order to determine to what extent the apocryphal accounts and the doctrinal statements of the Damascene are reflected in the characters, situations, attitudes, accessories and scenographic elements represented in these depictions. Finally, we will state some conclusions that we believe to be plausible in relating the Damascenian texts and the pictorial works of reference.
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OP, Gabriel Torretta. "Our Lady reconsidered: John Knox and the Virgin Mary." Scottish Journal of Theology 67, no. 2 (April 3, 2014): 165–77. http://dx.doi.org/10.1017/s0036930614000040.
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AbstractThe cult of the Virgin Mary had a complicated history in Scotland during the sixteenth century, with historical, devotional and literary evidence indicating both widespread acceptance of the church's traditional practices and growing dissatisfaction with them, particularly in elite culture. Anti-Marian polemics entered Scottish Christianity through various sources, including the Lollards around Kyle, the prominent witness of Patrick Hamilton, the preaching of Thomas Guillaume and George Wishart, the theological climate at St Leonard's college in St Andrews, as well as a number of popular works.John Knox (1514–72) incorporated many of his contemporaries’ concerns in his own treatment of the question, being trained at St Andrews University and heavily influenced by Guillaume and Wishart. Knox considered the cult of Mary using the same tool that he used to analyse the cult of the saints in general, the mass, and liturgical ritual, contending that they could not be reconciled with his stringent doctrine of sola scriptura, in particular as read through the lens of Deuteronomy 12:32.Yet for all that Mary and her place in Christian life and devotion formed a major aspect of sixteenth-century Scottish religious praxis, Knox gave little attention to her, preferring to indicate her proper place in Christian theology by presenting a vision of Christianity which omitted her almost entirely. Knox does indirectly indicate what he considers to be the proper Christian attitude towards the Virgin, however, through his explication of sola scriptura and its implications for genuine religious practice as opposed to idolatry, and his understanding of 1 Timothy 2:5 and the unique mediation of Christ. Where Knox does directly address the Marian question, he expresses his rejection of her cult in far more restrained terms than readers of his polemics against the mass may expect; while he is firm and unequivocal in denying Mary's intercessory role and in uprooting Marian devotional practice, his rhetorical restraint points to the irreducible dignity of Mary in the scriptural texts.This article analyses the theology of Mary which Knox reveals in occasional comments scattered through his writings and attempts to place his ideas in their historical and theological context. By explicating the precise nature of Knox's objection to the cult of Mary, the article attempts to open the door for future Reformed–Catholic dialogue on the person of Mary and her place in the church of Christ.
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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.
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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.
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Chojnacki, Stanislaw. "Notes on a Lesser-known Marian Iconography in 13th and 14th century Ethiopian Painting." Aethiopica 5 (May 8, 2013): 42–66. http://dx.doi.org/10.15460/aethiopica.5.1.445.
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In this article the early evolution of iconic iconography of the Virgin Mary in Ethiopia is discussed. One particular image is postulated to exist on a painted manbar at Lālibalā. The figure of the Child Mary depicted together with her mother, St. Anne, in the wall painting at the Gannata Māryām Church can also be considered iconic. In the late 14th century and the first decades of the 15th century, three specific groupings of depictions of the Virgin Mary, all clearly having iconic characteristics, have come to light: the Orant Virgin, the seated Hodegetria and the enthroned Virgin holding the Child in her lap. These three forms are characterised by the inclusion of the Archangels Michael and Gabriel, who are shown sheltering her with their outstretched wings. They are depicted holding crosses, while in a particular group of miniatures they extend their hands towards Mary in a gesture of supplication. This Orant form appears to be exceptional, and exists only in 14th century. The Hodegetria type evolved into numerous variants depending on the position of the Child, on Mary's left or right arm. The form of the Enthroned Virgin holding the Child in her lap, faded away in the early 15th century.
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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.
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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.
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Cantone, Valentina, Rita Deiana, Alberta Silvestri, and Ivana Angelini. "Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century)." Open Archaeology 6, no. 1 (December 31, 2020): 403–16. http://dx.doi.org/10.1515/opar-2020-0116.
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AbstractPliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.