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Journal articles on the topic 'St. Michael in Krummin (Church)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Murray, Philip. "Re St Michael le Belfrey, York." Ecclesiastical Law Journal 26, no. 2 (2024): 231–32. http://dx.doi.org/10.1017/s0956618x24000164.

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St Michael le Belfrey (‘the Belfrey’) is a 16th century parish church in the shadow of York Minster. It sits in the charismatic evangelical tradition of the Church of England. With a large, young and vibrant congregation, the Belfrey is a Resource Church and plays a significant role in the life of the Diocese of York, the Northern Province and, more broadly, the Church of England. Through a petition described as ‘of the highest quality’, it sought a faculty for a dramatic re-ordering of its interior, proposals that had been at least 14 years in the development.

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2

Stuart, Jack. "Re St Michael and All Angels, Bampton." Ecclesiastical Law Journal 26, no. 2 (2024): 230–31. http://dx.doi.org/10.1017/s0956618x24000152.

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This Grade 1-listed mediaeval church had a substantial Georgian reredos. It dominated the east end of the church, hiding three-quarters of the plain-glazed east window. In 2012 a faculty permitted its temporary removal to another location in the church while essential works were done to the chancel. Following this, the consequent increase in light coming from the windows was welcomed by petitioners, and fragments of medieval wall painting were discovered behind plasterwork which the reredos had previously protected. The petitioners now wished to make the temporary removal of the reredos perman

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Russell, Keisha T. "Riverside Church v City of St Michael." Oxford Journal of Law and Religion 6, no. 1 (2017): 197–99. http://dx.doi.org/10.1093/ojlr/rww069.

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Wanat, Benignus Józef. "Saint Joseph Patron of the city of Krakow." Folia Historica Cracoviensia 13 (February 23, 2024): 153–60. http://dx.doi.org/10.15633/fhc.1460.

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The largest and oldest Carmelite sanctuary of St. Joseph was found, in prepartition Poland, in Krakow - Podzamcze in the no longer existing church of St. Michael the Archangel and St. Joseph4. The monastery was erected in 1611-1637 within the defensive walls of the city, with Bishop Piotr Tylicki’s approval and be nefactors’ support. On 26 October 1636 the bishop of Krakow, Jacob Zadzik, consecrated the church and the main altar under the title of St. Michael the Archangel and Joseph betrothed to the Blessed Mother.

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5

Petrov, Nikolai. "Ivan Dmitriev’s Unknown Poem and the Founding of St. Michael’s Castle in St. Petersburg in 1797." Slovene 13, no. 2 (2024): 184–203. https://doi.org/10.31168/2305-6754.2024.2.07.

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The article presents a publication of Ivan Dmitriev’s unknown poem On the Founding of the Church in the Summer Palace of His Imperial Majesty: “While the Monarch by his sovereign hand instead of (as if) a thunder / Founds the church for the glory of the Holy Trinity; / The king of kings bless this feat from heaven! / Send to the founder Solomon’s antiquity (wisdom) as well / For glorification of the Russian throne / And people’s happiness”. (The manuscript was revealed in the Library of the Russian Academy of Sciences.) This short poem is devoted to the founding of St. Michael’s Castle by Paul

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6

Thurlby, Malcolm. "The Romanesque Priory Church of St. Michael at Ewenny." Journal of the Society of Architectural Historians 47, no. 3 (1988): 281–94. http://dx.doi.org/10.2307/990302.

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Gratiashvili, Diana, and Natia Asatiani. "The Church of St. Michael of Tver in Tbilisi." Works of Georgian Technical University, no. 2(516) (August 7, 2020): 151–58. http://dx.doi.org/10.36073/1512-0996-2020-2-151-158.

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Михайло, Приймич. "Творчість Михайла Манковича як відображення нових мистецьких устремлінь на Закарпатті початку ХІХ ст." ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 22–38. https://doi.org/10.5281/zenodo.1313074.

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Many questions in the research of the Transcarpathia pictorial art remain not taken up and one of them is the uprise of the artists with academic education. In this work we present known and new facts of the life and work of Mykhailo Mankovych (1785–1853) – one of the first Transcarpathian artists who graduated from Vienna Academy of Arts. Among the researches that have promoted the artist's name we can mention those of S. Pap, O. Izvorin and H. Ostrovskyi. They hsve touched upon the artist's work analyzing the development of art in the region. Among recent researches it is

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9

Budayová, Lýdia, and Katarína Terao Vošková. "Medieval Sacral Architecture in Banská Štiavnica – Architectural Interpretation." Muzeológia a kultúrne dedičstvo 13, no. 1 (2025): 87–112. https://doi.org/10.46284/mkd.2025.13.1.5.

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Knowledge about the architectural–historical development of medieval sacral buildings in Banská Štiavnica has gained clearer contours in recent years thanks to many new findings from monument research and published studies that have been processed in the last two decades. Based on these scientific documents, we have elaborated on the theoretical reconstructions of the medieval architectural form of the churches and chapels of Banská Štiavnica from the thirteenth to the middle of the sixteenth century: Romanesque churches and chapels: the Church of the Virgin Mary, the Chapel of St Michael and

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10

Pörnbacher, Hans. "Four Centuries of the Church of St. Michael in Munich." Philosophy and History 19, no. 2 (1986): 180. http://dx.doi.org/10.5840/philhist1986192121.

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11

Colvin, Howard. "Inigo Jones and the Church of St Michael le Querne." London Journal 12, no. 1 (1986): 36–39. http://dx.doi.org/10.1179/ldn.1986.12.1.36.

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12

Onufrienko, Maksim Olegovich. "St. George Church in Mlado Nagoričane: the artistic context of the frescoes." Studia Slavica et Balcanica Petropolitana 31, no. 1 (2022): 171–85. http://dx.doi.org/10.21638/spbu19.2022.110.

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The frescoes of the St. George Church in Mlado Nagoričino (North Macedonia) have repeatedly attracted the scholars’ attention, but so far the circle of monuments close to these paintings has not been accurately identified. The article deals with attribution a number of preserved images to certain workshops whose works are known from other ensembles. There are three different styles in the painting, which can be attributed to three different painters (or a group of painters). Apparently, the same artists who painted the church of the Slimnitsa monastery worked in the naos. This conclusion is co

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Procop, Natalia. "Triconc churches in Chișinău in the vision of plastic artists." Dialogica 3 (November 15, 2020): 119–28. https://doi.org/10.5281/zenodo.4275454.

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The study brings to the attention of the public several churches with a triconch plan in Chisinau, which have survived the changes in architecture that have occurred over time. The Church dedicated to the Assumption of the Blessed Virgin Mary, known as the Mazarache Church; Annunciation Church, the Church-martyr Saints Archangels Michael and Gabriel, known as the Old Council; Church of St. Ilie. We follow the way in which they were represented by the plastic artists Șneer Cogan, Gheorghe Munteanu, Ludmila Țonceva, Veaceslav Ignatenco, Galina Cantor-Molotov and others.

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Alekseeva, Alina. "The Sisinnios' Legend in Codex Sturdzanus: the Text and the Language." Litera, no. 11 (November 2023): 228–37. http://dx.doi.org/10.25136/2409-8698.2023.11.68979.

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The article presents the results of a study of two South Slavic redactions of the St. Sisinnios’ legend (the Prayer of the Archangel Michael and the Prayer of St. Sisinnios) in the manuscript known as the Codex Sturdzanus (Library of the Romanian Academy, Ms. rom. 447). The Prayer of the Archangel Michael and the Prayer of St. Sisinnios are considered in the context of the South Slavic and Greek tradition of Sisinnios’ legend. The using of linguistic and textual methods of the investigation made it possible to describe the redactions as stylistic. The complex of orthographic, phonetic and morp

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Héczey-Markó, Ágnes, and Miklós Rácz. "Building archaeological research of the St. Michael Parish Church in Érd." Építés - Építészettudomány 41, no. 3-4 (2013): 283–314. http://dx.doi.org/10.1556/eptud.41.2013.3-4.6.

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Głowacki, Wojciech M. "Modernity and Compromise: The Church of St. Michael the Archangel in Warsaw and its Designer Władysław Pieńkowski." Ikonotheka 28 (August 6, 2019): 169–97. http://dx.doi.org/10.5604/01.3001.0013.3356.

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Despite the considerable influence he exerted on post-war church architecture in Poland, the designer Władysław Pieńkowski (1907–1991) is today an altogether forgotten figure. The current paper outlines his biography and his early oeuvre; this is because his experience in designing office blocks and industrial plants gained while working under the supervision of the most outstanding Polish architects of the mid-20th century, was to be of key importance to his later, independent designs for ecclesiastical buildings. The paper focuses on a particularly important work, one which in many ways cons

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Стасюк, И. В. "St. Paraskeve's (St. Michael's) church in Pyatnitsky monastery on the Ivangorod road: the outcomes of the 2018-2019 archaeological studies." Architectural archeology, no. 2 (December 20, 2020): 215–26. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-327-5.215-226.

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Пятницкий монастырь располагался в конце XVI - XVII в. на дороге между крепостями Ям и Ивангород. Каменный монастырский храм, выстроенный между 1577 и 1581 гг., был заброшен в XVII в., в 1780 г. восстановлен и освящен в честь Архистратига Михаила. Функционировал в качестве приходского до 1938 г., разрушен в ходе боевых действий и немецкой оккупации в 1941 г. В 2018-2019 гг. раскопками исследованы фундаменты сохранившейся северной части храма. Южная часть полностью уничтожена карьером. Реконструирована строительная история храма в конце XVI - начале XX в. Раскрыты очертания древнего каменного т

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18

Vapheiades, Konstantinos. "The wall-paintings of the Protaton Church revisited." Zograf, no. 43 (2019): 113–28. http://dx.doi.org/10.2298/zog1943113v.

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During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ?Eutychios? or ?Eutychiou?, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, a

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19

Mustač, S. "Ambo from the Church of St Michael at Banjole near Peroj (Istria)." Hortus Artium Medievalium 15, no. 2 (2009): 417–31. http://dx.doi.org/10.1484/j.ham.3.74.

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20

Gerov, G. P. "The early iconographic program of St. Andrew Stratelates Churchin Novgorod Detinets." Journal of Visual Theology 5, no. 2 (2023): 164–76. http://dx.doi.org/10.34680/vistheo-2023-5-2-164-176.

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The article begins with the history of St. Andrew Stratelates Church in Veliky Novgorod. It is shown that today’s church dedicated to St. Andrew was originally built as a chapel of the Boris and Gleb Cathedral in Novgorod Detinets. The St. Andrew Stratelates Church now stands alone in the south-eastern part of Novgorod Detinets, but until 1682 it was the south-ern chapel of the Boris and Gleb Cathedral. Its earliest part was erected at the former location of cathedral’s staircase tower. The initial church, as the paper suggests, was constructed to com-memorate the capture of Swedish Landskrona

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Muçaj, Skënder, Suela Xhyheri, Irklid Ristani, and Aleksey M. Pentkovskiy. "Medieval Churches in Shushica Valley (South Albania) and the Slavonic Bishopric of St. Clement of Ohrid." Slovene 3, no. 1 (2014): 5–42. http://dx.doi.org/10.31168/2305-6754.2014.3.1.1.

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There were numerous Slavic settlements in South Albania (including the valley of Shushica River) at the end of the 1st millennium. In the second half of the 9th c. a significant part of this region was conquered by the 1st Bulgarian Kingdom, and after 870 there were established ecclesiastical dioceses which became part of the church organization of the Kingdom. Slavonic ecclesiastical schools were established in that region as well, after 886 in the context of the so-called “Slavonic project” of the Bulgarian prince, Boris. St. Clement took an active part in this project. It was South Albania

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22

Cvetkovski, Saso. "The royal doors from the Church of St. Nicholas in the village Prisovjani." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 567–73. http://dx.doi.org/10.2298/zrvi0744567c.

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In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum

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23

Jakubek-Raczkowska, Monika, and Juliusz Raczkowski. "The So-called Copernicus’ Chapel: a Jubilee Creation in the Gothic St John’s Cathedral in Toruń." Ikonotheka, no. 31 (September 20, 2022): 83–111. http://dx.doi.org/10.31338/2657-6015ik.31.4.

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The article is devoted to the history of transformation and re-arrangement of the first from the West chapel on the South side of the Gothic parish church of the Old Town in Toruń, at present the Toruń Cathedral of St John the Baptist and St John the Evangelist. The former merchants’ chapel dedicated to St Nicholas over its history had changed its furnishing and patrocinium twice (St Michael the Archangel/ The Guardian Angels), which had been dictated by religious needs. In the 19th century it had also assumed the function of baptismal chapel and in 1973 – the Copernicus Jubilee Year – gained

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Schatkin Hettrick, Jane. "Johann Michael Haydn’s Missa Sancti Hieronymi: An Unusual Eighteenth-Century Tribute to Saint Jerome." Clotho 3, no. 2 (2021): 129–44. http://dx.doi.org/10.4312/clotho.3.2.129-144.

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Johann Michael Haydn (1737–1806), court musician to the prince-archbishop of Salzburg, composed the Missa Sancti Hieronymi in 1777, apparently intended to mark the name-day of his employer: 30 September, the feast-day of St. Jerome. Because of its wind-band scoring, this Mass is unique, not only among Haydn’s Masses, but also in the Mass repertoire of Salzburg, and apparently in that of all late eighteenth-century Austria. The present article discusses the environment in which Haydn functioned and its effect on the practice of church music in Salzburg and generally in Catholic Austria. Haydn’s

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Kiss, Endre. "The “Son of Providence” – Some Background to the Episcopal Consecration of Áron Márton in the Transylvanian Press of the Time." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 69, no. 1 (2024): 176–90. http://dx.doi.org/10.24193/subbtref.69.1.10.

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The consecration of Áron Márton as bishop was an unusual event in the life of the parish of Cluj-Napoca. His attachment to the parish and the organization of the ecclesiastical infrastructure of Cluj-Napoca led Áron Márton to be consecrated Bishop of Alba Iulia (Gyulafehérvár) on 12 February 1939 in the Church of St Michael in Cluj-Napoca. Áron Márton’s appointment as bishop was preceded by his appointment as apostolic administrator. He had to take over the governance of the Diocese of Alba Iulia under difficult circumstances, as the Dutch loan was a heavy burden on the parish of St Michael in

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Grozdanov, Cvetan. "The painting of the northern wall of the narthex of the Church of the Virgin Peribleptos (st. Kliment) in Ohrid." Zograf, no. 36 (2012): 109–14. http://dx.doi.org/10.2298/zog1236109g.

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The author examines the figures and scenes painted on the northern wall of the narthex of the Church of the Virgin Peribleptos in Ohrid. He describes and interprets Nebuchadnezzar?s dream, the figures of the archangels Michael and Gabriel as guardians of the entrance to the church, and the choir of the saint anargyres (Panteleimon, Cosmas and Damian). He then proceeds to discuss the empty field above the northern do or of the narthex, the arcosolium and the tomb of Ostoja Rajakovic. Finally, he refers to the penetration of a new passage on the eastern wall of the narthex, which resulted to the

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Roman, Frankiv, and Didula Yaroslav. "HISTORICAL AND CARTOGRAPHIC MATTERS FOR LOCALIZATION OF A SOME OF NON-EXISTENT CHURCHES IN PRZEMYSL." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (2021): 123–30. http://dx.doi.org/10.23939/sa2021.01.123.

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As a result of the analysis of descriptive, iconographic and cartographic material, the location of several non-existent temples of the Eastern Christian tradition in Przemyśl was determined and clarified. According to research, St. Trinity Church was located in a rectangle close to the square, now occupied by a residential building on Y. Slovatsky, 13 street (the so-called "rabbi's house"). Based on descriptions and cartographic materials, it is established that the locating of St. Michael Church on Pidzamche should consider significant changes in relief, which are associated with natural and

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Yureva, Tatyana V. "Iconostases of Russian emigration: icon painter V. A. Tsevchinsky." World of Russian-speaking countries 1, no. 11 (2022): 98–111. http://dx.doi.org/10.20323/2658-7866-2022-1-11-98-111.

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The article is the first attempt to present the work of an artist of the Russian emigration, a member and secretary of the “Icon” society in Paris, and the creator of his own iconographic school, V. A. Tsevchinsky, who participated in the revival of Russian Orthodox culture in emigration through his icon-painting activities abroad. The study revealed a number of iconographic monuments that belonged to the iconographer's oeuvre. Despite the active creative, pedagogical and social activity, carried out by V. A. Tsevchinsky, his artistic heritage was little studied, which allowed the author of th

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Maré, Estelle A. "Creation and Re-Creation: the Origins and Preservation of the Shinto Shrines At Ise, Japan, and the Abbey Church of St. Michael At Hildesheim, Germany." Religion and Theology 11, no. 2 (2004): 161–80. http://dx.doi.org/10.1163/157430104x00078.

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AbstractIn this article Ise Jingu, Japan, and the church of St Michael, Germany, are juxtaposed. At first glance they do not seem to have much in common, except that they exist as a testimony to the intentions of the original builders who established their distinctive architectural traditions and, physically, both are recent reconstructions. The reasons for their reconstruction are different because, whereas the Ise precincts are renewed as it were in obedience to a sacred injunction at a place where war never occurred, the renewal of the Hildesheim church to its original design is predominant

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Gabelic, Smiljka. "Relief panels on a three-light window from Lesnovo. Proposing an interpretation of the semiotics of carved motifs." Zograf, no. 41 (2017): 157–68. http://dx.doi.org/10.2298/zog1741157g.

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The paper explores the semiotic meaning of relief panels from a three-light window on the northern facade of the naos of the Church of Archangel Michael and St. Gavrilo of Lesnovo at the Lesnovo Monastery (1340/1341). Iconographically derived from tombstones and objects of everyday use, their geometrical and zoomorphic decoration seems to suggest that the ktetor and his family believed in the protective power of the symbols and signs carved on them.

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Thurlby, Malcolm. "The Romanesque Church of St Michael and All Angels, Upper Sapey (Herefordshire): Associations with Hereford Cathedral and other works." Church Archaeology 20 (January 2021): 67–84. http://dx.doi.org/10.3828/churcharch.2021.20.67.

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The Romanesque church of St Michael and All Angels, Upper Sapey (Herefordshire) is investigated with particular reference to the sculpture of its north and south doorways and tower (former chancel) arch. Parallels with Hereford cathedral indicate that the Upper Sapey sculptor(s) received their training in the cathedral workshop and also worked at St Peter, Bromyard (Herefordshire), and other churches associated with the Dymock School of Sculpture. The nature of the restoration of Romanesque sculpture at Hereford cathedral is examined, and some preliminary thoughts are offered on the transmissi

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Gyetvainé Balogh, Ágnes, János Krähling, and Ákos Zsembery. "Research and restoration of the St. Michael Roman Catholic parish church in Érd-Ófalu." Építés - Építészettudomány 39, no. 1-2 (2011): 5–42. http://dx.doi.org/10.1556/eptud.39.2011.1-2.1.

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Armuth, Miklós, Dezső Hegyi, and András Árpád Sipos. "Structural assessment and restore of the St. Michael Roman Catholic church in Érd-Ófalu." Építés - Építészettudomány 39, no. 1-2 (2011): 43–62. http://dx.doi.org/10.1556/eptud.39.2011.1-2.2.

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Różański, Artur, Tomasz Jurek, Piotr Marciniak, Patrycja Łobodzińska, and Ulrich Schaaf. "Wooden sacral architecture in Greater Poland. An interdisciplinary case study of the church in Domachowo." Archaeologia Historica Polona 28 (December 30, 2020): 175–97. http://dx.doi.org/10.12775/ahp.2020.007.

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Sacred wooden architecture in Poland is a huge and still unrecognised research problem. It covers a number of issues of interdisciplinary character: from the properties of building materials and carpentry techniques, through constructionand architectural-spatial solutions, to cultural and natural conditions. Hence, the best way to study this problem is interdisciplinary research. The necessity of cooperation of representatives of various scientific disciplines became the basis for creating a team to study the wooden church of St Michael the Archangel in Domachowo, so far dated to 1568. As rese

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Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia." Zograf, no. 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.

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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecord

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Adamczewski, Grzegorz, and Piotr Woyciechowski. "Degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw." MATEC Web of Conferences 284 (2019): 07001. http://dx.doi.org/10.1051/matecconf/201928407001.

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The paper presents the case study of the degradation of architectural precast concrete elements on the facade of St. Michael the Archangel church in Warsaw. The background of the contemporary precast non-standard prefabrication was presented with the examples of polish recent applications. The GPR (ground penetrating radar) method was used in determining the location of reinforcement in the precast elements in the degraded façade. The conceptions of repair were analyzed and the reasons of the destructions of the precast elements.

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Buzykina, Yu N. "“Vision of St. Gregory the Theologian” in the pictorial cycle of Archangel Michael Cathedral of Moscow Kremlin." Bulletin of the Russian Medieval Art Department, no. 1 (2024): 103–13. https://doi.org/10.51678/2658-543x-2024-1-103-113.

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The composition “Vision of St. Gregory the Theologian” in the Archangel Michael Cathedral of Moscow Kremlin occupies the eastern wall of the cathedral above the altar and part of the northern wall of the altar (currently hidden behind the iconostasis from the 1680s). Based on the text of the so-called “Explanatory Liturgy” it represents a major milestone in the development of the painting system of an Orthodox church and an example of a rare innovative subject in the cathedral decoration system, copied and carefully reproduced during re-painting in 1652–1666. Since the cathedral was first pain

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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

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LICATA, Marta, Paola BADINO, and Silvia IORIO. "Tomb number 2 of the Church of St. Michael in Mornago (Varese, Italy). Anthropological and archaeological study of medieval funeral remains." STUDIA ANTIQUA ET ARCHAEOLOGICA 22, no. 2 (2016): 211–18. http://dx.doi.org/10.47743/saa-2016-22-2-7.

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The current paper aims to present the archaeological and anthropological results of the investigation conducted on a medieval burial which presents several features that recall the Longobard culture. After the archaeological evaluations on the architectural morphology of the tomb and on the grave goods, we proceeded with the anthropological investigations on human and animal bone remains. These analyses allowed us to formulate a hypothesis related to this particular funeral ritual from ancient Longobard tradition. The tomb number 2 of St. Michael church in Mornago represents a rare evidence of

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Slapac, Mariana, and Alla Ceastina. "Architecture of Bălţi during the interwar period." Arta 33, no. 1(AV) (2024): 47–56. https://doi.org/10.52603/arta.2024.32-1.05.

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This article is devoted to the most important architectural monuments erected in the town of Bălţi during the interwar period. Among the religious buildings, whose appearance is connected with the Bishop Vissarion Puiu, are the Church of the Holy Apostles Peter and Paul, the Episcopal Cathedral of the Holy Emperors Constantine and Helen, the Church of St. Pious Paraskeva, as a replica of the famous church of the Curtea de Argeş monastery, the Church of the Holy Archangels Michael and Gabriel and the Church of the Assumption of the Mother of God at the Assumption Cemetery. In Pământeni district

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Rufova, Elena Stepanovna. "Archive Fund of the Bibliographer M.Z. Vinokouroff in the Alaska State Library (USA)." Общество: философия, история, культура, no. 9 (September 25, 2020): 100–103. http://dx.doi.org/10.24158/fik.2020.9.16.

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This paper presents the study of the information potential of documents from the personal fund of Michael Z. Vinokouroff, stored in the Alaska Histori-cal Library (USA). Their source analysis will deter-mine the directions of their further scientific use. Numerous documents, diaries, letters, books, pho-tographs of the archive fund are the objects of spe-cial attention of researchers of the Russian Ortho-dox Church, “Russian America”, historians, bibliog-raphers, linguists, literary scholars. The main direc-tions of the effective scientific use of the documents from the personal archive of Mic

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Markauskaitė, Neringa. "Akmenynės bažnyčia: šaltinių ir ikonografijos tyrimai." LMA Vrublevskių bibliotekos darbai 11 (2022): 76–87. http://dx.doi.org/10.54506/lmavb.2022.11.8.

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Akmenynė, now a village in the Šalčininkai district, was known at first just as a privately-owned land, and later as an estate called Kamionka, a Polish name deriving from the name of the river Kamena. Based on iconographic materials and other relevant documents kept in the Wroblewski Library of the Lithuanian Academy of Sciences, the present article aims to discuss the architecture of the wooden church built in 1928–1929 and its interior equipment, as well as a wooden manor that had existed in the 17th century – the early 19th century and a wooden church that had stood on its estate. In the m

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Johnson, Richard F. "Archangel in the Margins: St. Michael in the Homilies of Cambridge, Corpus Christi College 41." Traditio 53 (1998): 63–91. http://dx.doi.org/10.1017/s0362152900012083.

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In the preface to his edition of the ninth-century Book of Cerne (Cambridge, University Library, MS L1. 1.10), A. B. Kuypers notes “two great currents of influence, two distinct spirits, Irish and Roman” at work in the composition of the prayers in this private devotional book. Moreover, Kuypers asserts that “these influences are traceable through the whole range of the strictly devotional literature of the period.” Since it is generally acknowledged that the two great forces shaping the early Anglo-Saxon church were the Roman missionaries in the south and Irish monks in the north, it is reaso

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Стасюк, И. В., А. Н. Белобородов, and Вениамин Семёнов. "Pyatnitsky Monastery on the Ivangorod Road: to the History of a Forgotten Monument of the 16 century." Археология и история Пскова и Псковской земли, no. 35(65) (November 9, 2021): 447–67. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-347-3.447-467.

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Монастырь св. Параскевы Пятницы и св. чудотворцев Космы и Дамиана и располагался в конце XVI-XVII в. на дороге, соединявшей крепости Ям и Ивангород. Основан между 1577 и 1581 г., тогда же был выстроен каменный Пятницкий храм. К концу XVII в. монастырский комплекс был заброшен. В середине XVIII в. храм восстановлен в качестве приходского и освящен в честь архангела Михаила. В начале XX в. к нему пристроена колокольня. Храм полностью разрушен в начале Великой Отечественной войны. Сохранившиеся фундаменты северной части храма с колокольней исследованы раскопками в 2018-2019 гг. В статье приводятс

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Plamen, Sabev. "ICONPAINTING WORKSHOP IN ARBANASSI FROM THE FIRST HALF OF THE 18th C." Proceedings Regional Museum of History - Veliko Tarnovo 35 (December 12, 2020): 163–85. https://doi.org/10.5281/zenodo.4916083.

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The research data collected over the years shows that there was a workshop in Arbanassi, which played a significant role in the decoration of churches and monasteries. The works from this workshop are easy recognize by the specific mannerism, the calligraphy of the inscriptions, the structure and details of the compositions. Furthermore, the representatives of this workshop apply the same type of technical methods in their works for the church. Artists from this workshop made mostly icons (painted and probably carved on wood) as early as the late 17th century and early decades of the 18th cent

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Bozhko, Archimandrite Mitrophan (Oleksii). "Veneration of the Archangel Michael in pre-Mongolian Time in Kyiv in the Context of the Idea of Kyiv as New Jerusalem." Kyiv Historical Studies 16, no. 1 (2023): 137–43. http://dx.doi.org/10.28925/2524-0757.2023.116.

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The article examines the veneration of the Archangel Michael in Kyiv in the context of the idea of the capital of Rus' as New Jerusalem. This concept was influenced by the adoption of Christianity and was reflected in a number of written and architectural monuments. In them, the people of Rus' recognized themselves in a new way in world history and organized their living space accordingly. The author tries to show that the emergence of the Archangel Michael’s cult was one of the elements supporting this idea. His veneration was not only princely and military, which was typical for the Christia

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Byng, Gabriel. "The Body behind the Altar: The Transgression of Space and the Transformation of the Body in the Life and Revelations of Agnes Blannbekin." Journal of Medieval Religious Cultures 49, no. 2 (2023): 168–94. http://dx.doi.org/10.5325/jmedirelicult.49.2.0168.

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ABSTRACT Agnes Blannbekin’s description of her mystical experience on Easter morning, 1293, is a rare medieval account not only of the affective consequences of a spatial transgression in a church building but also of its direct implication in a spiritual revelation. According to her Life and Revelations, she heard a command to conceal herself behind an altar in the church of St. Michael, Vienna, where she would feel the pain of the Crucifixion. Her anguish at being so out of place in the church drove her to pray for her revelation to end and to be given the strength to leave. She provides, th

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Frend, William H. C. "Martyrdom in East and West: The Saga of St George of Nobatia and England." Studies in Church History 30 (1993): 47–56. http://dx.doi.org/10.1017/s0424208400011591.

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Martyrs were the heroes of the Early Church. For a long period after the reign of Constantine until Benedictine monasticism took over their mantle, their lives and exploits provided a focus for the idealism of Christians in Western Europe. They represented the victory of human steadfastness and loyalty in defence of the faith triumphing over irreligious tyranny and the powers of evil. In the East, however, where Constantine had emphasized as early as 324 his complete rejection of the persecutions of his pagan predecessors, it was not long before memories of the past were transformed to meet ot

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Н.А., Тарнакин. "Церковно-правовые и пастырские аспекты указов 1981–1993 гг. архиепископа Вологодского и Великоустюжского Михаила (Мудьюгина; 1912–2000)". Вестник Исторического общества Санкт-Петербургской Духовной Академии, № 1(17) (22 липня 2024): 141–65. http://dx.doi.org/10.47132/2587-8425_2024_1_141.

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В статье рассмотрены 17 указов 1981–1993 гг. архиепископа Михаила (Мудьюгина, 1912–2000), которые систематизированы по трем группам: 1) решения с каноническими прещениями; 2) решения со снятием или смягчением наказания, а также с назначением воспитательных мер; 3) содержащие различные аспекты церковного права. Проведен анализ указов с точки зрения Канонического корпуса Православной Церкви. Показано, что 1) архиепископ Михаил не ссылается на канонические правила; 2) судебные решения принимаются им только по внутреннему убеждению, без учета канонов и предусмотренных ими санкций; 3) корреляция ме

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Rodionov, Oleg. "Michael Psellos’ Theologica I.30 and the Byzantine Interpretations of Scala Paradisi XXVII/2.13." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 66, no. 1 (2021): 147–64. http://dx.doi.org/10.24193/subbto.2021.1.07.

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"The article examines the exegesis of Michael Psellos on the most mysterious of the “difficult places” of the Ladder by John of Sinai — Step XXVІІ/2.13. This interpretation is one of the so-called Theologica treatises (Theol. I.30). It differs significantly from the rest of the Byzantine explanations of this “difficult place”. Michael Psellos decisively rejects the Christological interpretation of the “vision” and the questions of St. John. He also develops the doctrine of the accessibility to a human in present life of the vision of God in “symbols” and “forms” only. Higher contemplations are

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