Journal articles: 'St. Nicholas (Church : Blakeney)'

1

Ross, Noel. "Memorial Inscriptions in St. Nicholas' Parish Church, Dundalk." Journal of the County Louth Archaeological and Historical Society 25, no. 4 (2004): 475. http://dx.doi.org/10.2307/27729951.

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Skop, Bartosz. "Organs at the church of St. Nicholas in Elbląg from the late 18th century until 1945." Masuro-⁠Warmian Bulletin 307, no. 1 (May 20, 2020): 4–40. http://dx.doi.org/10.51974/kmw-134781.

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The St. Nicholas parish church in Elbląg, currently the Elbląg diocese cathedral, is a unique building in every respect. Until today, it remains the most important element of the town and reflects its turbulent history. Since its erection, the church was an important centre of liturgical music. The paper discusses the changes in the organ instruments of the largest Elbląg church after the fire of 26 April 1777 until 1945. Their story has remained largely unknown until today. It is particularly surprising that no one analysed the issue of the instrument’s history in St. Nicholas’ church ever since it became a cathedral. The author of this paper intends to contribute to reviewing the history of the grand renovation of the church of St. Nicholas after the fire of 1777.

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Zivkovic, Milos. "Unknown and less known icons from Praskvica monastery: Works by painter Radul, Dimitrije Daskal and Maksim Tujkovic." Zograf, no. 36 (2012): 199–222. http://dx.doi.org/10.2298/zog1236199z.

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This paper deals with the attribution of several icons from the treasury of the Praskvica monastery in Pastrovici. The earliest is the icon of Great Deesis, painted in 1680 by the painter Radul, for the iconostasis of the monastery Church of the Holy Trinity. The works by his apprentice, Dimitrije of Risan - the Great Deesis, the Deesis icon, and the icon of St. Demetrius with an unknown holy woman - we repainted in 1693 and in tended for the earlier monastery church dedicated to St. Nicholas. The same painter was the author of the icon of the Mother of God with Christ and the Royal Deesis, in Praskvica to day, which were painted for the iconostasis of the Church of St. Nicholas in Podostrog. The monastery of Praskvica also houses the icons painted by Maksim Tujkovic in 1714, the Hospitality of Abraham and the Crucifixion, preserved in fragments, which were initially positioned on the iconostasis in the Church of St. Nicholas.

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Pejic, Svetlana. "Spolia from the Church of St. Nicholas in Nikoljac." Zograf, no. 36 (2012): 13–20. http://dx.doi.org/10.2298/zog1236013p.

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Two, so far unknown, spolia with carved interlace ornaments, built into the wall of the Church of St. Nicholas in Nikoljac are analyzed. These spolia are a part of the collection of fragments discovered earlier in the Church of St. Peter in Bijelo Polje. A comparative analysis was performed on a multitude of pre-Romanic material, in order to determine the time when they were made and whether they originated from any specific circle of stonemasons, and also to identify the initial position of the fragments in the liturgical church furniture for which they had been carved.

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R., N., and H. G. Tempest. "Notes on the Parish Church of St Nicholas, Dundalk." Journal of the County Louth Archaeological and Historical Society 21, no. 4 (1988): 455. http://dx.doi.org/10.2307/27729660.

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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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Tadic, Milutin, and Sava Andjelic. "Solstice orientation of the St Nicholas’ Church monastery Studenica, Serbia." Journal of the Geographical Institute Jovan Cvijic, SASA 62, no. 1 (2012): 1–9. http://dx.doi.org/10.2298/ijgi1201001t.

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Vojvodic, Dragan. "The icon of the Theotokos from the Church of St. Nicholas (Rajko’s Church) and the question of painting workshops in medieval Prizren." Zograf, no. 40 (2016): 95–116. http://dx.doi.org/10.2298/zog1640095v.

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Based on stylistic and paleographical analysis, it can be safely concluded that the icon of the Theotokos from the Church of St. Nicholas (Rajko?s Church) in Prizren was not created in the 14th century as previously believed. It was painted in the last third of the 16th century by an icon painter close to the circle of Serbian painters formed in Pec. The suggestion of stylistic ties between this icon and the first fresco layer at the Church of the Holy Savior in Prizren and the wall paintings in the Church of St. Nicholas (the Tutic Church) is not acceptable. Furthermore, comparison of wall paintings in these and other contemporaneous churches in the area of Prizren, as well as the local icon paintings, does not substantiate the suggestion that an urban painting workshop operated in 14th-century Prizren.

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Smirnov, Georgy. "RETURNING TO LUIGI RUSCA’S PROJECT FOR ST NICHOLAS CHURCH IN TALLINN." Baltic Journal of Art History 17 (May 15, 2019): 81–84. http://dx.doi.org/10.12697/bjah.2019.17.04.

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

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In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum in Belgrade) from St. Panteleimon in Nerezi, and the those from the church of St. Nicholas at Korenica. The Royal Doors from Prisovjani bear two key features from the above mentioned works, the carving and the painting. The carving is distinct by the concept of the tablets, and the motifs: the interlacing ornament, known as 'Solomon's seal', the running meander, and the ornament resembling a maggoty effect. The style of the icon painting, and the manner in which the depiction of Archangel Michael and the Holy Virgin were achieved had led previous scholars to believe that these works were accomplished under the influence of the Cretan painting of this period. The Royal Doors from Prisovjani are dated to the mid 16th century, the period of the Ohrid Archbishop Prochor, a period of great prosperity in all arts moreover since the archbishop himself was one of the great patrons.

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Suica, Marko, and Branka Knezevic. "The inscription on the fresco “St. Nicholas takes basil from the house of Emir” in the church of St. Nicholas in Ramaca as a historical source." Zograf, no. 42 (2018): 107–17. http://dx.doi.org/10.2298/zog1842107s.

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This paper explores the contents and historical context of the Cyrillic inscription written in old Serbian language with some Turkish words on the fresco ?St. Nicholas takes Basil from the house of Emir? from the Church of St. Nicholas in Ramaca. Based on an analysis of the historical circumstances and events that took place at the end of the fourteenth and the beginning of the fifteenth century on the Balkan Peninsula and especially in the Lazarevic Principality, it is assumed that the presence of Turkish words in the mentioned inscription implies the influences of Islamic heterodox dervishes in the Christian milieu. The dating of the fresco painting from the Church in Ramaca can be narrowed down to the time of the reign of Stefan Lazarevic.

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Mazurov, Alexey B., and Alexander V. Rodionov. "On the Origin of the Zaraysk Gospel." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 2 (June 10, 2021): 193–204. http://dx.doi.org/10.25281/0869-608x-2021-70-2-193-204.

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The article considers theoretical development of the problem of the origin and provenance in the 15th — the first quarter of the 19th century of the famous Old Russian book monument — the Zaraysk Gospel. Although it has repeatedly attracted the attention of archaeographers, textologists, paleographers, linguists and art historians, this article is the first experience of studying these issues. Created in 1401 in Moscow, the Gospel, which is parchment manuscript, was purchased in 1825 by K.F. Kalaidovich for Count N.P. Rumyantsev from the Zaraysk merchant K.I. Averin, that determined its name by the place of discovery. The scribe book of Zaraysk in 1625 in the altar of the Pyatnitsky chapel of the St. Nikolas wooden church (“which’s on the square”) in the city’s Posad, recorded the description of the manuscript Gospel, corresponding by a number of features to the Zaraysk Gospel. The connection of the codex with the St. Nicholas church is indirectly confirmed by the drawing of the church placed on one of its pages (f. 156 ver.) with the remains of inscription mentioning St. Nicholas the Wonderworker. This allows concluding that the manuscript in the 17th century was in the book collection of the temple. In the 17th century, the ancient St. Nicholas church was re-consecrated to the Epiphany, and the sacristy was moved to the stone St. Nicholas cathedral in Zaraysk. It is most likely that in the first quarter of the 19th century, the merchant K.I. Averin purchased the Gospel from the members of the cathedral’s clergy. The article analyzes the context of the early contributions of the 15th century “to the Miraculous Icon of St. Nikolas of Zaraysk”, one of which, most likely, was the parchment Zaraysk Gospel. The authors assume that this contribution is related to the chronicle events of 1401 or 1408. The study is significant in terms of the theoretical development of methods for identifying ancient manuscripts and their origin.

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HAYES, DAWN MARIE. "The Cult of St Nicholas of Myra in Norman Bari, c. 1071–c. 1111." Journal of Ecclesiastical History 67, no. 3 (June 10, 2016): 492–512. http://dx.doi.org/10.1017/s0022046915003371.

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This article explores the cult of St Nicholas in later eleventh-century Bari, focusing on its importance to the new Norman rulers in the region as well as to their subjects. While acknowledging the influence of earlier expressions of the cult in Normandy and in Byzantine southern Italy, it argues that for numerous reasons Nicholas was, for Bari, an especially important – and appropriate – intercessor. During these years, which witnessed the translation of the saint from Myra, economic developments, church politics and the demands of the First Crusade merged to render Nicholas an ideal patron for the city.

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Budu, Ana Maria, Raluca Cristache, Andrei Victor Sandhu, Viorica Vasilache, Mohd Mustafa Al Bakri Abdullah, and Ion Sandu. "Study of Coloured Lakes Used for the Covering of Silver Leaf in Ecclesial Art of the First Half of 19th Century." Applied Mechanics and Materials 754-755 (April 2015): 714–18. http://dx.doi.org/10.4028/www.scientific.net/amm.754-755.714.

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The wooden sculptures in orthodox churches are usually gilded with golden leaves, applied by means of different techniques (with bole or mixtion). Silver leaf was also used for economic or aesthetic purposes, usually covered with coloured lakes: red, green (for flowers, leaves and fruits) or yellow (for gold imitation). This study presents analysis realized on samples of coloured lakes taken from different cult objects. We used red and green lakes taken from the royal doors of the St. Nicholas church from Aroneanu, Iasi (1814) and from the royal doors and deacon doors from St. Archangels Church, Ceplenita, Iasi (beginning of the 19th century). The yellow samples were taken from two icons painted in russian style: St. Nicholas and Holy Virgin of Kazan (beginning of 19th century). The SEM-EDX and FT-IR spectra revealed the different origins of the lake (organic and inorganic) and suggested the technique for their preparation.

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Cvetkovski, Saso. "Notes from the church of the Virgin at the island of Mali grad." Zograf, no. 34 (2010): 111–24. http://dx.doi.org/10.2298/zog1034111c.

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In this text the unknown parts of the wall paintings from the Church of the Virgin at the island of Mali Grad (The Great Prespa Lake) are analyzed: the figure of a monk praying to St. Paraskeve, on the southern wall of the nave, as well as the painting on the southern fa?ade with the depictions of St. George on horseback, the Virgin as Empress enthroned, and the bust of two saints, St. Paraskeve and St. Nicholas. The monk is identified with the hegoumenos Jona, mentioned in the donor?s inscription dating from 1369.

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Mısırlısoy, D., N. Bilsel, and I. Safkan. "Assessment of Bedestan (St. Nicholas Church) on the first decade of conservation works." IOP Conference Series: Materials Science and Engineering 800 (May 19, 2020): 012038. http://dx.doi.org/10.1088/1757-899x/800/1/012038.

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Fundic, Leonela. "The wall painting in the church of St. Nicholas tes Rhodias near Arta." Zograf, no. 34 (2010): 87–109. http://dx.doi.org/10.2298/zog1034087f.

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The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.

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Kościołek, Anna. ""Rosyjskie Wilno" Andrzeja Murawjowa." Acta Polono-Ruthenica 3, no. XXIII (September 30, 2018): 45–57. http://dx.doi.org/10.31648/apr.2820.

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The article is an attempt to present the impressions of Andrey Muraviev, religious writer, theologian, poet, playwright, church and state activist, from his stay in Vilnius in 1863, on the basis of his work entitled The Russian Vilnius. It consists of six essays on Vilnius religious monuments: the Chapel of Our Lady of Ostra Brama, St. Paraskeva Orthodox church, Orthodox cathedral of Our Most Holy Lady, Orthodox church of translation of St Nicholas’ relics, Holy Trinity cathedral, Holy Spirit church and monastery complex. The author was only interested in monuments which would document the city’s connections to Russia and Orthodox Christianity. His reflections might be considered as a literary justification for the program of Russification of the north-west country, developed by the writer’s brother, Mikhail, who went down in Polish historical memory as Veshatiel.

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Zherdiev, Vitalii V. "Three Orthodox Temples of Lappeenranta — Art Through the Prism of History." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 609–36. http://dx.doi.org/10.21638/spbu15.2020.405.

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The article discusses the history of the creation of three Russian military churches in the Finnish city of Lappeenranta (Villmanstrand), representing vivid examples of stone and wooden architecture: churches of the Protection of the Virgin (The Intercession church) (1785), St. Nicholas the Thaumaturge (1904) and the Nativity of Christ (1914). A comprehensive analysis of the history of construction, architectural features and preserved decoration of the mentioned churches, which are significant for Russian Orthodox church construction abroad, is presented for the first time ever in the article. The Intercession Church in the Villmanstrand Fortress is the first brick freestanding Russian church built in Western Europe. The dynamics of changes of the temple as a result of reconstruction and renovation of the decoration is considered. For the first time, the church works of academician Nikanor Tiutriumov (1821–1877) for the Intercession Church are described and late painting interventions in unsigned images, which may also belong to Tiutriumov, are analyzed. The history of the construction of the wooden camp church of St. Nicholas the Thaumaturge is outlined, the uniqueness of which was expressed in the rich carved decor that distinguished the church from other Russian wooden churches in Finland. However, in the early 1920s the church was dismantled and only a few archival photographs make it possible to recreate its appearance. For the dragoon regiment stationed in Villmanstrand, a regiment church in the neo-Russian style was built according to Georgy Kosyakov’s design — the only example of this kind in Finland and one of the few examples of this style in Western Europe. After 1918, the church building was transferred to the Lutheran community and modified by the removal of domes and a radical redevelopment. The degree of embodiment of the architect’s original plan based on the author’s drawings and preserved photographs is analyzed.

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Lezzerini, Marco, Stefano Legnaioli, Giulia Lorenzetti, Vincenzo Palleschi, and Marco Tamponi. "Characterization of historical mortars from the bell tower of St. Nicholas church (Pisa, Italy)." Construction and Building Materials 69 (October 2014): 203–12. http://dx.doi.org/10.1016/j.conbuildmat.2014.07.051.

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Allen, Joanne. "Nicholas V’s Tribuna for Old St. Peter’s in Rome as a Model for the New Apsidal Choir at Padua Cathedral." Journal of the Society of Architectural Historians 72, no. 2 (June 1, 2013): 166–88. http://dx.doi.org/10.1525/jsah.2013.72.2.166.

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

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Ursu, Nataliia. "ILLUSORY-QUADRATURE PAINTING IN THE CHURCH OF ST. NICHOLAS, BISCOPE OF MIRA, IN KAMIANETS-PODILSKYI." Pedagogical Education: Theory and Practice 2, no. 25 (December 1, 2018): 116–19. http://dx.doi.org/10.32626/2309-9763.2018-25-2.116-119.

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Ursu, Nataliia. ""ILLUSORY-QUADRATURE PAINTING IN THE CHURCH OF ST. NICHOLAS, BISCOPE OF MIRA, IN KAMIANETS-PODILSKYI"." Pedagogical Education: Theory and Practice 2, no. 25 (December 1, 2018): 116–20. http://dx.doi.org/10.32626/2309-9763.2018-25-2.116-120.

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WOODMAN, FRANCIS. "The Cathedral Church of St Nicholas, Newcastle: ‘A Tangled Story’, or ‘Cutting the Geordian Knot’." Journal of the British Archaeological Association 167, no. 1 (September 2014): 154–76. http://dx.doi.org/10.1179/0068128814z.00000000031.

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Vojvodic, Dragan. "On the frescoes of the Bela crkva (white Church) of karan and the contemporary painting of Raska." Zograf, no. 31 (2006): 135–52. http://dx.doi.org/10.2298/zog0731135v.

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The results of a more careful examination of the painting in Raska from the period of the king and later, of the emperor, Stefan Dusan (1331-1355) render untenable the earlier assessments about its strikingly provincial character and negligible artistic value. The fragmentarily preserved painting of the exonarthex in Djurdjevi stupovi, in Budimlja (spring 1343 - autumn 1345), and St. Nikola in Palez near Studenica (probably the fifth decade of the 14th century), undoubtedly indicate a highly progressive style and very high artistic value. According to their pictorial features, these two monuments are no less sophisticated than the most advanced fresco ensembles of Dusan's times in Macedonia. Besides that, in the painting of the Budimlja exonarthex and the church in Palez, one can also perceive certain iconographic and programmatic novelties, which are characteristic of churches from that period in the south eastern parts of the Serbian state (the Menologion, the elevation of the rulers' portraits to the second zone of the fresco paintings, etc). The coordination of the iconography and the programme with the principles of the Palaiologan high renaissance can also be observed in the fresco painting of some other monuments of Raska from the reign of Stefan Dusan. We refer to the Church of the Annunciation in Dobrun, the exonarthex in Sopocani, the Chuch of St. Nicholas in Baljevac, the so-called Latin Church in Prokuplje, and St. Nicholas in Usee. In the majority of the said monuments, one can notice traces of the rather lively cultural relations with the central and southern parts of the expanded Serbian state. Nevertheless, the painting in the enumerated churches has been only fragmentarily preserved. Consequently, considerations about the fresco painting of the Bela Crkva Karanska (the White Church of Karan) as a rather well preserved monumental ensemble, acquires particular significance for art research in the north western part of Dusan's state.

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Meehan, Barry. "'Unfortunately Romanesque' Two Churches of the 1840s in Hampshire." Hampshire Studies 75, no. 1 (November 1, 2020): 101–39. http://dx.doi.org/10.24202/hs2020008.

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The nineteenth century witnessed almost unprecedented church building activity in Hampshire. New district churches appeared in rapidly expanding urban parishes and most existing structures, including those in rural areas, underwent substantial restoration, refurbishment and enlargement. This paper compares two of these churches from the 1840s: St. Peter's, Southampton and St. Nicholas', Newnham. Despite their apparent differences, they share a number of characteristics in common, most obviously their Romanesque style and inclusion of a Rhenish helm spire. The history of their construction will be examined in the context of the contemporary revival of medieval ecclesiastical architecture and developments in Ecclesiology (the study of church buildings, furnishings and decoration). Consideration will be given to how the Rhenish helm came to be adopted at both churches and to what extent St. Peter's influenced the design and arrangements at Newnham. This article will also consider whether the same architect was involved.

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Kozioł, Krzysztof. "Historical church diagnostic with regards to impact of traffic included vibrations." MATEC Web of Conferences 285 (2019): 00006. http://dx.doi.org/10.1051/matecconf/201928500006.

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In the article problem of a comprehensive diagnosis of a historic building with damages is discussed. Dynamic investigations carried out in the church of St. Nicholas in the center of Krakow are an example of diagnostic tests provided to determine the causes of damage. Because the tested structure is exposed to traffic vibrations caused by wheeled vehicles and train passes, special attention has been paid to the impact of these vibrations onto a historic object. Results of measurements of these vibrations as well as dynamic analyzes obtained using FEM model of the investigated church were given.

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Irving, John. "John Blitheman's keyboard plainsongs: another ‘kind’ of composition?" Plainsong and Medieval Music 3, no. 2 (October 1994): 185–93. http://dx.doi.org/10.1017/s0961137100000735.

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The foregoing quotation from an epitaph in the church of St Nicholas Olave, Queenhithe, summarizes most of what we know about the career of John Blitheman (c. 1525–91), one of the composers of keyboard plainsong settings represented in the so-called Mulliner Book, compiled probably in London sometime between the mid-1550s and about 1570. All but one of Blitheman's surviving keyboard works is contained in this manuscript.

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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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Burganov, Aleksandr A. "ICONOGRAPHY OF LITURGICAL COMPOSITIONS IN THE PAINTING PROGRAM OF THE КRONSTADT ST. NICHOLAS NAVAL CATHEDRAL." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 124–36. http://dx.doi.org/10.28995/2073-6401-2021-1-124-136.

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The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.

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Kozłowski, Tomasz, and Małgorzata Grupa. "Cognitive Values of Ossuaries from the Cemetery and the Church of St. Nicholas in Gniew, Poland." Fasciculi Archaeologiae Historicae 32 (2019): 33–51. http://dx.doi.org/10.23858/fah32.2019.003.

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Ellis, Steven G. "Sacred Space and “True Religion”: The Irish Reformation and the Collegiate Church of St Nicholas, Galway." Entangled Religions 7 (July 27, 2018): 14–45. http://dx.doi.org/10.46586/er.v7.2018.14-45.

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This paper looks at the impact of religious reform in Tudor Galway, focusing on how the use of sacred space in the collegiate church of St Nicholas, Galway, was reshaped during the Reformation. The Elizabethan Settlement of Religion was, by European standards, quite conservative, permitting the retention of choral foundations and pipe organs and, in Ireland, even the traditional Latin offices, sung from the chancel. Unofficially, even some images and ornaments survived. Alongside these conservative survivals, the corporate worship of the new prayer book was also enhanced by regular sermons in English, Irish, and Latin by graduate preaching ministers, which were a popular innovation initially attracting large groups of people. Later, however, financial difficulties and the lack of a preaching minister for regular sermons undermined this local compromise: Galway merchants mostly drifted back to Catholic worship, which had remained freely available outside the town.

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Georgescu, Mihaela Stela, Cristina Victoria Ochinciuc, Emil Sever Georgescu, and Iolanda Colda. "Heritage and Climate Changes in Romania: The St. Nicholas Church of Densus, from Degradation to Restoration." Energy Procedia 133 (October 2017): 76–85. http://dx.doi.org/10.1016/j.egypro.2017.09.374.

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Cerone, Roberta. "The Lunette with St. Thomas Becket at the Sacro Speco in Subiaco: An Unexpected Presence?" Arts 10, no. 3 (August 30, 2021): 58. http://dx.doi.org/10.3390/arts10030058.

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The painting with St. Thomas Becket, St. Stephen and St. Nicholas of Bari that decorates one of the lunettes in the so-called lower church at the Sacro Speco in Subiaco is an enigma from an art-historical point of view, for two reasons. First, on an iconographical level, the lunette interrupts the flow of the story of Benedict’s life unfolding systematically on all the walls of the lower church. Second, from the formal point of view, the fresco clearly presents more archaic features than the surrounding Stories of St. Benedict, dating to the end of the thirteenth/beginning of the fourteenth century, and was therefore probably executed in a phase prior to the cycle of Benedict. In the paper, therefore, I will analyse the motivations that led to the preservation of this painting when the hall was renovated and later redecorated in the late thirteenth century, and discuss the hypotheses surrounding patronage. Both aspects will help to better contextualize the reasons for the presence of the image of St. Thomas Becket in a pre-eminent position in the sanctuary of Benedict in Subiaco, a papal bulwark on the borders of the Kingdom.

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Savina, L. N. "On the question of handing over in 1948 to the Laura the iconostasis of church of St. Nicholas called “Nicholas the Great Cross”." Theological Herald 30, no. 3 (2018): 206–26. http://dx.doi.org/10.31802/2500-1450/2018-30-3-206-226.

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Todic, Branislav. "The iconostasis in Decani: the original painted programme and subsequent changes." Zograf, no. 36 (2012): 115–29. http://dx.doi.org/10.2298/zog1236115t.

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The history of the iconostasis in the central nave of the church in Decani can be divided into two periods. The icons of Christ, the Mother of God, John the Baptist and St. Nicholas on the original altar screen, painted around 1343, were related to the relics of King Stefan Decanski and with the wall painting in the church space in front of the altar. The removal of those icons at the end of the sixteenth century and their replacement with new ones explains the strengthening cult of St. Stefan Decanski. In 1577 an icon of St. Stephen was placed over the king?s portrait depicted in the fourteenth century fresco painting, and by 1593/1594, the new despotic icons of Christ and the Virgin were painted for the iconostasis, then an expanded Deesis that was placed above them, with a large cross fixed on the top. The central icons were painted by the painter Longin, and the cross is attributed to Andreja, a painter known for his frescoes from the seventh and eighth decade of the seventeenth century.

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Елиманов, Вадим Евгеньевич. "The Doctrine of St. Nicholas Cabasilas on the Eucharist as Sacrifice." Theological Herald, no. 1(40) (March 15, 2021): 151–77. http://dx.doi.org/10.31802/gb.2021.40.1.008.

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Данная статья представляет собой попытку системной реконструкции учения св. Николая Кавасилы о Евхаристии как Жертве. В труде св. Николая «Изъяснение Божественной литургии» Евхаристия предстаёт как Богочеловеческая Жертва, в которой Церковь в целом и каждый христианин в частности под видом даров (хлеба и вина) приносит саму себя, свою жизнь в жертву Богу. Бог в ответ на это дароприношение подаёт Саму Жизнь, Самого Себя. Важным открытием стало определение смысловой связи между этапами совершения Евхаристической Жертвы, этапами совершения ветхозаветных жертв и этапами домостроительства спасения, совершённого Христом. Было установлено, что всякая жертва совершается в момент изменения состояния: когда «дар» (δῶρον) становится «жертвой» (θυσία). Если Голгофская Жертва совершилась через распятие, когда Христос из «Дара» Богу стал «Жертвой» Ему, а ветхозаветные кровавые жертвы совершались через заклание, когда жертвенное животное из дара становилось жертвой Богу; то Евхаристическая Жертва совершается через преложение (μεταβολή), когда дары (хлеб и вино) становятся истинной Жертвой, то есть Телом и Кровью Агнца Христа. This article is an attempt at a systematic reconstruction of the doctrine of st. Nicholas Cabasilas on the Eucharist as Sacrifice. In the work of st. Nicholas «Commentary on the Divine Liturgy», the Eucharist appears as a God-Human Sacrifice, in which the Church as a whole, and every Christian in particular, under the guise of gifts (bread and wine), offers itself, its life as a sacrifice to God. God responds to this gift and gives back Life itself, Himself. An important discovery was the definition of the semantic relationship between the stages of the Eucharistic Sacrifice, the stages of the Old Testament sacrifices, and the stages of The Economy of Salvation, accomplished by Christ. It was established that every sacrifice is made at the moment of state change: when a «gift» (δῶρον) becomes a «sacrifice» (θυσία). If the Sacrifice of Calvary was made by crucifixion, when Christ from the «Gift» to God became the «Sacrifice» to Him, and blood sacrifices in the Old Testament were made by slaughter, when the sacrificial animal from the gift became the sacrifice to God; then the Eucharistic Sacrifice is performed by the transformation (μεταβολή), when the gifts (bread and wine) become the true Sacrifice, i.e., the Body and Blood of the Lamb of Christ.

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Alttoa, Kaur. "Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)." Baltic Journal of Art History 14 (December 27, 2017): 7. http://dx.doi.org/10.12697/bjah.2017.14.01.

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Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur (Estonian Architecture, 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church.The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room.Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century.The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs.Pärnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Pärnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Pärnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Pärnu had an eastern niche similar to the one in Haapsalu. It is not impossible that the motif was borrowed from the cathedral across the river or its ruins. Attention should also be paid to the fact that the design of the northern and southern walls in the sanctuary of Pärnu’s St Nicholas’ Church are similar to the Vormsi church. Therefore, there is no doubt that these two sanctuaries are architecturally and genetically related. Apparently the Vormsi sanctuary was built immediately or soon after the completion of the Haapsalu Cathedral – not later than 1270. It is not impossible that the vaults were constructed sometime later.The vault painting in the Vormsi sanctuary is probably inspired by the “paradise vaults” in Gotland. The Vormsi painting is strikingly primitive. In Estonia, this primitive style can also be seen in the churches in Ridala and Pöide.There is a squint (hagioscope) on the southern wall of the Vormsi church sanctuary, and an unusual sacrament niche with a light shaft in the eastern wall. This does not date back to the time when the sanctuary was built, but was added later. There have been at least eight such sacrament niches in Estonia, most of which were built in the 15th century.

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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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Płotkowiak, Maciej. "THE MEDIEVAL CHURCH OF ST. NICHOLAS IN SZCZECIN – BASED ON RESEARCH CARRIED OUT IN THE YEARS 1999-2007." space&FORM 2019, no. 39 (September 16, 2019): 259–78. http://dx.doi.org/10.21005/pif.2019.39.e-03.

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Павлова, Анна Леонидовна. "Composition «The trial of Jesus Christ» as a Part of St. Nicholas Church Mural Paintings in Boboli Village." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 37–51. http://dx.doi.org/10.31802/bcaa.2020.3.2.003.

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В статье впервые в научный оборот вводится новый памятник монументального искусства последней четверти XIX столетия в Калужской области - масляные росписи Никольской церкви с. Боболи. Среди сюжетов стенописи выделяется необычная композиция - «Суд над Христом», принадлежащая редкой иконографической традиции. Рассмотрение отдельно взятого сюжета в контексте программы росписей помогает внимательно изучить феномен сельского искусства того времени. В нём отразились различные религиозные и культурные интересы экономически развитого крупного села, получили развитие стилистические предпочтения эпохи эклектики. Характер стенописи сформирован на сочетании типичных столичных академических образцов и приёмов народного искусства. Наиболее ярким проявлением выразительного языка региональной живописи стала композиция «Суд над Христом». В ней своеобразно, наглядно и подробно раскрыта традиционная тема сопоставления Ветхого и Нового Заветов как часть страстного и христологического циклов росписи. A new example of the last quarter of the 19th century monumental art in Kaluga region, namely, the oil wall paintings of St. Nicholas Church in Boboli village are introduced into scholarly circulation for the first time in this paper. An unusual composition «The trial of Jesus Christ» is notable among other mural subjects for its rare iconographic tradition. The examination of a separately taken subject in the context of the whole paintings programme helps one to study carefully the phenomenon of the rural art of that time. It reflected the various religious and cultural interests of a big economically well-developed village, in which the stylistic preferences in the age of eclecticism were further elaborated. Some wall painting features are combinations of typically metropolitan academic patterns and rural folk art devices. The composition of «The trial of Jesus Christ» became the brightest example of the regional paintings expressive language. The traditional motif of the contradiction between the Old and New Testaments are developed there in the most original, clear and detailed way as a part of the Passion and Christological painting cycles.

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Zivkovic, Valentina. "On the trail of a painting bequeathed to St. George’s abbey on the islet near Perast the testaments of Nycolaus and Johannes Glauacti (as of 1327 and 1336)." Zograf, no. 38 (2014): 113–21. http://dx.doi.org/10.2298/zog1438113z.

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The paper reviews the last will of the Kotor nobleman Nycolaus Marini Glauacti made in 1327 to bequeath to St. George?s church on the small island near Perast a depiction of the Madonna, St. Nicholas and St. John the Baptist. On the one hand, the legacy is analyzed in the context of the compositions involving the three saints in Kotor?s religious medieval art and, on the other, in the context of ad pias causas bequests and the concept of preparing for a good death (ars moriendi). The contents of the testaments of Nycolaus and his brother Johannes Marin Glauacti as of 1336 are contrasted, especially in terms of the number of pro remedio animae items bequeathed and their distribution. A special emphasis is laid on the comparison of the representations between the Franciscan and Benedictine Orders as the recipients of pious bequests.

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Ali, Jason R., and Peter Cunich. "The Church East and West: Orienting the Queen Anne Churches, 1711-34." Journal of the Society of Architectural Historians 64, no. 1 (March 1, 2005): 56–73. http://dx.doi.org/10.2307/25068124.

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This article presents the results of an investigation carried out to determine the orientation of seventeen churches and one church plan that are directly or indirectly associated with the 1711 and 1712 Acts for Building Fifty New Churches (for London). The buildings represent an important episode in the history of western ecclesiastical architecture, the visible manifestation of a Tory government-High Church plan to rekindle a "purer form of Christianity" based on the "primitive churches" of the Near East. Our data indicate that few, if any, of the buildings were aligned using the rising or setting sun on important Christian feast days, the method adopted by many of the medieval church builders. Whether this break with tradition was deliberate or not is a matter for conjecture. Nicholas Hawksmoor seemed particularly keen on getting a "correct" alignment and did so for three of his six sole-author buildings. In fact, we suggest that two of Hawksmoor's churches at St. Anne Limehouse and Christchurch Spitalfields, and James Gibbs's St. Martin-in-the-Fields, were so accurately aligned that the only feasible technique for achieving this was through the use of declination-corrected compasses. We speculate that the scientist Edmond Halley provided information and logistical assistance to Hawksmoor.

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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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Веретенников, Макарий. "The appointment of the first archimandrite-abbot of Holy Trinity-St. Sergius Lavra." Theological Herald, no. 1(32) (March 15, 2019): 232–46. http://dx.doi.org/10.31802/2500-1450-2019-32-232-246.

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В статье излагается история возведения настоятелей Троице-Сергиевой лавры в сан архимандритов: кто, кем и когда был впервые облечен этим саном в обители прп. Сергия. Этому событию предшествовало соборное суждение-определение, в результате которого обитель преподобного Сергия была поставлена превыше других монастырей. Делается вывод о том, что возведение Троицкого настоятеля в сан архимандрита - важное событие для всей Церкви. The article describes the history of the construction of the priors of the Trinity- Sergius Lavra to the rank of archimandrites: who, by whom and when was first invested with this dignity in the monastery of St. Nicholas. Sergius. This event was preceded by a conciliar judgment-determination, as a result of which the monastery of St. Sergius was placed above other monasteries. It is concluded that the elevation of the Trinity priest to the rank of archimandrite is an important event for the whole Church.

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Kashirina, Varvara V. "The Library of St. Theophan the Recluse." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 2 (April 28, 2016): 183–87. http://dx.doi.org/10.25281/0869-608x-2016-1-2-183-187.

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The article describes the history of the library of St. Theophan the Recluse, also known as “Theophan Zatvornik” (1815-1894), the famous theologian and spiritual writer of the 19th century, the owner of one of the largest private libraries. Despite the large number of studies on the theological heritage of St. Theophan the Recluse, the history and composition of his library is still not revealed, what determines the relevance of the article. The main objectives of the article are to identify and analyze all the surviving inventories of the library, to explore the possibility of determining the composition and history of the library. The main sources for this task are the memoirs of his contemporaries, published in the periodicals of the 19th century, as well as two inventories of the library, made after the death of St. Theophan the Recluse, by the librarian of the Moscow Theological Seminary N.A. Kolosov and by the unknown author. There was revealed that after the death of St. Theophan the Recluse, his library got into the library of the Church of St. Nicholas in Tolmachi, and after the revolution - to the Russian State Library. All the books had Losevs library stamp. Research work on revealing all the editions with Losevs library stamp in the holdings of the Russian state library will allow to determine the composition of the book collection of St. Theophan.

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Popovska-Korobar, Viktorija. "Wall paintings from the late 15th century in the Monastery church of St. Paraskeve - Brajcino." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 549–65. http://dx.doi.org/10.2298/zrvi0744549p.

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The Monastery of St. Paraskevy is located above the village Brajcino, on the east shore of Lake Prespa in the Republic of Macedonia. In accordance with the incomplete donor?s inscription this one aisle church with a pitched roof was built and decorated at the same time. Reparations came around 1800, when rebuilding was done on the longitudinal walls and the narthex (without fresco decoration). The fresco paintings from the 15th century are preserved on the west facade, and on the east and west wall of the naos. The decorative program in the interior was common for the small type monastery churches without narthex. From the old edifice, on the corner of the outside southwest wall visible are remains of figures, a monk and a man in laymen?s attire facing eastward. The iconographic program of the west facade is interesting for the scenes which encompass the patrons niche: a reduced Last Judgment (Royal Deesis, Hell and Paradise, where the monk Pahomios above the gate is depicted in prayer) and the equestrian figures of St. George and St. Mena. A parallel for the rare iconography of St. Mena with the tamed beasts is found in an unpublished icon, which most probably was painted in the last quarter of the 15th century, and is kept presently on the iconostasis of the church of Panagia tou Apostolaki in Kastoria. In accordance with all the considered characteristics by means of comparative analysis, we assume that the anonymous master could be an individual who belonged to the painting workshops which are credited for painting the church of St. Nicholas of the nun Eupraxia in Kastoria. We suppose the painter worked in Brajcino soon after the year 1486 and before 1493, when the decoration of the church in Kremikovci was completed, in which he most likely took part as a member of another large workshop. Regarding the question about the origins of the style of the 'master from the 1480?s', the paper articulates an opinion that they should be traced not only in the long painting traditions of Kastoria and Ohrid, but also in the collaboration of the masters and the spread of their works in these two important centers of the Ohrid Archbishopric.

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Matejčić, Ivan. "Crkva Sv. Nikole u Puli (nekada posvećena Sv. Mariji)." Ars Adriatica, no. 2 (January 1, 2012): 7. http://dx.doi.org/10.15291/ars.438.

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The church of St Mary at Pula was rededicated to St Nicholas in 1583 when it was handed over for the use of the Greek Orthodox community of refugees from Crete and the Peloponnese. During the seventeenth and eighteenth century, various structures (the bell-tower, the narthex, the sacristy) were added along the eastern and northern sides of the church, several door and window openings were walled in, and the lintel and jambs of the main portal were replaced; however, the main architectural core has remained well-preserved. It has a single-cell structure of square ground plan with an eastern apse, which is semicircular in shape in the inside but polygonal on the outside. The dimensions of the church are based on a module of ten Byzantine feet (c. 31.25 cm); the church is 20 feet wide and 30 feet long, while a 10 foot square can fit into the apse. In the interior is a well-preserved triumphal arch. It is composed of a pair of marble columns with capitals which carry a large, central arch. The composite capitals possess an interesting detail: the centres of the capitals on opposing sides were left undecorated and so it can be concluded that these capitals were intended for insertion in a multi-apertured structure which was screened off with a transenna. Such capitals can be seen on large early Byzantine structures, and two similar capitals are placed in the atrium of the Basilica of Euphrasius at Poreč (mid-sixth century). This detail provides evidence about a technique used in the church’s construction, which made extensive use of prefabricated, often even imported elements of architectural decoration. The same type of marble used for the columns of the triumphal arch was used for the parts of the small trifore window set on the façade. In the scholarly literature to date, this trifore has been considered late medieval, but the carving details are identical to those on the parts of the triumphal arch and altar posts at the church of St Nicholas. The masonry of the wall also points to the fact that it had not been inserted in the sixth-century façade at a later date. In the centre of the apse is a marble block which belonged to an altar base, having four holes which still bear the lower parts of the small posts which originally carried the altar table. The remains of the altar can be seen on the photographs which document the restoration works in 1962. The altar remains were subsequently covered with a new altar structure which was removed during the works in 2000. In 1962, when the filling of the window in the south wall was removed, B. Marušić discovered a part of a marble post with a simple capital which he recognized as belonging to the aforementioned altar. Based on this data, a reconstruction of the altar has been proposed in a drawing. B. Marušić also discovered two stone transennae in the walled in-windows of the south wall, which were smaller than the original structure of the window opening and for this reason he suggested that they belonged to a later intervention. The transennae were removed and transported to the Archaeological Museum of Istria for safekeeping. During the 2000 works, fragments of identical transennae were also found in two apse windows, while a complete transenna was discovered in the walled-in window on the north face which was obscured by the addition of the bell-tower. Similar and identical transennae are found on the nearby chapel of Santa Maria Formosa, the remainder of a large basilica which was built in the mid-sixth century by the archbishop of Ravenna Maximian. In the vicinity of Pula, at least three more examples of similar transennae were found, all of which can be compared to the shape of a wooden window frame from the church of Sant’Apollinare in Classe at Ravenna. A number of arguments suggest that the aforementioned transennae belong to the first phase of the church of St Nicholas.

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Beer, Barrett L. "Episcopacy and Reform in Mid-Tudor England." Albion 23, no. 2 (1991): 231–52. http://dx.doi.org/10.2307/4050604.

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In Tudor Prelates and Politics, Lacey Baldwin Smith wrote sympathetically of the dilemma faced by the conservative bishops who saw control over the Church of England slip from their grasp after the accession of Edward VI in 1547, but he gave less attention to the reforming bishops who worked to advance the Protestant cause. At the beginning of the new reign the episcopal bench, according to Smith's calculations, included twelve conservatives, seven reformers, and seven whose religious orientation could not be determined (see Table 1). The ranks of the conservatives were thinned as a consequence of the deprivation of Stephen Gardiner of Winchester, Edmund Bonner of London, Nicholas Heath of Worcester, George Day of Chichester, and Cuthbert Tunstall of Durham. On the other hand, eight new bishops were appointed between 1547 and 1553. These new men together with the Henrician reformers, of whom Thomas Cranmer, Archbishop of Canterbury, was most important, had responsibility for leading the church during the period which saw the most extensive changes of the Reformation era. This essay examines the careers of the newly-appointed reforming bishops and attempts to assess their achievements and failures as they worked to create a reformed church in England.The first of the eight new bishops appointed during the reign of Edward VI was Nicholas Ridley, who was named Bishop of Rochester in 1547 and translated to London in 1550. In 1548 Robert Ferrar became Bishop of St. David's in Wales. No new episcopal appointments occurred in 1549, but during the following year John Ponet succeeded Ridley at Rochester while John Hooper took the see of Gloucester.

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Antipov, I., and A. Gervais. "THE BRICKS FROM ST NICHOLAS CHURCH AT LIPNO NEAR NOVGOROD (1292) AND THE ORIGINS OF THE NEW NOVGORODIAN BUILDING TRADITION." Estonian Journal of Archaeology 19, no. 1 (2015): 58. http://dx.doi.org/10.3176/arch.2015.1.03.

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Journal articles on the topic 'St. Nicholas (Church : Blakeney)'

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