Relevant bibliographies by topics / St Peter's Church (Belgrave)

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  2. Dissertations / Theses
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Academic literature on the topic 'St Peter's Church (Belgrave)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "St Peter's Church (Belgrave)"

1

Mitchell, S. "Charlotte Dalton-St Peter's Church, Carmarthen." Notes and Queries 49, no. 3 (September 1, 2002): 384–86. http://dx.doi.org/10.1093/nq/49.3.384.

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Mitchell, Sheila. "Charlotte Dalton‐St Peter's Church, Carmarthen." Notes and Queries 49, no. 3 (September 1, 2002): 384–86. http://dx.doi.org/10.1093/nq/490384.

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Licht, Meg. ""I Ragionamenti"-Visualizing St. Peter's." Journal of the Society of Architectural Historians 44, no. 2 (May 1, 1985): 111–28. http://dx.doi.org/10.2307/990024.

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Thirteen architectural drawings by four architects-Bramante, Baldassare Peruzzi, Giuliano da Sangallo, and Antonio da Sangallo the Younger-all dating from the period between early 1505 to 18 April 1506, all except one in the Gabinetto dei Disegni e Stampe of the Uffizi, and all connected with the earliest proposals for the new St. Peter's, are examined to establish their authorship and date and the exact sequence in which they were executed. Beyond that, the chronological alignment of the drawings enables us to follow the process of visualizing and creating a building of an unprecedented type and an extraordinary scale. The ground plans of several small-scale prototypes-such as the Audience Hall of the Piazza d'Oro at Hadrian's Villa, the Oratorio of Santa Croce (a tiny 2nd- or 5th-century structure that stood near the Lateran Baptistery until the end of the 16th century), and the 9th-century San Satiro in Milan-are combined with elements of larger-scale prototypes such as San Lorenzo in Milan and the cathedrals of Milan, Pavia, and Florence in the search for a plan and elevation that are both spacious and structurally sound, that sum up both Roman architectural achievement and the heightened unities of Renaissance church design. The main concern in most of these drawings is the delineation of the crossing, the baldacchino formed by the great piers and the dome they support, protecting the tomb of St. Peter and the altar of the Early Christian church. Although in nearly every drawing some attention is paid to the outer perimeters of the building and its internal spatial divisions, many of those decisions are left in suspense, particularly the question of whether the building is to be centralized or longitudinal. Bramante's main concern was to establish the scale of the crossing, the size and shape of the piers and their distance from each other. This nucleus, constructed up through the pendentive level during his lifetime, set the scale for everything that was to follow. In the absence of a definitive plan attributable to the Bramante/Peruzzi team, the pier designs of Uff. 529 A verso and of f. 1466 verso of the Rothschild drawing book, and the interior of the crossing as it appears in the perspective drawing Uff. 2 A, are the best evidence of Bramante's permanent contribution. The drawings considered here trace the experiments with shape and scale that led to the establishment of these elements.
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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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Rodén, Marie‐Louise. "The burial of queen Christina of Sweden in St Peter's church." Scandinavian Journal of History 12, no. 1-2 (January 1987): 63–70. http://dx.doi.org/10.1080/03468758708579107.

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Koczwara, Stanisław. "Katedra Piotra w nauczaniu Optata z Milewy jako ostateczny probierz prawdziwości Kościoła." Vox Patrum 46 (July 15, 2004): 155–62. http://dx.doi.org/10.31743/vp.6748.

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The article St. Peter’s Chair in the Teaching of Optatus of Mileve as the Final Criterion of Authenticity of the Church is particularly about certain period in the catholic Church history in IV century, which was experienced in the Latin Africa by schism of the Donatists. In order to prevent the division Saint Optatus broadcasted the extremely mature conception of the Saint Peter's chair, that was based on Saint Cyprian's idea. Optatus describes this power/chair as a first gift for the Church - meaning Saint Peter, who is a source of the rest of gifts such as baptism and penance. This chair was transmitted to the Saint Peter's successors as a source and tool for the Church union. Everyone who wanted to be in the harmony with me Church should maintain complete union with bishop of Rome.
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SAYERS, JANE. "Peter's Throne and Augustine's Chair: Rome and Canterbury from Baldwin (1184–90) to Robert Winchelsey (1297–1313)." Journal of Ecclesiastical History 51, no. 2 (April 2000): 249–66. http://dx.doi.org/10.1017/s0022046900004243.

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The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.
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Potter, T. W., and R. D. Andrews. "Excavation and Survey at St Patrick's Chapel and St Peter's Church, Heysham, Lancashire, 1977–8." Antiquaries Journal 74 (March 1994): 55–134. http://dx.doi.org/10.1017/s0003581500024409.

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SummaryThis paper reports excavations in 1977 and 1978 at the chapel and adjoining cemetery of St Patrick's, Heysham, and an architectural survey of the nearby church of St Peter's. The chapel initially comprised a single-celled, stone-built structure, plastered inside and out. Associated with it were pieces of painted plaster, two bearing letters, and, in all probability, a stone carved with a bird's head, perhaps of late seventh- to late eighth-century date. The chapel was subsequently enlarged. One burial included a bone comb of Anglo-Scandinavian type, and calibrated radiocarbon dates for three skeletons range between AD 960 and 1185.This report was submitted for publication in March 1992.
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Ratkovčić, Rosana. "Katolička crkva Sv. Petra i dubrovačka kolonija u Starom Trgu kod Trepče." Ars Adriatica 7, no. 1 (December 19, 2017): 129. http://dx.doi.org/10.15291/ars.1389.

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The construction of a Roman Catholic church dedicated to St Peter in Stari Trg near Trepča can be related to the presence of Catholic migrants, Saxon miners and merchants from Dubrovnik and Kotor, who colonized the area around the rich mine during the medieval period. This article focuses on the role of the Ragusan colony in the construction and furnishing of the Kosovo church. Judging from the remnants of the church, it may be presumed that it was a three-nave structure, with a dome above the last bay of the central nave, same as the cathedrals of Dubrovnik and Kotor, and that a workshop from the littoral probably also decorated the church with paintings. The fact that in 1487 the parish priest at St Peter's church commissioned the altar polyptych from the Ragusan painter Stjepan Ugrinović shows that architects and painters may have been invited from Dubrovnik in the earlier centuries as well, and that there may have been continuity in their work on St Peter’s church in Trepča.
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Little, Patrick. "Discord in Drogheda: a window on Irish Church–State relations in the sixteen–forties*." Historical Research 75, no. 189 (August 1, 2002): 355–62. http://dx.doi.org/10.1111/1468-2281.00154.

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Abstract This article explores a dispute between the clergy and choir of St. Peter's church, Drogheda, in November 1645. At first sight this seems little more than a local row over pay and conditions, but the dispute also sheds light on relations between the town and its royalist governors, the difficulty of the marquess of Ormond's political position in a crucial period, and the collaboration between Ormond and the primate of Ireland, Archbishop Ussher. It also reveals much about the condition of the Church of Ireland outside the Irish capital in a time of uncertainty and upheaval in Church and State.
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Dissertations / Theses on the topic "St Peter's Church (Belgrave)"

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Wallace, Catharine. "Retracing Her Roots: The Reforming Church and St. Anne in Triplicate; a Study of Caravaggio's Madonna dei Palafrenieri for New St. Peter's." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/149678.

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Art History
M.A.
Caravaggio's Madonna dei Palafrenieri has a long history of scholarly attention, dating back to contemporary writers such as Giulio Mancini and Giovanni Baglione. However, literature on the altarpiece has largely been concerned with one matter of the painting's past, its rejection. This thesis will begin by providing a historical and religious context for the creation and reception of the Madonna dei Palafrenieri, and will discuss the subject matter, theology, iconography and visual qualities of the painting. In order to clear away the long debated issue of the painting's removal, and therefore move on to interpreting it in more nuanced terms, counter arguments will be made for each of the often-cited causes of the altarpiece's rejection. Finally, the major focus of this paper will tackle an area not yet discussed with respect to the Palafrenieri altarpiece: the Church's use of tradition, particularly its contemporary interest in sacred history, as a means to reinforce its legitimacy, not just in doctrine and practice, but in visual expression as well.
Temple University--Theses
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Grahe, W. Arthur. "Praying with hands and hearts and voices enriching and expanding the individual prayer lives of members of St Peter's (Lischey's) United Church of Christ, Spring Grove, Pennsylvania using Howard Gardner's multiple intelligences and the participants' individual artistic abilities /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Avramopulosová, Andrea. "Proměny obce Bohnice." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313110.

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The thesis brings a global insight into the Prague's suburb of Bohnice. Captures the appearance since the first settlements until nowadays. Focusing mainly on both historical and socio-economical milestones, which created the city. According to the lack of written resources for the historical part of the theses and to the fact, that Bohnice are often reduced to the activities of the famous mental institution, the main target is the forming of Bohnice city in the 20th century. Concentrates on institutions of both social and health care, which can compete the famous mental institution. The thesis also supplies materials about the urban concept of the housing estate of Bohnice including the traffic solutions through the past century. Points out also outstanding architectural solitaires.
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Books on the topic "St Peter's Church (Belgrave)"

1

Hagood, A. Sue. A history of St. Peter's Church. Columbia, S.C: St. Peter's Parish, 1990.

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Grant, Jeremy Campbell. St. Peter's Church, Martley: A history. Malvern: J. Campbell Grant, 2000.

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3

Wheeler, Geoffrey. St. Peter's centenary 1892-1992. Hale: St Peter's Centenary Committee, 1992.

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

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Trausch, Betty Ramspott. St. Peter's Lutheran Church, Pender, Nebraska, 1888-1988. Blue Hill, Neb: B.R. Trausch, 1988.

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Farrer, William. The registers of St. Peter's, Burnley: 1653-1690. [Lanscashire, England]: Lancashire Parish Register Society, 2001.

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7

Hall-Matthews, J. C. B. The Collegiate Church of St Peter, Wolverhampton. Much Wenlock: R.J.L.Smith, 1993.

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St. Peter's Church: Faith in action for 250 years. Philadelphia: Temple University Press, 2011.

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Parish, Woodmansterne. Woodmansterne, Surrey: St. Peter's Church, parish registers 1566-1837. (Cheam, Surrey?: East Surrey Family History Society, 1987.

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Old St. Peter's and church: Decoration in medieval Italy. Spoleto (Perugia): Centro italiano di studi sull'alto Medioevo, 2002.

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Book chapters on the topic "St Peter's Church (Belgrave)"

1

"The Choirbooks of St Peter's Church." In Piety and Polyphony in Sixteenth-Century Holland, 85–141. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443198.005.

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"The Seven Hours in St Peter's Church at Leiden." In Piety and Polyphony in Sixteenth-Century Holland, 44–84. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443198.004.

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Symson, Joseph. "[2112] To: the Reverend Mr. Samson Eastwick on St. Peter's Hill, near St. Paul's Church, London; Sedburgh, 15 February, 1719." In Records of Social and Economic History: New Series, Vol. 34: ‘An Exact and Industrious Tradesman’: The Letter Book of Joseph Symson of Kendal, 1711–1720, edited by S. D. Smith. British Academy, 2002. http://dx.doi.org/10.1093/oseo/instance.00166841.

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Symson, Joseph. "[198] To: Mr. John Buchanan, at the Black Boy near St. Peter's Church in Cornhill, London; Kirkby Stephen, 23 November, 1711." In Records of Social and Economic History: New Series, Vol. 34: ‘An Exact and Industrious Tradesman’: The Letter Book of Joseph Symson of Kendal, 1711–1720, edited by S. D. Smith. British Academy, 2002. http://dx.doi.org/10.1093/oseo/instance.00164927.

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