Relevant bibliographies by topics / The Byzantine dome

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Academic literature on the topic 'The Byzantine dome'

Author: Grafiati
Published: 5 June 2025
Last updated: 15 July 2025

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Journal articles on the topic "The Byzantine dome"

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Logvyn, Natalia. "ON THE PROBLEM OF GENESIS OF THE CROSS-DOMED ARCHITECTURAL TYPE." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 237–46. http://dx.doi.org/10.32347/2077-3455.2021.60.237-246.

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The article concerns constructive peculiarities of Armenian cross-domed churches in comparison with Byzantine monuments of the same period.
 Cross-domed type occupies the central place in the architecture of Eastern Christian countries. Central part of the type consists of nine bays, the central bay is a large square, the corner bays smaller squares, the remaining four bays are rectangular. Central bay, limited with four supports, is domed, corner bays and rectangular bays are vaulted. The character of underdome supports determines constructive and compositional structure of cross-domed building.
 Cross-domed architectural type appeared in Armenia during the V – the VI-th centuries on the ground of synthesis of vaulted basilicas with pillars and centrally-planned domed martyria and gained its highest development at the VII-th century – a great century of Armenian church building. Masons have developed construction of cross-domed edifice that reduced thrust of dome and was resistant against destroying earthquakes.
 Great cross-domed cathedrals at Dvin, Thalin, Bagavan, Mren and some others have been built during the seventh century. Four mighty pillars supporting domes of the monuments were of complicated forms and had 3 to 9 square meters in plan. Large domes crowning cathedrals were 8 to 11 m in diameter, cеntral underdome space dominates within edifice. Constructive structure of the building corresponds with its outward architectural composition.
 A lot of Byzantine churches built during the X-th – the XII-th centuries, especially those of Constantinople, were of the cross-domed architectural type, also named by some scholars as “cross-inscribed” type or “church on four columns”. The core of those Byzantine churches also consists of nine bays, its central bay covered with a dome resting on four supports. These supports consist of two different parts – column (in its lower part) and a wall over it. Such construction of dome supports limited the development of the architectural composition of cross-domed Byzantine churches which are rather small structures.
 In contrast to Byzantine squat churches “on four columns” Armenian cross-domed cathedrals have large dimensions and expressive architectural compositions.
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Bogdanović, Jelena. "Evocations of Byzantium in Zenitist Avant-Garde Architecture." Journal of the Society of Architectural Historians 75, no. 3 (2016): 299–317. http://dx.doi.org/10.1525/jsah.2016.75.3.299.

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Evocations of Byzantium in Zenitist Avant-Garde Architecture considers references to Byzantium in the architecture and philosophy of Zenitism, an Eastern European avant-garde movement founded by Ljubomir Micić in 1921. In this article, Jelena Bogdanović analyzes the visionary projects for the Zeniteum, designed by the only architect member of the Zenitist group, Jo Klek (Josip Seissel), as a singular example of Byzantine-modernist architecture, which incorporated aspects of Byzantine total design, spirituality, and aesthetics of dematerialization. She outlines the ways Zenitist theories and visionary drawings privileged the “Byzantine” dichotomy of a dome and a wall over Western European trabeated architecture while also deviating from the historicist, neo-Byzantine architectural style popular in Eastern Europe. Zenitism used indirect evocations of the Byzantine to create a dynamic Byzantine-modernist architecture, the study of which enriches discourse on tradition and the avant-garde in architecture.
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PATRICIOS, Nicholas Napoleon. "The Dome in Byzantine Church Architecture." Byzantina Symmeikta 30 (February 11, 2020): 85. http://dx.doi.org/10.12681/byzsym.20382.

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Ο τρούλλος ήταν ένα σημαντικό αρχιτεκτονικό χαρακτηριστικότόσο στη ρωμαϊκή όσο και στη βυζαντινή περίοδο. Υποστηρίζεται ότιυπήρξε συνεχιζόμενη ανάπτυξη της αρχιτεκτονικής μορφής και τουσυμβολισμού του τρούλλου μεταξύ των δύο περιόδων, αλλά με επέκτασητης τυπολογίας του και σημαντική ενίσχυση του συμβολισμού του στηνεκκλησιαστική αρχιτεκτονική της βυζαντινής εποχής. Στο ερώτημα τίδιακρίνει τον τρούλλο μεταξύ των δύο περιόδων, η απάντηση πρέπεινα αναζητηθεί κατά κύριο λόγο στην λειτουργία τους – στην χρήση τουτρούλλου στα κοσμικά κτήρια κατά την Ρωμαϊκή περίοδο σε σύγκριση μετα κατά κύριο λόγο θρησκευτικά κτήρια του Βυζαντίου. Ο τρούλλος δενείναι μόνο ένα σταθερό αρχιτεκτονικό χαρακτηριστικό των βυζαντινώνεκκλησιών διαφόρων αρχιτεκτονικών τύπων αλλά συγχρόνως φορτίστηκεμε συμβολικά και θεολογικά μηνύματα και θεωρήθηκε ότι συμβολίζει τονουρανό και τον παράδεισο, ενώ στον εσωτερικό διάκοσμο προσδόθηκε μυστικιστική σημασία
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4

Shrimplin, Valerie. "Borromini and the New Astronomy: the elliptical dome." Culture and Cosmos 08, no. 0102 (2004): 413–22. http://dx.doi.org/10.46472/cc.01208.0261.

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The cosmological view of the universe has frequently been reflected in art and architecture, especially in the cosmological symbolism attached to domed architecture, which relates to the traditional perception of the flat earth covered by the dome of heaven. Examples range from Byzantine churches to the revival of domed architecture during the Renaissance, and the decoration of the domes themselves also often alludes to astronomical symbolism. The reflection of contemporary perceptions of the universe in art developed dramatically during the Renaissance alongside the changing view of the universe, instigated by such thinkers as Copernicus, Kepler and Galileo. While Copernicus challenged the accepted order in his heliocentric system, Kepler further demonstrated that the ordering of the movement in the universe was in fact based on elliptical rather than perfect circular motion. Contemporary with Kepler’s writings, the work of the Baroque architect Borromini appears to have been influenced by the enormous changes in world view, cosmology and astronomy of the age. His major architectural works reflect seventeenth century scientific developments and are often based on schemes of mathematical precision. His use of the elliptical dome in preference to traditional classical and humanist precepts, such as the perfection of the circular form, appears to be related to the changing cosmological view and it seems unlikely to be a coincidence that that the predilection for elliptical domes in ecclesiastical architecture comes in at about the same time as Kepler.
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Fiorentino, Sara. "A Tale of Two Legacies: Byzantine and Egyptian Influences in the Manufacture and Supply of Glass Tesserae under the Umayyad Caliphate (661–750 AD)." Heritage 4, no. 4 (2021): 2810–34. http://dx.doi.org/10.3390/heritage4040158.

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The connection between Umayyad and Byzantine mosaic manufacture is a debated issue: on the one hand, Arab sources report that Umayyad caliphs received craftspeople and materials to adorn religious buildings from the Byzantine emperor; on the other hand, the reliability of these texts has long been disputed among scholars, and other possible influences have been hypothesised. Was early Islamic mosaic manufacture related to Byzantine tradition and to what extent? Were materials and artisans gathered from Byzantium and/or territories under the Byzantine control? Based on a multi-analytical approach, glass tesserae from Khirbat al-Mafjar, the Great Mosque of Damascus, and the Dome of the Rock have been analysed. Results speak of a tale of two legacies, demonstrating that, parallel to a continuity with the manufacture of glass tesserae in the late antique Levant—pointing, more specifically, to a re-use of materials from abandoned buildings—legacies other than Byzantine occurred. It emerged that Egypt definitively played a role in mosaic making during the Umayyad caliphate, acting as a supplier of skilled artisans and materials.
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Владимирова, Дарья Владимировна. "Иконографическая программа Кылычлар килисе и ее место в византийской традиции постиконоборческого периода". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 133–50. https://doi.org/10.18688/aa2414-2-10.

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The article presents a review of the iconographic program of Kılıçlar Kilise in Cappadocia set within the context of Byzantine monumental painting from the 9th to the 11th century. The analysis of the peculiarities of this program allows us to get a deeper understanding of the processes in Byzantine church decoration in the 9th–10th centuries. During that period some important iconographic developments took place that influenced the iconographic programs of the Late Macedonian and Comnenian periods but left no surviving traces in Constantinople. Kılıçlar Kilise reflects some crucial aspects of these processes. The decoration of its upper zone reflects two well-known types of the dome decoration of multi-domed churches in the metropolitan tradition. The prothesis reveals one of the earliest examples of the “Communion of the Apostles” in Byzantine monumental painting. The Christological cycle of Kılıçlar Kilise comprises two semantic zones: the “upper” zone contains the most significant Gospel scenes, while the “lower” zone provides additional compositions.
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Stanković, Nebojša. "Royal canopy over the church entrance: Forms, spatial contexts, iconographic programs, and meaning of the dome in Serbian narthexes of the 14th century." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 3 (2024): 309–47. http://dx.doi.org/10.5937/zrffp54-53038.

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The churches commissioned by King (later Emperor) Stephen Dušan, his important dignitaries, and later Serbian rulers-e.g., Holy Archangels near Prizren, Lesnovo, Hilandar, Markov Manastir, Ravanica, and Manasija-often have a narthex or an entrance porch covered by a dome. This architectural element is additionally emphasized by a specific program of painted decoration-as witnessed by several preserved ensembles-which, like the one in the nave's dome, contains some representation of Christ surrounded by members of the heavenly ranks. Through the choice of iconographic elements of Christ or accompanying personages, these compositions are often imbued with a royal subtext. Such an architectural and iconographic solution has its precedents in some Byzantine monuments from the 10th to the 12th century, of which the most important for the Serbian examples, as their potential models, are probably the Athonite katholika and the main church of the Pantokrator Monastery in Constantinople. The prevalence of this architectural element notably increased during the Late Byzantine period, particularly in political entities whose rulers sought independence and even aspired to imperial dignity, such as Epirus, which bordered the Serbian state, and later Mystra. In these Byzantine churches, the specific form of this micro-architectural feature and its strategic placement at the church entrance can be associated with imperial patronage and royal visits. Given the well-supported hypothesis that this paradigm was adopted into Serbian architecture with the same imperial connotation, this study examines its spatial, formal, and iconographic elements, along with its semantic and ideological context. The author's ongoing research of this phenomenon encompasses all preserved and relevant examples within the Serbian Empire, Byzantium, and the broader Byzantine world. However, for the purpose of this article, the discussion will be limited only to Serbian monuments, include an examination of their potential models, and underscore particular nuances in meaning exhibited by their spatial solutions and iconographic programs.
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Markovic, Marijana, and Bojana Stevanovic. "The painted program in the dome of the Church of St. George in Dobrilovina." Zograf, no. 42 (2018): 209–29. http://dx.doi.org/10.2298/zog1842209m.

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The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pec. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec.
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Zohidjon, Abdullayev. "CHURCH OF SAINT SOPHIA." EURASIAN JOURNAL OF SOCIAL SCIENCES, PHILOSOPHY AND CULTURE 3, no. 9 (2023): 28–31. https://doi.org/10.5281/zenodo.8347516.

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The Church of Saint Sophia, known as Hagia Sophia, is an architectural masterpiece and a symbol of profound spiritual significance. This article explores the historical journey of Saint Sophia, from its origins as a Byzantine cathedral to its transformation into an Ottoman mosque and, more recently, its return to religious function. Its architecture, characterized by a monumental dome and intricate mosaics, showcases Byzantine engineering brilliance. The spiritual significance of Saint Sophia transcends religious boundaries, symbolizing both Christian and Islamic faiths and embodying the shared heritage of multiple civilizations. Today, it stands as a testament to human creativity, history, and the enduring connection between the spiritual and the secular.
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Vojvodic, Dragan. "Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating." Zograf, no. 39 (2015): 177–92. http://dx.doi.org/10.2298/zog1539177v.

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Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century.
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Books on the topic "The Byzantine dome"

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Zeynep, Ögel, Tanman Gülru, Suna ve İnan Kıraç Vakfı., and Pera Müzesi, eds. Sur, kemer, kubbe: Osmanlı fotoğrafçılarının Gözüyle bizans İstanbulu = Wall, arch, dome : Byzantine İstanbul in the eyes of Ottoman photographers. Pera Müzesi, 2007.

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Gkioles, Nikolaos. Ho Vyzantinos troullos kai to eikonographiko tou programma: Mesa 6ou ai.-1204. Ekdoseis Kardamitsa, 1990.

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1898-, Torp Hjalmar, ed. The rotunda in Thessaloniki and its mosaics. Kapon Editions, 2017.

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Torp, Hjalmar. La Rotonde Palatine à Thessalonique: Architecture et mosaïques. Éditions Kapon, 2018.

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Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt--Landesmuseum für Vorgeschichte, ed. Von Byzanz nach Halberstadt: Der byzantinische Diskos des Halberstädter Domschatzes. Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt, Landesmuseum für Vorgeschichte, 2011.

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Sur, kemer, kubbe: Osmanlı fotoğrafçılarının Gözüyle bizans İstanbulu = Wall, arch, dome : Byzantine İstanbul in the eyes of Ottoman photographers. Pera Müzesi, 2007.

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Bogdanovic, Jelena. The Framing of Sacred Space. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190465186.001.0001.

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The Framing of Sacred Space offers the first topical study of canopies as essential spatial and symbolic units in Byzantine-rite churches. Centrally planned columnar structures—typically comprising four columns and a roof—canopies had a critical role in the modular and additive processes of church design, from actual church furnishings in the shape of a canopy, to the church’s structural core defined by four columns and a dome. As architectonic objects of basic structural and design integrity, canopies integrate an archetypical image of architecture and provide means for an innovative understanding of the materialization of the idea of the Byzantine church and its multifocal spatial presence. The book considers both the material and conceptual framing of sacred space and explains how the canopy bridges the physical and transcendental realms. As a crucial element of church design in the Byzantine world, a world that gradually abandoned the basilica as a typical building of Roman imperial secular architecture, the canopy carried tectonic and theological meanings and, through vaulted, canopied bays and recognizable Byzantine domed churches, established organic architectural, symbolic, and sacred ties between the Old and New Covenants. In such an overarching context, the canopy becomes an architectural parti, a vital concept and dynamic design principle that carries the essence of the Byzantine church. The Framing of Sacred Space highlights significant factors in understanding canopies through specific architectural settings and the Byzantine concepts of space, thus also contributing to larger debates about the creation of sacred space and related architectural “taxonomy.”
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Bogdanović, Jelena. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190465186.003.0001.

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The introduction outlines the broader archeological, visual, and literary evidence for canopies in the Byzantine ecclesiastical tradition and presents the importance of studies of canopies from archeological and architectural perspectives as a way to enhance our understanding of the idea of a Byzantine church. The discussion of canopies is focused on Byzantine tradition alone due to two major reasons. First is the need to present the empirical evidence on canopies, which would be difficult to illuminate if done across different cultures. Second highlights how the domed church, essentially an elaborated canopy, emerged as a recognizable building type in Byzantine architecture. By providing a short overview of the literature on canopies, the introduction emphasizes potentials of “soft” archeology and new methodologies in the studies of historical architecture that unveil Byzantine architecture beyond the building as a shelter for church services.
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Doquang, Mailan S. The Golden Vine. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190631796.003.0005.

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This chapter posits a relationship between the foliate friezes that proliferated in French churches in the wake of the First Crusade and the golden vine of Solomon’s Temple in Jerusalem. It argues that builders drew on textual descriptions of the Temple vine and on the golden vines inside the Umayyad Dome of the Rock in Jerusalem, a building conflated with the Temple, to forge and promote connections to the biblical model. Identifying foliate friezes as the golden vine not only provides a new perspective on a ubiquitous element in French church design, but it also brings to the fore meaningful points of contact between Western medieval, Byzantine, and Islamic art and architecture in an era of pilgrimage, crusading, and burgeoning global trade.
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Book chapters on the topic "The Byzantine dome"

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Macrides, †Ruth. "‘What I Want Is to Locate My Dome’." In Byzantium and British Heritage. Routledge, 2023. http://dx.doi.org/10.4324/9781351119825-6.

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Karydis, Nikolaos. "Domes in the Urban Skyline." In The Routledge Handbook of the Byzantine City. Routledge, 2023. http://dx.doi.org/10.4324/9780429203923-15.

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Jabi, Wassim, and Iakovos Potamianos. "Parameterizing the Geometry and Visualizing the Lighting Method of Byzantine Church Domes." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48496-9_14.

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Dimitriadis, Sotirios. "The Other Ayasofya: The Restoration of Thessaloniki’s Ayasofya Mosque, 1890–1911." In Hagia Sophia in the Long Nineteenth Century. Edinburgh University Press, 2024. http://dx.doi.org/10.3366/edinburgh/9781474461009.003.0006.

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The story of Thessaloniki’s Ayasofya mosque at the turn of the 20th century is indicative of the evolving (albeit contested) interpretations by Ottoman bureaucrats and intellectuals of the empire’s Byzantine heritage. Like its more famous namesake in Istanbul, the building was constructed by the Byzantines as the monumental church of Hagia Sophia, then converted by the Ottomans into a mosque in the early 16th century. Badly damaged by fire in 1890, the building remained a ruin for many years. Even as the city itself boomed, the mosque’s pious endowment was unable to raise the necessary funds for its restoration. As European Byzantinists, however, flocked to the city and debated the history of its monuments with local scholars, the restoration was taken over by the luminaries of the Imperial Museum, who set in motion an ambitious plan: restoring Ayasofya as an imperial mosque, and hosting Sultan Mehmet V for his Friday prayers during his state visit to Thessaloniki. In the process, architects restored and highlighted the building’s Byzantine decorative elements, including the magnificent mosaics of the dome and apse, which had been covered up at some point after the building’s conversion.
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Lewis, Bernard. "An Islamic Mosque." In From Babel to Dragomans. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195173369.003.0002.

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Abstract The Suleymaniye Mosque in Istanbul was begun in 1550 and completed in 1556. It is one of the supreme masterpieces of Mimar Sinan (c. 1489– 1588), by common consent the greatest of Ottoman architects. It bears the name of Sultan Suleyman, known to Europe as the Magnificent. His reign (1520–66) is generally regarded as the apogee of Ottoman Imperial greatness. The structure and decoration of this mosque, begun almost a century after the Turkish conquest of Constantinople, illustrate both the enrichment of Islam by earlier streams of tradition and the essential originality of its own religious and aesthetic creations. Though the mosque shows clear signs of both Persian and Byzantine influence, there is something distinctively and characteristically Ottoman in the harmonious contrast of minarets and dome, in the lightness of touch in the use of the dome itself, and in the spacious and elegant interior.
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Levy-Rubin, Milka. "The Coming of Islam." In The Oxford History of the Holy Land. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886866.003.0008.

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Abstract This chapter describes the changes which took place following the rapid conquest of the Holy Land, ruled previously for over 300 years by the Christian Byzantine Empire, by the followers of Muhammad’s newly founded religion (634‒640). It discusses the nature of the conquest (peaceful vs. violent), the establishment of Umayyad rule, and the construction of immediate symbols of Muslim power represented by monumental building projects such as the Dome of the Rock and the al-Aqsa mosque, the renovated road network, and the caliphal palaces. It then continues to survey the upheavals in the following centuries with the rise of the Abbasids, the Tulunids, and other dynasties, as well as the effects of the relationships of the Muslim rulers with the Byzantine Empire. The chapter reviews the significant impact the conquest had on various aspects of the lives of the local population. These include the creation of a special status of Ahl al-Dhimma (the protected people) or Ahl al-Kitab (people of the book) for the non-Muslim inhabitants, as well as various processes such as emigration, the rise of Arabic language and culture, conversion to Islam, and spatial Islamization of the Holy Land, and the impact these had on the life and culture of Christians, Jews, and Samaritans. All of these processes were greatly affected throughout the early Muslim period by various political conflicts both within the Muslim caliphate, as well as outside it.
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Romano, Dennis. "To Rialto." In Venice. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190859985.003.0002.

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Abstract This chapter begins with the Lombard invasions that sealed the division between mainland (Lombard) Venetia and maritime (Byzantine) Venetia which was part of the Exarchate of Ravenna. It shows how, unlike in earlier invasions, the displacement of persons from the mainland to the lagoon was permanent. People from various mainland towns established new settlements throughout the northern, central, and southern lagoon. The theological controversy over icons (iconoclasm) caused the residents of the lagoons to revolt against Byzantium and elect their first doge. It considers the power struggle between various elites within the lagoon community with shifting ties to the Carolingians and/or the Byzantines. It concludes with Charlemagne’s son Pepin’s unsuccessful invasion of the lagoon and the decision to move the capital of the lagoon to Rialto (Venice).
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"How Did Medieval Roman Women Get So Much Done?" In Byzantine Gender. Arc Humanities Press, 2019. http://dx.doi.org/10.2307/j.ctvmd8403.8.

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"Chapter 4. How Did Medieval Roman Women Get So Much Done?" In Byzantine Gender. ARC, Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9781641890175-006.

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Ousterhout, Robert G. "New Church Architecture and the Rise of Monasticism." In Eastern Medieval Architecture. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190272739.003.0014.

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By the end of the ninth century, Byzantium emerged from the Transitional Period as a smaller entity, limited for the most part to Turkey, Greece, and the southern Balkans. Society was also transformed, from open to closed, from public to private. A new type of church architecture emerged—small, centralized, and domed (the “cross-in-square” church type)—perfectly suited to the private worship of the family or the small congregation. The church’s spatial organization was matched by the development of a standardized decorative program (in mosaic or fresco) that reflected the hierarchy of Orthodox belief. Monasticism emerged as a major social force, although in contrast to Western Europe, Byzantine monasteries remained relative small, with an organization that resembled that of the household (oikos).
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Conference papers on the topic "The Byzantine dome"

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Spyrakos, Constantine C., Francesco Pugi, Charilaos A. Maniatakis, and Alessio Francioso. "EVALUATION OF THE DYNAMIC RESPONSE FOR A HISTORIC BYZANTINE CROSSED-DOME CHURCH THROUGH BLOCK-JOINT AND KINEMATIC ANALYSIS." In 5th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering Methods in Structural Dynamics and Earthquake Engineering. Institute of Structural Analysis and Antiseismic Research School of Civil Engineering National Technical University of Athens (NTUA) Greece, 2015. http://dx.doi.org/10.7712/120115.3543.1147.

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Meniku, Jonida, Daniela Kortoçi, and Loreta Çapeli. "Perspectives on knowledge, conservation and assessment of patrimonial zones in Durres (Venetian Tower)." In FORTMED2024 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.17947.

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The presence of seismically prone areas, like Durres City, always demands greater measures to protect the most important building heritage. During the last few years, since the earthquake occurred in Albania on November 26, 2019, considerable attention and assessment have been given to the recovery of historical, cultural, modern, educational, and environmental buildings. One of the largest cultural heritage programmes funded by the European Union is EU4Culture, implemented by the United Nations Office for Project Services (UNOPS) in close partnership with the Ministry of Culture of Albania, counting 24 Sites and 8 Municipalities targeted by the program. This research presents an overview of the damages in patrimonial zones in Durres, taken as a strategic value to support the local development and promote new forms of cultural and environmental tourism that allow to reconstruct and recover areas in a harmonious and balanced way, as illustrates the case of the Venetian Tower in Durrës, which was rebuilt in the XV century on Byzantine tower ruins. The restoration and consolidation allow the preservation of this fortification and its safe opening to the public. The renovation works focused on preserving the original features of the building and restoring key components, while fitting into contemporary standards. Question like: Is the intervention plan realised has reinterpreted the values of the patrimonial zones? follow the study analysis through making a detailed technical qualitative e.g., which were the solving structural problems, which were interventions on the dome highlighted by the simplicity of the volumes and materials, why removing the modern cement layers, why removing inadequate structures, and various other details produced from architectural and constructive components. The urban relationship between the tower and the modern surrounding context remains important; the fortress appears clearly detached but also closely linked with it. The methodology of the study is that of evidential, analytical and comparative description, focuses on and highlights its features and presents further current activities, including returning the Venetian Tower to the first Cultural Heritage Interpretation Centre in Albania. Through the study of the architectural and constructive characteristics of this tower, we want to highlight the signs of permanence and change over time and contribute to generating processes of conservation and revitalization of assets.
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3

Kuzmanovska, Jasminka. "JOŠ JEDNOM O MESAZONU: LEKSIČKI PRILOG KA TUMAČENjU VIZANTIJSKE SLUŽBE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.203k.

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In the article we’ve examined those examples from the Byzantine sources which ware, according to our opinion, essential for the most accurate conclusion concerning the term μεσάζων (μεσιτεύων) ‘mediator, envoy,’ We’ve concluded that the expression μεσάζων (μεσιτεύων), in a grammatical sense participle of denominative verbs μεσάζω / μεσιτεύω, originated from a very wide semantic field of Greek adjective μέσος ‘middle, cental’ and it is in a close connection with a Greek noun μεσίτης. The morphology and semantics of the participle clearly expressed, as well as syntax of the expressions in which it is used in primary sources that the mesazon, in its essence, is person who mediates, negotiates, participates in agreements, serves as a guarantor that a document is submitted to the Emperor or that some task has been done. Based on the use of the term in primary sources, we are prone to agree with those contemporary historians who believe that this was not a formal administrative function, but, more likely, service of chosen individuals very close to the Emperor and people of his greatest confidence performing this mediating duty according to a certain need and situation. At the same time most of them, before or at the same time, were engaged in another service or had some different responsibility in byzantine administration.
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Rokai, Melina. "KING MILUTIN NEMANJIĆ AND HIS WIFE ELIZABETH ÁRPÁD, THE CONNECTION BETWEEN EAST AND WEST IN THE TIME OF THE PALAEOLOGOS." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.121r.

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The paper aims to explore and present lives and relationship between Serbian King Stephen Uroš II Milutin and his wife Hungarian princess Elizabeth Árpád as the link between the East and West during the important reign of Paleologos dynasty in Byzantium. This will be done by looking at marital policies of Hungary, Serbia and Byzantium, the rela- tionship between Milutin and Elizabeth in the context of their respective previous ones, their later life and sainthood. The new possibility regarding the meaning of their daughter’s name was offered and new conclusion con- cerning Elizabeth’s place of burial is reached.
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5

Gavrilović, Anđela. "CONTRIBUTION TO THE STUDY OF THE SCENE OF BAPTISM OF CHRIST IN SERBIAN MEDIEVAL ART WITH SPECIAL INTEREST IN THE CHURCH OF SAINT NIKITA NEAR SKOPLJE (AROUND 1324; 1484)." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.733g.

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The subject of this paper is the motif of the stone slab (cheirograph) in the scene of Baptism in Serbian medieval monumental painting and on icons on which Christ stands and under which he suppresses serpent-like monsters: its iconography, literary sources and meaning (ill. 5). The article represents the first study of the issue of cheirograph in Baptism scenes in Serbian medieval art from its beginning until the end of the art done in the Byzantine tradition (1800). It provides the survey of the chosen examples of this motif and explains the nuances in the meaning of both the Baptism scene itself and its relation to the painted decorations of each monument (ill. 1–4, 6–9). Special attention is given to the motif of the stone slab in the church of Saint Nikita in Skoplje, the foundation of king Milutin (built: 1299/1300 –1308; decorated with frescoes: around 1324; 1484; 1846).
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