An Inventory of Choirbooks At S. Maria Maggiore, Bergamo, January 1628

1965 ◽  
Vol 5 ◽  
pp. 47-50
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Northern Italy ◽  
Santa Maria ◽  
The Church ◽  
Made In

Santa Maria Maggiore at Bergamo was one of the principal churches at which music was made in early seventeenth-century northern Italy. It had built up a considerable reputation in the sixteenth century which was continued into the next under a succession of prominent musicians, the most important of whom was Alessandro Grandi. He occupied the post of maestro from 1627 to 1630, and, as with every newly appointed choirmaster, the choir's accumulated repertory was formally consigned to him. The documents of consignment are preserved in a volume marked Inventarium (LXXIX-1) in the archives of the Misericordia Maggiore, which ran the church. I now print below the inventory that Grandi signed in 1628 – the first one of the seventeenth century; it is on ff. 129v-130 of the Inventarium. I have set it out unedited in the layout in which it appears there.

Hymnody and Liturgy

2019 ◽  
pp. 491-506
Author(s):  
Jonathan Hehn
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
North American ◽  
John Calvin ◽  
Church Of Scotland ◽  
Metrical Psalmody ◽  
History Of ◽  
The Church

This chapter outlines the history of Presbyterian worship practice from the sixteenth century to the present, with a focus on North American Presbyterians. Tracing both their hymnody and their liturgy ultimately to John Calvin, Presbyterian communions have a distinct heritage of worship inherited from the Church of Scotland via seventeenth-century Puritans. Long marked by metrical psalmody and guided by the Westminster Directory, Presbyterian worship underwent substantial changes in the nineteenth century. Evangelical and liturgical movements led Presbyterians away from a Puritan visual aesthetic, into the use of nonscriptural hymnody, and toward a recovery of liturgical books. Mainline North American and Scottish Presbyterians solidified these trends in the twentieth and twenty-first centuries; however, conservative North American denominations and some other denominations globally continue to rely heavily on the use of a worship directory and metrical psalmody.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals El refugio cultural festival, graffiti and urban art in the historic centre of puebla in Mexico

2021 ◽  
pp. 91-111
Author(s):  
Gustavo Valencia Jiménez ◽  
Adriana Hernández Sánchez ◽  
Christian Enrique De La Torre Sánchez
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Government Support ◽  
Private Companies ◽  
Private Space ◽  
Urban Art ◽  
Historic Centre ◽  
The Government ◽  
The City ◽  
The Church

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, “a den of thieves” (Leicht). The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

‘The Good Old Way’: Prayer Book Protestantism in the 1640s and 1650s

2004 ◽  
Vol 38 ◽  
pp. 233-256
Author(s):  
Judith Maltby
Keyword(s):  
Seventeenth Century ◽  
Civil War ◽  
Sixteenth Century ◽  
Church Of England ◽  
Late Medieval ◽  
Prayer Book ◽  
Medieval Church ◽  
Continued Use ◽  
Common Prayer ◽  
The Church

Between 1640 and 1642 the Church of England collapsed, its leaders reviled and discredited, its structures paralysed, its practices if not yet proscribed, at least inhibited. In the years that followed, yet worse was to befall it. And yet in every year of its persecution after 1646, new shoots sprang up out of the fallen timber: bereft of episcopal leadership, lacking any power of coercion, its observances illegal, anglicanism thrived. As memories of the 1630s faded and were overlaid by the tyrannies of the 1640s … the deeper rhythms of the Kalendar and the ingrained perfections of Cranmer’s liturgies bound a growing majority together.Professor John Morrill, quoted above, has rightly identified a set of historiographical contradictions about the Stuart Church in a series of important articles. Historians have until recently paid little attention to the positive and popular elements of conformity to the national Church of England in the period before the civil war. The lack of interest in conformity has led to a seventeenth-century version of the old Whig view of the late medieval Church: the Church of England is presented as a complacent, corrupt, and clericalist institution, ‘ripe’ – as the English Church in the early sixteenth century was ‘ripe’ – to be purified by reformers. However, if this was the case, how does one account for the durable commitment to the Prayer Book demonstrated during the 1640s and 1650s and the widespread – but not universal – support for the ‘return’ of the Church of England in 1660?This paper contributes to the larger exploration of the theme of ‘the Church and the book’ by addressing in particular the continued use by clergy and laity alike of one ‘book’ – the Book of Common Prayer – after its banning by Parliament during the years of civil war and the Commonwealth.

scholarly journals Profit ‘That is Condemned by the Word of God’: John Jewel’s Theological Method in His Opposition to Usury

Perichoresis ◽  
2015 ◽  
Vol 13 (1) ◽  
pp. 39-56
Author(s):  
André A. Gazal
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Of England ◽  
Theological Method ◽  
Word Of God ◽  
Church Fathers ◽  
The Subject ◽  
Church Councils ◽  
The Church ◽  
Christian Society

Abstract John Jewel, regarded as the principal apologist and theologian for the Elizabethan Church, was also esteemed as one of England’s most important (if not the most important) authority on the subject of usury, and therefore was cited frequently by opponents of usury towards the end of the sixteenth century and throughout the seventeenth century. One of the most sustained interpretations of Jewel as a theologian on the subject of usury was by Christoph Jelinger, who observed that the late bishop of Sarum employed the same theological method in opposing usury as he did in defending the doctrines and practices of the Church of England against its Catholic opponents, that is, by appealing to the Scriptures, the Church Fathers, Church Councils, and the example of the primitive church. This article seeks to confirm the opinion of Jelinger, and in doing so show that Jewel’s opposition to usury stemmed primarily from the conviction that it was both a vice and heresy that eroded the unifying attribute of Christian society which was love.

A Breton Adventurer in Naples

1951 ◽  
Vol 19 ◽  
pp. 154-159
Author(s):  
S. F. Bridges
Keyword(s):  
Seventeenth Century ◽  
Fourteenth Century ◽  
Present Writer ◽  
The South ◽  
The West ◽  
British School ◽  
South Wall ◽  
Santa Maria ◽  
The Church

The purpose of this note is to discuss a late fourteenth-century tomb slab in the church of Santa Maria della Incoronata in Naples. In the course of collecting material for a study of the medieval tombs of Naples, which the Director of the British School at Rome and the present writer are preparing, this tomb, which is in many ways eccentric to the rest of the series, seemed of sufficient interest to merit treatment on its own.The slab (pl. XXI, 1), of Greek marble, now stands on end, together with six others, against the south wall of the west aisle. When Cesare d'Engenio saw it in the early seventeenth century it was still in situ in the floor of the same aisle. The figure is carved in low relief beneath a delicately traceried canopy with pinnacles and spiral columns, the whole set within a rectangular inscribed frame.

scholarly journals Metamorphoses of ascetic texts in some depictions of St. Cyriacus the anchorite in the Balkans from the thirteenth to the seventeenth century

Zograf ◽  
2018 ◽  
pp. 155-164
Author(s):  
Tsvetan Vasilev
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Linguistic Analysis ◽  
Wall Painting ◽  
The Balkans ◽  
Final Destination ◽  
Textual Source ◽  
The Church ◽  
The Way

The text presents several unpublished Greek inscriptions written on the scrolls of St. Cyriacus the Anchorite from Bulgaria. The main focus falls on an inscription from the narthex of the Rozhen Monastery (sixteenth century) and its identification; parallel inscriptions observed in Athonite monasteries are discussed too. A second group of inscriptions from Bulgaria and Macedonia are also discussed, with a stronger focus on an inscription in the church St. Apostles Peter and Paul in Veliko Tarnovo. The linguistic analysis attempts to discern the patterns by which such ascetic texts are visualized and transformed along the way from their original textual source to their final destination - the wall painting.

The Church and Russian Foreign Policy, 1480–1725

2020 ◽  
Vol 54 (1-3) ◽  
pp. 7-50
Author(s):  
Paul Bushkovitch
Keyword(s):  
Foreign Policy ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Fifteenth Century ◽  
Orthodox Church ◽  
War And Peace ◽  
Russian Foreign Policy ◽  
Rhetorical Style ◽  
The Church ◽  
Distinct Role

Abstract Russian historians have traditionally seen the church as merely the handmaiden of the state. Yet in the realm of foreign policy the heads of the Orthodox Church in Russia played a distinct role from the end of the fifteenth century to peter’s time. They were participants in the most important decisions (though not in routine affairs), especially about war and peace. In wartime the metropolitans and bishops produced exhortations to the army. In the sixteenth century these were not only calls to fight the infidel but frequently sermons to the Russians to be better Christians. After the mid-seventeenth century the sermons at the time of war, now in Western rhetorical style, came from a wider group of clergy and were more uniformly calls to fight for Orthodoxy. In Peter’s time such sermons became secular justifications for the wars.

scholarly journals San Norberto en algunas estampas flamencas del siglo XVII = Saint Norbert in some Flemish Engravings of the Seventeenth Century

2018 ◽  
pp. 301
Author(s):  
Juan Isaac Calvo Portela
Keyword(s):  
Seventeenth Century ◽  
Crucial Role ◽  
Religious Order ◽  
New Model ◽  
German Origin ◽  
The Church ◽  
Sobre Todo ◽  
Made In

El interés de la historiografía artística española por las representaciones del santo de origen alemán, san Norberto, ha sido muy escaso. De ahí el interés de este artículo en el que abordamos el estudio de una serie de estampas de este santo, realizadas en Amberes a lo largo del siglo XVII. Como otros santos de medievales canonizados al calor del Concilio tridentino, se debido a que respondía al nuevo modelo de santidad defendido por la Iglesia: fue predicador de Amberes, fundador de una orden religiosa, defensor de la Eucaristía y se enfrentó al hereje Tanchelino. Todos ellos aspectos que vemos captados en estas estampas amberinas. También abordamos el papel crucial que tuvo el convento premostratense de San Miguel de Amberes, sobre todo gracias al abad Jan Chrisostomus van der Sterre que encargó muchas de ellas.The interest of the Spanish artistic historiography for the representations of the Saint of German origin, Saint Norbert, has been very scarce. Hence the interest of this article in which we address the study of a series of prints of this saint, made in Antwerp throughout the seventeenth century. Like other medieval saints canonized in the heat of the Tridentine Council, it was because he responded to the new model of sanctity defended by the Church: he was preacher of Antwerp, founder of a religious order, defender of the Eucharist and faced the heretic Tanchelino. All of them aspects that we see captured in these amberine prints. We also addressed the crucial role played by the Premonstratensian convent of San Miguel de Antwerp, especially thanks to the abbot Jan Chrisostomus van der Sterre, who commissioned many of them.

Justice, Authority and the Creation of the Ancien Rgime in Italy

1984 ◽  
Vol 34 ◽  
pp. 71-89
Author(s):  
Judith A. Hook
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Historical Development ◽  
Medieval Italy ◽  
The Creation ◽  
City States ◽  
Corporate State ◽  
The City ◽  
The Church ◽  
Grand Duchy

IN the fifteenth and particularly in the sixteenth century one obvious casualty of historical development was the corporate state, embodied in the city states and communes of medieval Italy. Whether conquered by powerful foreign powers, or succumbing to the attractions of a locally-based signore, with the notable, and frequently-lauded, exception of Venice, whose proudest boast remained that her affairs were governed with laws, all the Italian communes had collapsed by the beginning of the seventeenth century and the norm of political organisation had become the highly centralised, absolutist monarchy, typified by the Church State, the Grand Duchy of Tuscany, and the Duchy of Savoy.

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