From Persecuted Minority to Confessional Church

2015 ◽  
Vol 49 (2-3) ◽  
pp. 322-337
Author(s):  
Georg Michels
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Teaching Methods ◽  
School System ◽  
Community Leaders ◽  
Founding Fathers ◽  
Old Believers ◽  
The Third ◽  
Elite Culture ◽  
Popular Movement

The essay argues that Old Belief did not emerge as a popular movement giving voice to the aspirations of ordinary Muscovites but rather as an elite culture that drew its inspiration from erudite churchmen closely affiliated with the Kremlin. The popularization of Old Belief occurred only during the last two decades of the seventeenth century, and was not completed even until the third decade of the eighteenth century. Most important in this process – which one might call the confessionalization of Old Belief – were the systematic dissemination of manuscripts, the canonization of Old Believer saints (such as the martyred Avvakum), and the development of an efficient school system. The author draws attention to the little-studied fact that Old Believers – both the founding fathers of the 1650s and eighteenth-century community leaders such as Andrei Denisov – drew inspiration from Ukrainian Orthodox models: they assimilated ideas from polemical texts against the Union of Brest (such as the idea of the Antichrist) and adopted the teaching methods of the Ukrainian seminary school which Denisov and other Old Believer intellectuals observed while studying at the Kievan Theological Academy.

Cromwell Mortimer, F. R. S. ( c . 1698-1752) and the invention of the metalline thermometer for measuring high temperatures

1969 ◽  
Vol 24 (1) ◽  
pp. 113-135 ◽  
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
High Temperatures ◽  
Boiling Point ◽  
Early Years ◽  
Fourth Degree ◽  
The Third ◽  
Upper Limit

Although the liquid-in-glass thermometer came into use either in the last decade of the sixteenth or during the early years of the seventeenth century (1), it was not until the eighteenth century that reproducible scales of temperature were established, arising from the work of Fahrenheit (2), Reaumur (3) and Celsius (4). So far as eighteenth-century chemists were concerned, the upper limit of temperature to which the liquid-in-glass thermometer could be used was set by the boiling point of mercury, at that time assumed to be 600 °F (5). In the latter half of the seventeenth century any temperatures attained in chemical operations could be indicated only by reference to a scale comprising some seven ‘degrees of heat’. In the middle to upper ranges, for example, to quote from Glaser’s The Compleat Chymist , the third ‘degree’ was that of hot ashes; the fourth ‘degree’ was that of hot sand, and the fifth that of hot iron filings; the sixth ‘degree’ was attained in the closed reverberatory charcoal fire, and the seventh and highest ‘degree’ was the ‘Flaming-Fire or Fire of Fusion’, made with wood or charcoal (6).

The Hermeneutical Rehabilitation of Supposition Theory in Seventeenth-Century Protestant Logic

Vivarium ◽  
2013 ◽  
Vol 51 (1-4) ◽  
pp. 464-481 ◽  
Author(s):  
Stephan Meier-Oeser
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Early Modern ◽  
Semantic Function ◽  
The Third ◽  
Textual Interpretation ◽  
Supposition Theory

Abstract The paper focuses on some aspects of the early modern aftermath of supposition theory within the framework of the protestant logical tradition. Due to the growing influence of Humanism, supposition theory from the third decade of the sixteenth century was the object of general neglect and contempt. While in the late sixteenth-century a number of standard textbooks of post-Tridentine scholastic logic reintegrated this doctrine, although in a bowdlerized version, it remained for a century out of the scope of Protestant logic. The situation changed when the Strasburg Lutheran theologian J.C. Dannhauer, who in 1630 developed and propagated the program of a new discipline which he called ‘general hermeneutics’ (hermeneutica generalis), accentuating the importance of supposition theory as an indispensable device for the purpose of textual interpretation. Due to Dannhauer’s influence on later developments of hermeneutics, which in the seventeenth and early eighteenth centuries was regarded as a logical discipline, supposition theory is still present in several logical treatises of the eighteenth century. The explication of the underlying views on the notion of supposition and its logico-semantic function may give at least some clues as to how to answer the question of what supposition theory was all about.

The Irish Priest in North America

1989 ◽  
Vol 25 ◽  
pp. 311-352
Author(s):  
Owen Dudley Edwards
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
North America ◽  
Roman Catholic ◽  
The United States ◽  
Frederick Jackson Turner ◽  
Catholic Clergy ◽  
The Third ◽  
Major Significance

To assert at the outset of this study, as I do, that the task before me is both impossible and essential, may be justly proclaimed a proceeding both cowardly and obvious. We are principally concerned with the nineteenth century, but the twentieth century prolonged many of the features of Irish Roman Catholic clerical identity of the nineteenth, in North America as elsewhere. Vitally important patterns and castes (social and mental) were established in the eighteenth century, and the first Irish-American Roman Catholic priestof major significance in the United States, John Carroll (1735-1815), first Roman Catholic bishop in the U.SA and first archbishop of Baltimore, owed his American birth initially to migration of his father’s kinsmen in the late seventeenth century. Anglophone North America from 178 3 consisted of two political obediences, with similarities and contrasts both subtle and, at least superficially, forceful. The huge and consistently expanding area of white settlement in North America in which the Irish Catholic clergy participated, created other great divergences: when American historians at the end of the nineteenth century under the influence of figures as divergent as Frederick Jackson Turner of the ‘frontier thesis’, Ulrich Bonnell Phillips of slavery apologetics, and Alfred Thayer Mahan of sea-power celebration, looked to environmentalism as the chief explanation of the American past, they may have oversimplified—indeed, they did oversimplify—but their sheer preoccupation with the question gives its own warnings against a filio-pietism which chooses to see an Irish ethnic character resolutely asserting itself to the third, fourth, and even later generations.

‘The Mother of God’:Frank and the Russian Sectarians

2015 ◽  
pp. 237-257
Author(s):  
Ada Rapoport-Albert
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Russian Empire ◽  
Russian Orthodox ◽  
Russian Government ◽  
Russian Orthodox Church ◽  
Old Believers ◽  
Border Regions ◽  
The Russian Empire ◽  
Northern Russia

This chapter mentions the scholars of hasidism, the school of spirituality initiated by Israel Ba'al Shem Tov, that have occasionally noted certain parallels between the hasidic movement and the various sects that emerged in early modern Russia. It talks about the Old Believers' faction that seceded from the Russian Orthodox Church at the time of the schism of the second half of the seventeenth century. It also highlights the sects and others whose origins are obscure and independent of the Raskol, which proliferated in the course of the eighteenth century and spread primarily within the rural population of the Russian empire. The chapter discusses the Russian government that endeavoured to suppress Old Believers, making them leave their districts of origin in northern Russia and flee to the border regions of the empire. It recounts the sectarians that settled in Ukraine during the same time that the hasidic movement was getting under way.

Introduction

2020 ◽  
pp. 1-8
Author(s):  
J. R. Oldfield
Keyword(s):  
Eighteenth Century ◽  
Public Debate ◽  
Reform Movement ◽  
Consumer Society ◽  
Popular Politics ◽  
Organizational Skills ◽  
The Third ◽  
Popular Movement ◽  
Simple Question ◽  
Shifting Attention

This is the third book in a trilogy that began with Popular Politics and British Anti-Slavery (1995).1 Two broad themes have been at the heart of this endeavour. The first is opinion-building. Popular Politics sought to answer a simple question: how did eighteenth-century activists turn an idea into a successful popular movement? Creating a constituency for abolition, especially at a period when transatlantic slavery was considered a necessary adjunct of empire, demanded skill and ingenuity. It also required highly developed organizational skills and an eye for business. Anti-slavery activists cleverly exploited an expanding consumer society to push their ideas and values, as well as their insistent demands, from the periphery to the centre of public debate. In the process, they helped to make abolition fashionable, Josiah Wedgwood’s famous cameo of the kneeling slave being an obvious case in point. Cheap disposable literature, inertia selling and the innovative use of images and image-making, all excited an interest in anti-slavery that found expression in mass petitioning and the emergence of the first modern reform movement. By shifting attention away from the narrow confines of Westminster, ...

ONE MORE TIME: J. S. BACH AND SEVENTEENTH-CENTURY TRADITIONS OF RHETORIC

2008 ◽  
Vol 5 (2) ◽  
pp. 179-208 ◽  
Author(s):  
BETTINA VARWIG
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Large Scale ◽  
The Third ◽  
The Past ◽  
Starting Point

ABSTRACTAlthough the question of a connection between Bach’s music and the discipline of rhetoric has been raised repeatedly in the past, the proposed solutions have rarely taken into account the particular kind of rhetorical thinking prevalent in the eighteenth century. In this article, I show that a notion of rhetoric initially developed by Erasmus of Rotterdam and perpetuated in seventeenth-century writings, which focused on argumentative procedures involving variation and amplification, continued to underlie poetic and musical theory in Bach’s time. By articulating fundamental creative patterns that came to underpin a variety of disciplines, this Erasmian model can provide the starting-point for a reassessment of rhetorical techniques in Bach’s music, shifting the focus from isolated moments of affective decoration to the formal-expressive trajectories that shape the layout of whole pieces. Constituted in the interplay of compositional processes and their listening reception, these trajectories emerge as the result of the skilful arrangement of musical phrases into individual and flexible large-scale designs that often leave aside or undercut the supposed structural conventions of concerto or aria forms. The first movement of the third ‘Brandenburg Concerto’, bwv1048, serves as an example of how an awareness of these seventeenth-century rhetorical and musical legacies makes possible a thorough reconsideration of Bach’s compositional strategies.

scholarly journals The Iconography of the Altars of St Trinity Church of the Former Bernardine Convent in Kaunas from Seventeenth Century to 1864: The Outline of Research

Menotyra ◽  
2021 ◽  
Vol 27 (4) ◽  
Author(s):  
Aušra Vasiliauskienė
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Virgin Mary ◽  
Third Order ◽  
Holy Trinity ◽  
The Third ◽  
Religious Devotion ◽  
Early Eighteenth Century ◽  
Grand Duchy Of Lithuania ◽  
The Church

The article analyses the iconographic programme of the altars of St Trinity Church of the convent of former Bernardine nuns (Sisters of the Third Order of St Francis) in Kaunas until its closure in 1864 and reveals the expression of the spirituality of this order in the sacral art as far as the surviving few sources and heritage allow. In order to achieve the goal, the following objectives were established: (1) to reconstruct the old interior of the altar ensemble, (2) to reveal the most important peculiarities of the Bernardines’ spirituality, and (3) to highlight the logical connections between art and Bernardine spirituality in church art through the icono-theological approach. Scarce earliest sources indicate that the most venerated representation of the Virgin Mary and the relics of the True Cross were in the church in the first half of the seventeenth century, and the Feast of the Discovery and Exaltation of the Holy Cross was celebrated. These hints suggest that piety to the Crucifix and the Mother of God was prevalent at that time. The cult of the Crucifix is associated with the common origin of Franciscan religious devotion, which encourages following the example of St Francis by contemplating the suffering of Jesus Christ. Also, it is not difficult to infer that based on the name of the church, the high altar should have been dedicated to the Holy Trinity; therefore, there should have been appropriate piety practices. It is believed that the fraternity of the Holy Trinity was active from the time of the completion of the church. The main accents of iconography of the altars of the Bernardine Church in Kaunas were formed after the disasters in the mid-seventeenth century, the last fire in 1668. The Holy Trinity was the dominant accent of piety. A painting dated to the early eighteenth century that reflects the post-Tridentine recommendations for visual arts decorated the high altar of the same name. In the early eighteenth century, the exceptional piety to St Joseph also gains prominence: in 1703, the fraternity of St. Joseph was established and a separate altar was dedicated to this saint. The feasts of the Holy Trinity and St Joseph were celebrated. It is believed that the Bernardine nuns in Vilnius, who had settled in the city a little earlier, influenced the piety to the Holy Trinity. A highly developed and majestic iconography distinguished their high altar, visually emphasising the figure of the Crucifix. The exceptional piety of the Bernardine nuns of Krakow to St Joseph influenced the cult of this saint. The first Bernardine nuns came to Lithuania from Krakow and, without doubt, the Lithuanian nuns must have kept in touch with the nuns from Krakow. Devotion to the Virgin Mary and the Crucifix was further developed. Two altars in the church were dedicated to the Mother of God (Mary, Consoler of the Afflicted and Our Lady of Sorrows); also, there were altars of Jesus at the Pillar and the Crucifix. The relics of the True Cross preserved and venerated in the altar of the Crucifix are mentioned from the first half of the seventeenth century. The Feast of the Discovery and Exaltation of the Holy Cross was celebrated. The Bernardine nuns venerated the Franciscan saints and close followers and brothers of St Francis. This is confirmed by the altars of St Francis of Assisi (stigmatisation plot), St Clare, and St Anthony of Padua in the church. A closer study into the lives of the lesser-known saints who can be easily confused with other popular saints of the same name revealed a rich gallery of Franciscan saints, especially females, among them. Bernardine nuns had a separate altar and a feast dedicated to St Elizabeth of Hungary, the patron of the Third Order of St Francis and one of the most venerable followers of the example of St Francis’ life. In the context of other Bernardine monasteries in the Grand Duchy of Lithuania, the Bernardine nuns in Kaunas stood out for their veneration of this saint. Bernardine nuns also distinguished St Rose of Viterbo, St Agnes of Assisi, and St Barbara, whose cult is associated with active devotion of the Lithuanian Bernardines to this saint. The iconography of the Bernardine Church was influenced by the Convent of St George the Martyr in Kaunas, whose church was naturally richer and whose iconographic programme covered a broader spectrum. Interestingly, it also contained images or sculptures of all the above-mentioned saints associated with the Franciscan Observants, including the female saints lesser known to other communities of believers, while individual altars were dedicated to St Rose from Viterbo and St Barbara. The ensemble of church altars, which had been gradually evolving from the seventeenth century, and the practices of piety hardly changed until the closure of the convent in 1864. It is unfortunate that due to the lack of sources, many assumptions and questions remain, and one can only hope that further research into the interior of the church will lead to more discoveries.

Międzybóż

2013 ◽  
pp. 63-82
Author(s):  
Moshe Rosman
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Jewish Community ◽  
Private Life ◽  
Public And Private ◽  
The Third ◽  
Childhood Home ◽  
The Town ◽  
New Criteria ◽  
Public Career

This chapter describes the development and relative prosperity of Podolia during the Besht’s lifetime in the three Podolian locales with which his life is most closely associated. First is his reported childhood home and birthplace, Okopy, and second is his later residence, Tluste. The third locale is the place where he spent most of his public career, Miçdzyboz. The chapter provides an understanding of the context of the Besht’s public and private life in Miçdzyboz and gives new criteria for linking and assessing the sources about him. Hundreds of documents relating to Miçdzyboz in the late seventeenth century and first half of the eighteenth century have been preserved in the archive of the families that owned the town, the Sieniawskis and Czartoryskis. It explains how some of the archival sources facilitate understanding of the circumstances in Miçdzyboz and within its Jewish community during the period the Besht lived there.

Designing a New Fort on the Gold Coast: Johan Fredrik Trenks, the WIC, and the New Fort at Takoradi, 1774–1791

Itinerario ◽  
2016 ◽  
Vol 40 (3) ◽  
pp. 523-547
Author(s):  
Erik Odegard
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Gold Coast ◽  
Design Evaluation ◽  
Decision Making Process ◽  
Original Design ◽  
The Third ◽  
West India Company ◽  
Complex Project ◽  
Made In

This article examines the decision-making process for a new fort which the Dutch West India Company proposed to build near Takoradi in present-day Ghana in the third quarter of the eighteenth century. By closely following the process of design, evaluation, and redesign of the fort, this article argues that the WIC was institutionally incapable of coordinating and carrying out such a complex project. The original design for the new fort was made in 1774 by Johan Frederik Trenks, a Silesian-born engineer who, as it turned out, was not current with modern design practices and used Dutch examples from the first half of the seventeenth century. The design was sent to the Netherlands for evaluation and returned with scathing criticism. The long, drawn-out process of design, evaluation, and redesign of what was after all a relatively small fort show the institutional paralysis of the WIC in the years leading up to the Fourth Anglo-Dutch War (1780–84). Though the fort would never be completed, construction did begin shortly before the war. The conflict, followed shortly thereafter by the dissolution of the WIC, meant the project would never be completed.

'In de commode van Parijs tot Den Haag' Matthijs Horrix (1735 -1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw

1993 ◽  
Vol 107 (2) ◽  
pp. 161-256
Author(s):  
R.J. Baarsen
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
The Netherlands ◽  
City Council ◽  
The Third ◽  
Late Eighteenth Century ◽  
The Common ◽  
The Hague ◽  
Set Up ◽  
The City

AbstractSince 1988, when this journal carried an article on Andrics Bongen (ca. 1732-1792), probably the first cabinet-maker in Amsterdam to have made marquetry furniture in the French style in the third quarter of the eighteenth century, not one item has been added to his small oeuvre. It is therefore still not clear whether Bongen had a long and successful career, nor whether his production was large. This article deals with the eighteenth-century activities of Matthijs Horrix (1735 -1809), a furniture maker who in certain aspects may be regarded as Bongen's Hague counterpart. He, too, hailed from Germany, set up independently in the Netherlands in the 1760s and worked in the French style from the outset of his career. There are however no doubts as to bis success : he was The Hague's best-known furniture maker in the late eighteenth century, with the largest workshop. In the course of the nineteenth century the firm he founded grew into the largest in the Netherlands (note 4). Whereas it cannot be ascertained whether 'French' cabinet-making was ever a dominant trend in Amsterdam, one gets the impression that such was to some extent the case in The Hague after 1760. In the city where the Stadholder's court and foreign embassies were based, the French-oriented court style had been a significant factor since at least the late seventeenth century (notes 5, 6 and 8). Many patrons in The Hague were probably keen on furniture which actually came from France. In 1771 the guild of furniture makers complained to the city council about the influx of furniture imported from abroad; this probably meant imports from France (notes 9 and 10). Several furniture makers in The Hague began to imitate the French models. As early as 1761 Matthijs Franses (ca. 1726-1788), who came from Kempen near Krefeld, advertized that he made and sold a variety of veneered furniture in the French style. His descriptions are not very clear, but mention is made of commodes and tables inlaid with copper (in the Boulle technique?), commodes 'à la Diligence' with gilded bronze mouldings and marble tops, desks and 'Ouvrages en ébène'. Franses says nothing about marquetry featuring different kinds of wood, the most popular decorative technique in Paris around 1760 and the kind of work with which Bongen made his debut in Amsterdam in 1766. It seems likely that Horrix arrived in The Hague around 1761. He was born in 1735, probably in Lobberich near Krefeld (note 25). In a petition submitted in 1764 he stated that he had been apprenticed to a cabinet-maker in The Hague 'for some years'; the period in question was probably not longer than three years (notes 26 and 27). At the beginning of this period, then, Horrix was already 25 years of age or older. In view of the common practice throughout Europe for boys to be apprenticed to a craftsman at the age of fourteen or thereabouts for a period of some six years (note 28), Horrix may have worked in one or more shops elsewhere after his apprenticeship and before his arrival in The Hague. However, no information about this period is available. On May 15 1764, Horrix was enrolled in the Hague guild as a master cabinet-maker (note 33). On January 9th of that year he had acquired citizenship, and on May 5th he had married Elisabeth de la Fosse of The Hague. The wedding was witnessed by

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