scholarly journals Thirteenth Century wall paintings in the churches of Rhodes

2016 ◽  
Author(s):  
Κωνσταντία Κεφαλά (Konstantia Kefala)
Keyword(s):  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
Chronological Order ◽  
13Th Century ◽  
Artistic Production ◽  
Saint John ◽  
The Town ◽  
The Church

The study focuses on the monumental painting of the island of Rhodes, Greece, during the 13th century and specifically from the year 1204, when the Byzantine official Leo Gabalas took over the administration of the island, until the arrival of the Knights of Saint John in 1309. The remains of the artistic production are located in six churches in the town and the countryside of Rhodes. The monuments in question are presented in chronological order. After the detailed description and iconographic examination follows the stylistic analysis of the murals along with the proposed dating. In particular, the study deals with the frescoes of Saint Phanourios in the Medieval Town of Rhodes, of the monastery of the Archangel Michael at Thari, of Saint John the Theologian at “Koufas” in Paradeissi, of + Saint Nicetas in Damatria, of Saint George Vardas in Apolakkia and of Saint George in Asklepeio. Two sections in the unit on the church of Saint George Vardas were expanded because of their special interest: one concerns the epithet Panagia Akedioktene which accompanies the representation of the Virgin Glykophilousa and the other deals with the iconography and local cult of Saint Philemon, given his representation in the church. Given that the paintings of the church of Saint George Kounaras at Asklepeio is ascribed to the same hand as that of Saint George Vardas, the painter’s style in both monuments and the particularities of his art are examined in a special chapter. In the final part of the book is developed the overall consideration of the artistic production: the structure and order of the iconographic programmes are assessed, some interesting issues of iconography are discussed, as well as matters concerning the donors of the churches. The stylistic trends are analysed, compared with monuments from other Dodecanese islands and within the artistic currents of the first and second half of the 13th century.

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 Seal-die of Prince Lazar from Rudnik

Starinar ◽  
2016 ◽  
pp. 161-171
Author(s):  
Dejan Radicevic ◽  
Ana Cicovic
Keyword(s):  
Roman Catholic ◽  
Central Field ◽  
Market Place ◽  
13Th Century ◽  
15Th Century ◽  
Concentric Circles ◽  
The Town ◽  
Large Building ◽  
Bear Witness ◽  
The Church

The medieval settlement on the Rudnik Mountain was established, most probably, in the final decades of the 13th century. Soon it evolved into one of the best known mining and commercial centres in the Serbian state and reached its peak during the 14th and in the first half of the 15th century. The importance of Rudnik in the medieval period is confirmed by numerous material traces in the field. The most important discoveries in the course of archaeological investigations carried out since 2009 have been encountered in the area called Drenje, not far from the centre of the town of Rudnik (figs. 1, 2).Three churches (two Orthodox and one Roman Catholic), as well as many profane structures dated to the time of a thriving medieval Rudnik have so far been discovered. It indicates that in that area are the remains of the main settlement and the medieval market place of Rudnik, known from written sources. Among other structures at the site of Drenje, in the garden of S. Markovi}, the remains of rather a large building consisting, according to present data, of at least two rooms, have been investigated during the past three years (fig. 3). Important for dating the structure is a coin of the Hungarian king Sigismund of Luxembourg (1387-1437), discovered on the floor. Traces of an earlier phase of life were encountered under the structure (fig. 5). Coins have been found in two earlier pits. In the soil inside pit 11 a coin of the Hungarian king Charles Robert (1308-1342) was found, while in the top level of pit 2 a coin attributed to Prince Lazar (around 1370-1389) was found. Also from pit 2 came a, so far, unique archaeological find in our territory. It has been explained as a seal-die used for producing seals (fig, 7, 8). The representation in the central field and the contents of the inscription bear witness to the fact that the seal-die belonged to Prince Lazar. A helmet with bull horns engraved on the front side is understood to be the coat of arms of Prince Lazar, also used by his successors. The central field is surrounded by two concentric circles and between them is a circular inscription (fig. 9): + SI ? HARB GDNA KNEZA LAZARA SVE SRBSKE ZEMLE Translation of the inscription: + this is the grace of Lord Prince Lazar of the whole Serbian lands A seal stamped using the seal-die from Rudnik has not yet been found. The content of the inscription on the Rudnik sealdie is also quite unusual and unique. The word har? is translated to mean grace, a word that has not been recorded on any other stamp to date. On the other hand, the word grace has a distinct meaning in Serbian charters, denoting the legal activity of specific contents by which the ruler awarded nobles, the Church, market-towns, etc. The ruler?s grace as a legal act of distinct content must have been apparent and public and, as evidence of this grace, there would have been a distinct document. The very word grace is used in the documents as the name for a legal public document by which rulers ?created grace?, ?made grace? or allowed something by their grace. Taking this into account, it could be concluded that any seal stamped with the Rudnik sealdie as a means of notarisation of the document confirmed that the document represented the ruler?s grace in the sense of a valid legal public document. Considering the shape and size of the seal-die, it could be ascribed to the seal-die group for which it is characteristic that the seal was obtained not by impressing the seal-die in wax but by pressing the wax onto the seal-die, disregarding whether it was an applied or hanging seal. Supporting this assumption is the existence of small notches in the bottom corners of the Rudnik seal-die that were most probably used for connecting to the top part, making possible a better stamping of the seal, possibly even allowing the seal to have representations on both sides. The seal-die is dated from the time of Lazar?s rule over Rudnik, between 1373 and 1389. Mentioned in the inscription is the rule of Prince Lazar over all Serbian lands, suggesting that the date of the seal-die could be fixed in the final decade of Lazar?s life. It was most probably buried in 1390, during the time of King Sigismund?s attack on Serbia. One of the most important theatres of war in that campaign was the Rudnik region.

When the Fences are Down; Language and Order in The Adventures of Tom Sawyer and Huckleberry Finn

1990 ◽  
Vol 24 (3) ◽  
pp. 369-386 ◽  
Author(s):  
Wayne Fields
Keyword(s):  
United States ◽  
Well Being ◽  
The United States ◽  
The Other ◽  
The Novel ◽  
Primary Function ◽  
The World ◽  
Cultural Order ◽  
The Town ◽  
The Church

The world of Tom Sawyer, both that of the character and of the novel which bears his name, is a world dominated by fences; the neat, straight palings that surround the Widow Dougla's property, the fence around the Teacher house over which the lovestick Tom gazes longingly after Becky, and all the other upright boundaries delineating St. Petersburg respectability. As the central icon of the novel, Aunt Polly's white-washed fence appropriately represents the care and maintenance of order to which the town is committed, an order upon which both Tom and his story depend. Although Twain first identifies St. Petersburg as a poor, shabby, frontier village, it is far from defenseless in its confrontations either with shabbiness or wilderness. Well ordered by its fences and undergirded, like Tom's story, by the central institutions of civil and cultural order — the court, the school, the church — it is a society where things have been assigned their proper places and where the primary function of the St. Petersburg elect is to tend those places. This is a world overseen by guardians and Sunday superintendents, schoolmastes, and judges, authorities who, if sometimes mistaken, or even slightly absurd, are essentially benign and nearly always reliable. Thus it is that the minister, praying for the community's children, does so in the context of a hierarchy of responsibility that from country officials to the President of the United States, an ordering presence that, among other reassuring work, is to guarantee the well-being of the young. As though to provide the fullest representation of this benevolent system, Missouri's most important senator, Thomas Hart Benton, makes a cameo appearance in the novel, albeit one in which he is judged of The Adventures of Tom Sawyer as a book about boyish freedom, it affirms at every turn an order of the most conventional sort and depends upon that order for the version of boyhood it depicts.

scholarly journals Loftur Helgason fer til Björgvinjar

Ritið ◽  
2018 ◽  
Vol 18 (1) ◽  
pp. 65-94
Author(s):  
Lára Magnúsardóttir
Keyword(s):  
The Other ◽  
Executive Power ◽  
The Political ◽  
13Th Century ◽  
Conflict Of Interests ◽  
Other Hand ◽  
The Face ◽  
The Government ◽  
The One ◽  
The Church

The article recounts the account from the Árna saga about Loftur Helgason’s trip to Bergen in 1282 and his stay there over winter, explained in terms of the formal sources about the organization of the government and changes in the law in the latter half of the 13th century. These changes were aimed at introducing into Iceland the power of both the King and the Church and in fact marked the actual changes throughout the Norwegian state. Loftur was Skálholt‘s official and the story about him was part of a long-standing dispute about the position of the chieftains versus the new power of the Church and the opposition to its introduction. The article defines the political confusion described in the Árna sagain Bergen in the winter of 1282-1283 as, on the one hand, changes in the constitution and, on the other hand, legislation, and at the same time whether the Kings Hákon Hákonarson and his son Magnús had systematically pursued a policy of having the Church be an independent party to the government of the state from 1247 onward until the death of the latter in 1280. When the disagreement is looked at as continuing, it is seen that Icelanders had made preparations for changes in the constitution with assurances of introduction of the power of the Church beginning in 1253 and the power of the King from 1262, but, on the other hand, the disagreements in both countries disappeared in the 1270s in the face of the conflict of interests that resulted from the laws that followed in the wake of the constiututional changes. Árna saga tell of this and how the disputes were described, but also that their nature changed as King Erikur came to power in 1280, as he gave the power of the King a new policy that was aimed against the power of the Church. Ousting of the archbishop from Norway and the Christian funerals of the excommunicated chieftains are examples of the conditions of government that could not have been, if the King had no longer had executive power over Christian concerns, as he had already conceded power over spiritual issues to the Pope in Rome with the Settlement at Túnsberg in 1277.

Also from a Schull Journal

2017 ◽  
Author(s):  
John Kinsella
Keyword(s):  
Hay Fever ◽  
The Other ◽  
Steel Bridge ◽  
Small Field ◽  
Arch Bridge ◽  
Main Street ◽  
The Hill ◽  
The Town ◽  
The Church

Bright sunny day! Went to Ballydehob this morning – Tim had to see the doctor there because Schull surgery had no free slots. I walked around the town and environs for an hour or so. Walked from the top of town down to the bridge over the inlet, then down to twelve-arch bridge – went under that and across the concrete and steel bridge, back (on the other side) to the twelve-arch bridge which I crossed, joining the walkway through patches of furze (in bloom and my hay fever is at full tilt), then on up the hill and past the church, back down to the main street of town. No swans on the inlet, though plenty of gulls. Saw three donkeys and a goat in a small field just outside town. Also a stonechat in furze bordering the field....

scholarly journals Churches Built in the Caves of Lasta (Wällo Province, Ethiopia): A Chronology

Aethiopica ◽  
2014 ◽  
Vol 17 ◽  
pp. 25-64
Author(s):  
Michael Gervers
Keyword(s):  
The Other ◽  
Church Architecture ◽  
Full Width ◽  
East Side ◽  
The South ◽  
13Th Century ◽  
Royal Power ◽  
15Th Century ◽  
12Th Century ◽  
The Church

The five churches of Yǝmrǝḥannä Krǝstos, Ǝmäkina Mädḫane ʿAläm, Ǝmäkina Lǝdätä Maryam, Walye Iyäsus and Žämmädu Maryam are all built in caves in the massif of Abunä Yosef, situated in the Lasta region of Wollo. Changes in their architectural forms suggest that they were constructed over a period of several hundred years in the order listed and as such represent a significant chronological model against which many of Ethiopia’s rock-hewn churches may be compared. Until the publication of this paper, it has been universally accepted that the church of Yǝmrǝḥannä Krǝstos was built in the second half of the 12th century under the sponsorship of an eponymous king. Aspects of the church’s architecture, namely the absence of a raised space reserved for the priesthood before the triumphal arch (the bema), of any sign of a chancel barrier around it, of western service rooms, of a vestibule and narthex, and of the presence of a reading platform (representative of the Coptic ambo), of a full-width open western bay (allowing for a ‘return aisle’), and of arches carrying the aisle ceilings, all point to a date of construction around the mid-13th century. In fact, the closest parallels to Yǝmrǝḥannä Krǝstos may be found in Lalibäla’s second group of monolithic churches, Amanuʾel and Libanos. Closely associated also is the church of Gännätä Maryam. A painting of the Maiestas Domini in the south-east side room (pastophorion) of the latter suggests that the room served as an extension of the sanctuary. By the end of the 13th century, as witnessed by Ǝmäkina Mädḫane ʿAläm and the other churches built in caves, the full-width sanctuary becomes a characteristic which endures throughout 14th- and 15th -century Ethiopian church architecture. Yǝmrǝḥannä Krǝstos and Gännätä Maryam stand on the cusp of a major liturgical change which coincides with the transfer of royal power from the Zagwe dynasty to their Solomonic successors, who sought legitimacy by following Coptic practices.

scholarly journals THE EXCAVATION IN VYSHGOROD IN 1936

2020 ◽  
Vol 34 (1) ◽  
pp. 132-151
Author(s):  
K. M. Kapustin
Keyword(s):  
Middle Ages ◽  
Large Scale ◽  
Rapid Development ◽  
13Th Century ◽  
Significant Development ◽  
Archaeological Materials ◽  
Cultural Layers ◽  
The City ◽  
The Town ◽  
The Church

The archives and archaeological materials from excavations in Vyshgorod in 1936 are analysed in the paper. This year the large-scale excavations were conducted on the territory of the old city: near the church of st. Borys and Hlib, two sites in the northeast part of the hillfort and few trenches in different parts of the town. The obtained results correlate with the reports of the narrative sources and indicate the significant development of the city in the period from the 11th to the mid-13th century. The rapid development of the city occurs at that time: the mausoleum of Sts. Borys and Hlib (explored in 1935—1936) becomes the main architectural dominant of the city area. A city square with dwellings and outbuildings were located around the church. The analysis of the archival materials and artefacts from the excavations in 1936 made it possible to clarify and re-examine the allegations established in the works of the mid-20th century. The author proves that discovered objects have different chronology. For example, dwellings, outbuilding, pits and sacral building of the 11th—13th centuries are pit 1 (site 1), the foundations and remains of the walls of the church of Sts. Borys and Hlib (site 1; site W) and oven 1 (site 4). The ones dated by the middle of the 11th and the 12th centuries are building 1 (site 1) and pit 1 (site 4). Structures of the 12th and 13th centuries are pit 2 (site 1) and oven 1 (site 4); of the second half of the 13th—14th centuries are building 1 (site «W»), building 1, pit 2 (site 4). Finally, dated by the 17th—19th centuries are building 2, burials 1, 2 (site 1) and burials 1—19 (site 4). The cultural layers and objects exclusively of Kyiv Rus time were found on the territory of suburbs (pottery furnaces 1 and 2 in a trench at the south of the hillfort; burials 1—3 in trenches on the territory of the Doroshenko estate). In general, the obtained results confirm and at some moments substantially detail our knowledge on the historical development of the city during the Middle Ages and Modern times.

scholarly journals Acceso en el castillo de Portell. *** Entrance in the Castle of Portell

2018 ◽  
Author(s):  
José Antonio Ruiz Suaña ◽  
Antonio García Blay
Keyword(s):  
The Other ◽  
Concrete Wall ◽  
Poor Condition ◽  
Other Hand ◽  
The Town ◽  
The Church ◽  
Convenient Access ◽  
As If

La plaza de l’Esglèsia forma parte del antiguo castillo de Portell. En esta plaza, una antigua escalera, en mal estado y con excesiva pendiente, conectaba el desnivel entre la población y la parte superior del recinto amurallado. Se sustituye la escalera existente construyendo un nuevo acceso más cómodo, ocupando un pequeño solar municipal recayente a la plaza. El nuevo acceso asciende entendiéndose como depositado sobre el terreno natural, facilita un recorrido más pausado y cómodo que invita a parar y sentarse, al encuentro y la conversación. Los nuevos muros construyen un pequeño recinto y, por otra parte, se relacionan con lo existente. Un muro de hormigón configura los límites de la plaza. sin mostrar directamente el nuevo acceso, sino más bien, se sugiere detrás de él e invitan a entrar y recorrerlo.***The church square is part of the old castle of Portell. In this square, an old staircase, in poor condition and with excessive slope, connected the gap between the town and the upper part of the walled enclosure. The existing staircase is replaced by building a new more convenient access, occupying a small municipal plot located next to the square. The new access comes up as if it were deposited on the natural ground, thus facilitates a more leisurely and comfortable promenade that invites to stop and sit down, join and converse. A small enclosure is built with the new walls and, on the other hand, they co-exist with what already existed. A concrete wall configures the boundaries of the square not directly showing the new entrance. 

Acoustical modelling of a Swedish 13th century church ruin, and its use for musical production.

2021 ◽  
Vol 263 (6) ◽  
pp. 752-756
Author(s):  
Sebastian Holm
Keyword(s):  
Orthodox Church ◽  
Impulse Responses ◽  
13Th Century ◽  
Musical Production ◽  
Part Time ◽  
Left And Right ◽  
Stone Walls ◽  
The Town ◽  
The Church ◽  
Made In

Visby is an old hanseatic town on the island of Gotland in Sweden. The town has a large number of old church ruins, one of which goes by the name of St. Lars. The church is believed to be a 13-century orthodox church, and abandoned in the 16 century, all that is left today are the stone walls and parts of the inner ceiling vaults. Through collaboration with the local museum, St.Lars has now been measured and 3D-modelled by the author, Sebastian Holm from Efterklang, who is also a part-time musician. The model has been fitted with what is assumed to be an historically accurate ceiling structure and materials as well as windows, doors, various furnishings and a make-up stage. With acoustical modelling and auralisations made in Odeon, various source and receiver positions has been tested for acoustical qualities, and the impulse responses are now used for musical production for the medieval band known as Patrask. The mixing process uses the impulse response from left and right side of the stage to produce a stereo reverb, and the results are compared to auralisations of the music made with Odeon. The overall process is discussed, with links to the music itself.

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