scholarly journals THE UNKNOWN PROJECTS OF PIETRO ANTONIO TREZZINI. ON THE TYPOLOGY OF CENTRALLY PLANNED CHURCHES IN RUSSIAN AND EUROPEAN BAROQUE ARCHITECTURE

2019 ◽  
Vol 17 ◽  
pp. 57-80
Author(s):  
Georgy Smirnov
Keyword(s):  
18Th Century ◽  
Church Architecture ◽  
Orthodox Church ◽  
Baroque Architecture ◽  
Central European ◽  
New Type ◽  
Design Options ◽  
The Church ◽  
Made In ◽  
European Architecture

The article deals with two unknown projects made by the Swiss-Italian architect Pietro Antonio Trezzini, who was active in Russiabetween 1726 and 1751. According to the Commission of the Senate,in 1747 Trezzini designed a five-domed cathedral in Stavropol, forwhich he provided two design options. One of these projects, whichwas approved by Empress Elizaveta Petrovna, was realized between1750 and 1757. In both projects, Trezzini presented the cathedralas a monumental five-domed centrally planned church, which isan integral part of Trezzini’s designs. All but one of the Orthodoxchurches designed by the architect had five domes (we know of13 such designs, including all the alternative versions). AlthoughTrezzini was not a initiator of this new type of five-domed centrallyplanned church, his work displays the most mature and diversedevelopment of this approach in Russian Baroque architecture. The article describes the general features of Trezziniʼs churches andcertain individual ones as well.Trezzini’s projects for five-domed churches were directly relatedto the revival of a traditional type of Orthodox church proclaimedby the Empress Elizaveta Petrovna. This idea was widely reflected inRussian church architecture of the time, but its concrete realisationwas rather varied. An attempt is made in article to characterise thissituation by briefly focusing on a comparison of Trezzini’s designsand the five-domed centrally planned churches designed by otherarchitects.The five-domed churches, which were revived in mid-18th centuryRussia and persistently promoted as a national and Orthodox solution,actually had nothing in common with local medieval tradition.Typologically, the five-domed Russian churches of the mid-18thcentury were rooted in European architecture, namely in ItalianRenaissance and Central European Baroque architecture. The mostimportant European sources of inspiration were probably St Peter’sCathedral in Rome (a project by Michelangelo), the Church of StCatherine in Stockholm and the Frauenkirche in Dresden, which theleading mid-18th century architects in Russia were undoubtedlyfamiliar with European, primarily Italian, churches with twosymmetrically placed towers on the western facade and a domeover the intersection, for example, Sant’Agnese in Agone in Rome,should also be taken into consideration.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

Relations between the Russian Empire and the Orthodox Church of the East as Exemplified in the Collection of Greek Engravings of The Church Archaeological Museum at the Moscow Theological Academy

2020 ◽  
pp. 61-77
Author(s):  
Анна Леонидовна Краснова
Keyword(s):  
Russian Empire ◽  
Orthodox Church ◽  
Church Of The East ◽  
Holy Places ◽  
The Subject ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Relationship ◽  
The Church ◽  
Made In

В XVIII в. на основании общего интереса к святыням Востока, а также единой тенденции для крупных монастырей изготавливать гравюры на память для паломников, многие греческие гравюры свидетели русско-афонских отношений попадают на территорию Российской Империи. Сохранились такие гравюры и в Церковноархеологического кабинете Московской духовной академии, собрание которых насчитывает 29 эстампов. Пять гравюр из этого собрания имеют надписи на греческом и на славянском языке. Надписи свидетельствуют о месте и времени создания гравюры, о граверах и заказчиках, являются источниками кратких исторических сведений. В статье приведены выявленные дополнительные факты об этих гравюрах, которые свидетельствуют о наличии церковных, экономических и политических отношений на базе культурных связей между Российской Империей и странами православного Востока. The Russ has always been supporting the relationship with the Orthodox Church of the East. As a result of these connections, we have a lot of icons and other gifts from The Mount Athos, The Saint Catherine’s Monastery and others holy places. There are five Greek engravings in the collection of The Museum of Church Archaeology at the Moscow Theological Academy, which have inscriptions in Greek and Slavic. These engravings were to be spread in Slavic countries. They are dated from the 17th to the 19th century. Some of them were made in Moscow. The images and the inscriptions of the engravings are the subject of a research presented in this article.

scholarly journals Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 227
Author(s):  
Damir Tulić ◽  
Mario Pintarić
Keyword(s):  
Small Town ◽  
18Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Church ◽  
Made In

In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

scholarly journals Eurasianists on the Role of Orthodoxy and the Church in the National State Development of Russia

2020 ◽  
Vol 19 (1) ◽  
pp. 254-268
Author(s):  
Sergey V. Bazavluk
Keyword(s):  
Political Identity ◽  
Roman Catholic ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
Catholic Culture ◽  
History Of ◽  
New Type ◽  
The Church

The author analyzes the ideological views of a group of Russian migrants of the fi rst wave, known as Eurasianists, including N.S. Trubetskoy, P.N. Savitsky, N.N. Alekseeva, L.N. Karsavina and others. The author discusses fundamental elements of the classical Eurasianist program, such as the role of the Orthodox Church and the state in the life of Russia and its society, their attitude to Roman Catholic culture, and their place in dialogue with other religions. In addition, other important elements of Eurasianism noted here are the ideas of pan-Eurasian nationalism, ideocracy, the spatial borders of Russia-Eurasia, the symphonic personality, a guarantee state. These issues are associated directly with the authors of these concepts and with Eurasianism in general. The author demonstrates the continuity with the teachings of the Slavophiles and highlights the special attention that the Eurasians paid to the traditional cultures of Russia. Also noted is the interest in Eurasianism of church circles in exile in Europe. At the same time, the Eurasianists’ critical vies on the “Petersburg period” in the history of the Russian church are highlighted, which are also implicit in Eurasianism as an independent ideological and philosophical line of thought of Russian emigration in the fi rst half of the twentieth century. An attempt is made to show how, through conservative thought, Eurasians tried to form a new type of political identity. This ideological direction with an emphasis on spirituality and special institutions was considered by Eurasians as a prototype of the future statehood of Russia as opposed to the Soviet-Marxist system. In the context of the contemporary Eurasian integration (EAEU), of the current role of the Russian Orthodox Church and external political manipulations around the role of the Moscow Patriarchate, the theoretical views of the Eurasians take on a new dimension.

scholarly journals Multianalytical Study for Establishing the Historical Contexts of the Church of the Holy Archangels from Cicau, Alba County, Romania, for its Promotion as a World Heritage Good I. Assessing the preservation-restoration works from the 18th century

2019 ◽  
Vol 70 (7) ◽  
pp. 2538-2544 ◽  
Author(s):  
Ion Sandu ◽  
Cosmin Tudor Iurcovschi ◽  
Ioan Gabriel Sandu ◽  
Viorica Vasilache ◽  
Ioan Cristinel Negru ◽  
...  
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Point Of View ◽  
X Ray ◽  
15Th Century ◽  
12Th Century ◽  
Electron Microscopes ◽  
Scanning Electron Microscopes ◽  
The Church ◽  
Made In

The present paper is the first instalment of a series focused on establishing some archaeometric characteristics of the modern finishings (mortars, fresco and layers of whitewash) of the Church of the Holy Archangels from Cic�u, Alba County, Romania, in order to assess the shape, with the structural-functional integrity and architectural and artistic aspect of the monument for the last historical context, between 1710 and 1790. This period is the most extensive and less known of the church�s stages of transformation: 11th�12th century (unknown), 15th century (known) and 18th century (partially known), which was very tumultuous from the socio-economic and political point of view. Thus, in the following pages we present the resulting archaeometric characteristics of optical microscopy (OM), scanning electron microscopes in combination with energy-dispersive X-Ray spectrometry (SEM-EDX) and thermal derivatography (TG/DTA/DTG) analyses of two pigments from the exonarthex fresco (made in 1781) and the later eight layers of whitewash applied over it, which allowed assessing the periods with marked changes in the architecture and polychrome finishings.

scholarly journals Doing Orthodox Political Theology Today Insights from the Document For the Life of the World: Toward a Social Ethos of the Orthodox Church (2020)

2021 ◽  
Vol 13 (1) ◽  
pp. 16-30
Author(s):  
Nikolaos Asproulis
Keyword(s):  
Liberal Democracy ◽  
Political Theology ◽  
Byzantine Empire ◽  
Orthodox Church ◽  
Eastern Orthodoxy ◽  
The Poor ◽  
The World ◽  
The Church ◽  
Made In ◽  
Social Ethos

Abstract The document titled For the Life of the World: Toward a Social Ethos of the Ortho dox Church, authored by a special commission of Orthodox scholars appointed by the Ecumenical Patriarch Bartholomew is a document that can be definitely understood as a political manifesto of Eastern Orthodoxy for the 21st century, namely for this period of history and not for a by-gone historical setting or a Christian utopia (either the Byzantine Empire or Holy Russia), a period of time with urgent problems and challenges that call for our attention. Therefore, bringing to the fore the personalist anthropological view inherent in the document itself, an attempt has been made in the text to critically reflect and highlight certain relevant aspects of the document (a positive reception of liberal democracy, human rights language, solidarity to the poor, etc.). The goal is to show how theologically important this document is for the Church witness to our pluralistic world.

scholarly journals Na pograniczu wyznaniowym. Nieistniejąca unicka cerkiew pod wezwaniem św. Praksedy Męczennicy w Milejowie i jej wyposażenie

2019 ◽  
Vol 16 (1/2) ◽  
pp. 7
Author(s):  
Paweł Sygowski
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Roman Catholic ◽  
Orthodox Church ◽  
Sick People ◽  
History Of ◽  
The 19Th Century ◽  
Madonna And Child ◽  
Parish Priests ◽  
The Church

<p>W czasach Rusi Halicko-Włodzimierskiej osadnictwo ruskie na terenie dzisiejszej Lubelszczyzny posuwało się systematycznie na zachód. W XV i XVI w. dotarło do doliny Wieprza. W jego środkowym biegu powstało wówczas kilka parafii prawosławnych – Łęczna, Puchaczów, a także Milejów. Parafie te po przystąpieniu diecezji chełmskiej do unii brzeskiej stały się unickimi. Usytuowanie ich na terenie ze wzrastającą przewagą osadnictwa polskiego spowodowało przechodzenie wiernych na rzymsko katolicyzm. Proces ten szczególnie widoczny jest w 2 połowie XVIII w. i 1 połowie XIX w. Parafia w Milejowie należąca do najstarszych na tym terenie, pod koniec XVIII w. liczyła zaledwie kilku parafian, a na początku XIX w. rezydował tu jedynie proboszcz unicki, ks. Bazyli Hrabanowicz. W 2 dekadzie XIX w. ówczesny właściciel dóbr milejowskich – Adam Suffczyński – rozpoczął starania o przekształcenie parafii unickiej w parafię rzymskokatolicką, a cerkwi unickiej w kościół. Okazało się to dosyć skomplikowane. Najpierw parafię unicką należało zamknąć, a dopiero potem utworzyć parafię rzymskokatolicką. Proces ten kontynuowała siostra Adama – Helena Chrapowicka, która wkrótce przekazała to zadanie kuzynowi Antoniemu Melitonowi Rostworowskiemu, a po jego śmierci założeniem parafii i budową kościoła zajęła wdowa po nim – Maria z Jansenów, a następnie ich syn Antoni Rostworowski. Parafia unicka została zamknięta w 1852 r., cerkiew rozebrana, a murowany kościół został wzniesiony w latach 1855-1856. Po śmierci wspomnianego proboszcza unickiego w 1832 r. (ostatniego tutejszego parocha), cerkwią opiekował się proboszcz Dratowa. Część wyposażenia cerkwi milejowskiej została przeniesiona do świątyni dratowskiej, gdzie spłonęło ono w roku 1886 r., w pożarze tamtejszej świątyni. Część wyposażenia zabezpieczona została we dworze milejowskim i po wybudowaniu kościoła przeniesiona do niego. Wśród tego wyposażenia wyróżnia się pochodząca z 2 połowy XVII w. ikona Matki Boskiej z Dzieciątkiem (w typie Eleusy), odnowiona w latach 2012-2013 staraniem ówczesnego proboszcza – ks. Andrzeja Juźko. Po akcji rozbiórkowej cerkwi w 1938 r. to jedna z wyjątkowo nielicznych, ocalałych ikon dawnej diecezji Kościoła wschodniego na Lubelszczyźnie.</p><p><strong>On the Religious Borderland. A Defunct Uniate Church under the Invocation of St. Praxedes the Martyr in Milejów and its Equipment</strong></p>SUMMARY<p>The parish in Milejów was one of the early Orthodox parishes in the Wieprz valley, recorded in the 1470s. The presence of the Orthodox priest in Milejów is documented in tax registers in the 16th century. More information on the Uniate parish and its Orthodox church can be found in the documents of the 18th-19th centuries. The author presents the history of the Milejów Uniate church and the parish with particular reference to the equipment of the church. First, the old Uniate church is described (the last quarter of the 17th and the fi rst half of the 18th century). The church had the high altar and three side altars; in addition, there were inter alia, liturgical vessels, altar bells, the bells on the belfry, liturgical books, an perhaps an iconostasis. The new Uniate church (the second half of the 18th and the fi rst half of the 19th century) – erected in the second half of the 18th century in place of the old one (which burnt down in ca. 1760) contained the high altar with the picture of Our Lady (painted on canvas) and two side altars. The equipment also included, inter alia, a silver and gilded pro Venerabili vessel, a chalice with a paten and a spoon, a can “for sick people”, an altar tin cross, a brass thurible, a metal swag lamp, three altar bells, a bell at the sacristy, four reliquaries, two small brass candlesticks, a processional cross, pictures, liturgical books. The next described stage is the end of the Uniate parish and the beginnings of the creation of the Roman-Catholic parish in the 19th century, founded in 1858. The new church – erected a few hundred meters from the place of the Uniate church – was consecrated in 1859. The equipment of the Uniate church before its demolition (the second quarter of the 19th century) included in 1828, inter alia, the above mentioned three altars, a new choir, a crucifi x, a confessional, a pulpit, candlesticks, pictures, and a new umbraculum. The inventory of 1847 also mentioned, inter alia, four icons situated near the high altar, a stoup, four benches, twenty candlesticks, and a porcelain chandelier. In the next part of the text the author describes the icons preserved in the Milejów church: „Matka Boska z dzieciątkiem” [Madonna and Child] and „Przemienienie Pańskie” [the Transfi guration of the Lord]. In the next parts of the article the author describes the history of the owners of Milejów, patrons and parish priests. At the end of the article he synthetically presents the history of the Milejów parish.</p>

TEMPLE IN GROSSENASPE (SCHLESWIG-HOLSTEIN, GERMANY): THE RUSSIAN TRAIL OF THE ERA OF CATHERINE II

2020 ◽  
pp. 272-295
Author(s):  
Андрей Викторович Чекмарёв ◽  
Ирина Викторовна Белинцева
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Political Influence ◽  
Church Architecture ◽  
Architectural Analysis ◽  
Protestant Church ◽  
History Of Construction ◽  
History Of ◽  
Set Up ◽  
The Church

Cтатья посвящена описанию процесса проектирования и архитектурному анализу приходской церкви в Гроссенаспе (земля Шлезвиг-Гольштейн), связанной с историей российско-немецких отношений в XVIII в. Обстоятельства появления этого памятника отсылают к краткому и яркому периоду, когда Россия активно участвовала в решении судеб ряда немецких территорий, а российская императрица Екатерина II являлась регентом Голштинии при малолетнем сыне Павле, унаследовавшем от Петра III корону Гольштейн-Готторпа. Екатерина содействовала постройке храма, лично утвердив в 1771 г. проект архитектора Иоганна Адама Рихтера (1733-1813) и оказав финансовую помощь приходу. В знак признательности церковь была торжественно освящена в честь Святой Екатерины в сентябре 1772 г. в присутствии обер-камергера герцога Гольштейн-Готторпского Каспара фон Сальдерна (1711-1788), талантливого и ловкого дипломата, активно участвовавшего в решении т. н. «Голштинского вопроса» во взаимоотношениях России и Дании. Позже Сальдерн, оказавшийся в результате интриг в опале, осел в перешедшей к Дании Голштинии - в 1774-1782 гг. обустроил усадьбу в Ширензее и семейную усыпальницу в Бордесхольме, недалеко от Гроссенаспе. Имея политическое влияние в регионе, он немало способствовал постройке рассматриваемой церкви в Гроссенаспе, обеспечив помощь со стороны российской императрицы. Церковь является одновременно и типичным, и относительно редким в северной Германии образцом протестантской церковной архитектуры периода барокко. В основе постройки октагональный кирпичный неоштукатуренный объем, перекрытый мансардной черепичной кровлей, с примыкающей с запада двухъярусной башней-колокольней. Выбор центрической модели был обусловлен спецификой протестантского богослужения и теоретическими поисками визуального воплощения лютеранского храма. На обновление церковной архитектуры протестантской части Германии повлияли теоретические воззрения и увражи Леонарда Кристофа Штурма (1669-1719) и других архитекторов. Рассматривается архитектурно-исторический контекст памятника, анализируется круг причастных к его сооружению заказчиков и архитекторов. The subjects of this articles are the history of construction and architectural analysis of the parish church at Grossenaspe (the land of Schleswig-Holstein), connected with the history of Russian-German relations in the 18th century. The circumstances of the appearance of this monument refer to a brief and bright period, when Russia actively participated in deciding the fate of a number of German territories, and Russian empress Catherine II was regent of Golsch Under Tor. Catherine facilitated the construction of the temple, personally approving in 1771 the project of architect Johann Adam Richter (1733-1813) and providing financial assistance to the parish. As a sign of gratitude, the church was solemnly consecrated in honor of St. Catherine in September 1772 in the presence of the ober-chamberlain Duke of Holstein-Gottorp Kaspar von Saldern (1711-1788), a talented and skillful diplomat who actively participated in the solution of the so-called “Golstein question” in the relations between Russia and Denmark. Later Saldern, who was disgraced as a result of intrigues, settled in Golschtinia, which passed to Denmark. In 1774-1782 he set up an estate in Shirensee and a family stump in Bordesholm, near Grossenaspe. With his political influence in the region, he contributed greatly to the construction of the church in Grossenaspe, ensuring support from the Russian empress. The church is both a typical as well as a relatively rare model in northern Germany of the Protestant church architecture of the Baroque period. The basis of the construction is the octagonal brick non-stucco volume, covered with mansard tile roof, with two-tier bell tower adjacent from the west. The choice of a centric model was due to the specifics of Protestant worship and theoretical searches for the visual embodiment of the Lutheran temple. The renewal of the church architecture of the Protestant part of Germany was influenced by the theoretical views and ouvrages of Leonard Christoph Sturm (1669-1719) and other architects. In the article the architectural and historical context of the monument is considered and the circle of customers and architects involved in its construction is analyzed.

scholarly journals The Uniate church with three “towers” in the village of Michale on the Bug

2014 ◽  
Vol 12 (1) ◽  
Author(s):  
Pawel Sygowski
Keyword(s):  
Soviet Union ◽  
18Th Century ◽  
Religious Tradition ◽  
Church Architecture ◽  
Cultural Tradition ◽  
Pipe Organs ◽  
The Russian Empire ◽  
The Village ◽  
The Church ◽  
National Style

AbstractThe specificity of cultural tradition of the Uniate Church in the Commonwealth [Republic] of Poland was the integration of elements of the Eastern and the Western Church tradition. This process intensified throughout the 18th century and was observable first of all in the church interiors as well as in architecture. The result of assimilation of Latin elements was inter alia similarities in the appearance of Uniate and Catholic churches - more often in the western and northern regions of the Metropolitan Archdiocese of Kiev. In the church interior, the iconostasis was replaced by a set of Baroque altars - the main and usually two side ones. Pews, pulpits, confessionals and even pipe organs appeared. In the Eastern-Church architecture the three-part layout (the chancel, nave, and women’s section) was replaced by the two-part layout (the chancel and the large rectangular nave covered by gabled roofs with an ave-bell turret). The richest form of the Latinized Uniate church body was the churches with the two-tower front facade (inter alia Buśno, Kodeniec, Dywin [Dzivin], Hołoby [Goloby], Olble). After the Partitions, new patterns of Orthodox Church architecture were introduced in the Russian partition, in particular after the liquidation of the Uniate Church (in the Russian Empire - 1839, in the Kingdom of Poland - 1875). Uniate churches were replaced by Orthodox churches built in the Russian “national” style. After the devastations caused by the two World Wars, after the practice of demolishing Orthodox churches in the Lublin region in 1938, and after demolishing them under the Soviet Union and People’s Poland, there are very few Uniate churches left. In order to have a complete picture of the Uniate religious tradition, archives have to be searched (records of inspections, and inventories). The inspection records of 1788 describe the Uniate church (built in 1751) in the village of Michale on the Bug as one with “three towers”. The records show a similar description of the no longer extant Uniate church in Wielka Hłusza (Velyka Hlusha) in Volhynia: according to a later description it had two towers with a prominent ave-bell turret. It could be assumed that the Uniate church in Michale had a similar appearance. This church, converted in 1881 in the Russian “national” style”, completely lost its former appearance.

scholarly journals Institutions, Hierarchy, and the Flock of the Orthodox Church in the Balkans in the 1600s and 1700s as Shown by New Documents from the Ottoman Archive in Istanbul

Slovene ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 461-474
Author(s):  
Dmitry I. Polyvyannyy
Keyword(s):  
Ottoman Empire ◽  
18Th Century ◽  
Personal Information ◽  
Orthodox Church ◽  
Turkish Republic ◽  
The Balkans ◽  
The Status ◽  
First Time ◽  
Christian Population ◽  
The Church

[Rev. of: Mutafova Krasimira, Kalitsin Maria, Andreev Stefan, The Orthodox Structures in the Balkans during the 17th–18th Century according to Documents from the Ottoman Archives in Istanbul, Veliko Tarnovo: Abagar, 2019. 672 p.] More than two hundred documents from the “Bishops’ files” (Piskopos Kalemi) Collection at Istanbul Ottoman Archives at the Chancellery of the Prime Minister of the Turkish Republic (Başbakanlık Osmanlı Arşivleri), recently published for the first time by Bulgarian scholars of Ottoman Studies Krassimira Mutafova, Maria Kalitsin and Stefan Andreev, reveal multifaceted practices of Orthodox Balkan church institutions’ interactions with the Ottoman authorities from 1684 to 1788. The review deals with the typology of the published documents and the information they contain regarding the fiscal activities of the patriarchy of Constantinople and the patriarchies of Ohrid and Peć (which were incorporated into the Constantinople patriarchy in 1757–1758) towards their Orthodox flock in the Balkan provinces of the Ottoman Empire. The accent is made towards conflicts between the church institutions and the Christian population, as well as contradictions within the higher Orthodox clergy. The importance of personal information on some hierarchs and of data concerning territories and centers of the dioceses is underlined. The author concludes that the reviewed publication provides abundant material for research on the status and functions of the Orthodox hierarchy in the administrative system of the Ottoman Empire in the 17th and 18th centuries.

Sign in / Sign up

Export Citation Format

Share Document