Polychrome Roof Tiles and National Style in Nineteenth-century Croatia

2011 ◽  
Vol 70 (4) ◽  
pp. 466-491
Author(s):  
Dragan Damjanović
Keyword(s):  
Nineteenth Century ◽  
Folk Art ◽  
Virgin Mary ◽  
Gothic Architecture ◽  
Gothic Revival ◽  
Blessed Virgin Mary ◽  
The Creation ◽  
The Church ◽  
National Style

Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Roof Tiles and National Style in Nineteenth-century Croatia, this architecture is placed in the context of the Gothic Revival in the Austro-Hungarian monarchy and the collecting and analysis of traditional textiles by the amateur ethnographer Felix (Srećko) Lay.

scholarly journals Male Personal Names in the 1813–1814 Church Register of Births of the Church of the Nativity of the Blessed Virgin Mary in Radviliškis

Lituanistica ◽  
2019 ◽  
Vol 65 (3) ◽  
Author(s):  
Ilona Mickienė ◽  
Jolanta Petrūnaitytė
Keyword(s):  
Nineteenth Century ◽  
Virgin Mary ◽  
Personal Names ◽  
Blessed Virgin Mary ◽  
The Church

The analysis of nineteenth-century personal names in Radviliškis parish was accomplished by selecting personal names from the church register of births of 1786–1798 and 1813–1814 periods. From the period of 1786–7188, 150 names of baptised boys, 292 names of fathers, and 302 names of godfathers, as well as 588 male surnames were selected. The period of 1813–1814 was represented by 199 names of baptised boys, 281 names of fathers, and 307 names of godfathers and by the surnames of 581 males. The analysis of the 1786–1798 period showed that adults were identified by a binomial personal name consisting of a name and a surname. Male names have Latin, Slavic, Germanic, Greek, Hebrew, Egyptian, Latvian and Celtic origin. At baptism, the boys were usually given the names of Latin origin. Their fathers mainly had names of Hebrew origin, and godfathers – names of Latin origin. We analysed 588 male names: 103 names had Slavic patronymic suffixes, 28 surnames Lithuanian suffixes, and 307 surnames had no clear suffixes, which allowed assigning them to any of the categories mentioned above. The analysis of the 1813–1814 period revealed that adults were identified by a binomial personal name – a name and a surname. The baptised children were given monomial names. We found 44 different names of boys, 48 different names of fathers, and 47 different names of godfathers in the analysed source and divided them by their origin. Latin names made the largest part of the male names. We found many names of Greek, Hebrew, and Germanic origin. The 588 male surnames located in the records were grouped by the available suffixes: 158 surnames had Lithuanian suffixes, 118 surnames had a Slavic suffix -sk, and 86 surnames had the Slavic patronymic suffixes -owicz, -ewicz; 186 surnames had no suffixes. This study aimed to encourage further research into the anthroponymy of Radviliškis. Hopefully, not only registers of birth will be analysed, but also other ecclesiastical books containing records essential for the study of personal names.

scholarly journals Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”

Porta Aurea ◽  
2020 ◽  
pp. 294-310
Author(s):  
Krzysztof Stefański
Keyword(s):  
19Th Century ◽  
Small Towns ◽  
Virgin Mary ◽  
Blessed Virgin Mary ◽  
Northern Poland ◽  
History Of ◽  
The 19Th Century ◽  
The Church ◽  
National Style ◽  
Assumption Of The Virgin

The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciechowski re-Gothycized the building, giving it a ‘cathedral’ form featuring a magnificent façade with two high towers. These works coincided with the growing popularity of the idea of the ‘Vistula-Baltic Gothic’ as the Polish national style in church construction. The Warsaw architect used the forms of the cathedral he rebuilt to develop his own vision of the church in the ‘Vistula-Baltic style’, competitive to the solutions used by Józef Dziekoński. The incarnation of this vision was the church of the Assumption of the Virgin Mary in Łódź, followed by a series of smaller buildings erected in villages and in small towns within the Russian partition, in which the architect repeated his pattern on a smaller or larger scale. The culmination of Wojciechowski’s creative path was the Church of the Holy Family in Częstochowa (the current Cathedral), built from 1901.

Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century

2019 ◽  
pp. 73-88
Author(s):  
Mariia Helytovych
Keyword(s):  
Virgin Mary ◽  
Xvii Century ◽  
Blessed Virgin Mary ◽  
History Of ◽  
First Time ◽  
The Church

The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century

The Church Missionary Society and Architecture in the Mission Field: Evangelical Anglican Perspectives on Church Building Abroad, c. 1850-1900

2015 ◽  
Vol 58 ◽  
pp. 197-228 ◽  
Author(s):  
Emily Turner
Keyword(s):  
Nineteenth Century ◽  
Church Of England ◽  
Central Place ◽  
Infrastructure Development ◽  
Gothic Revival ◽  
Wide Range ◽  
Church Building ◽  
Church Missionary Society ◽  
Architectural Development ◽  
The Church

The Gothic Revival occupies a central place in the architectural development of the Church of England in the nineteenth century, both at home and abroad. Within the expanding British colonial world, in particular, the neo-Gothic church became a centrally important expression of both faith and identity throughout the second half of the nineteenth century. From a symbolic and communicative perspective, the style represented not only a visual link to Britain, but also the fundamental expression of the Church of England as an institution and of the culture of Englishness. As such, it carried with it a wide range of cultural implications that suited the needs of settler communities wishing to re-established their identity abroad. Expansion during this period, however, was not only limited to the growth of settler communities but was also reflected in growing Anglican missions to the non-Christian peoples of annexed territories. The two primary organs of the Church of England in the field, the Society for the Propagation of the Gospel (SPG) and the Church Missionary Society (CMS), actively employed the revived medieval style throughout the Empire as missions were solidified through infrastructure development. As a popular style with direct connotations to the Christian faith, revived medieval design became increasingly popular with Anglican missionaries abroad in the period between the early 1840s and the end of the century. Not only did its origins in ecclesiastical buildings make it attractive, but it was also stylistically distinctive, and set apart as a sacred style from both secular and ‘heathen’ structures.

scholarly journals Antoni Messing- co-creator of the Blessed Virgin Mary's statue located in front of the Reformed Church and co-author of series of tombstones patterned after it and raised at the cemeteries of Warsaw

1970 ◽  
Vol 23 ◽  
pp. 214-227
Author(s):  
Marta Wiraszka
Keyword(s):  
Virgin Mary ◽  
The Other ◽  
Formal Concept ◽  
Reformed Church ◽  
Immaculate Conception ◽  
Innovative Idea ◽  
The Creation ◽  
The City ◽  
The Church ◽  
The Way

Antoni Messing (ca. 1821-1867) the owner of the stone workshop located in Warsaw on 6 Powązkowska Street (mtge. 27C) is currently most famous for one monument- the Statue of the Virgin Mary of Immaculate Conception which was placed in front of the Church of St Antony of Padua on Senatorska Street (1851). What made this monument different from other independently standing monuments was the use of lanterns which at evening time illuminated the statue of the Virgin (1853). The innovative idea spread not only around Warsaw, but also outside the city boundaries.             References to the monument elevated by Messing were not limited to the way and form of illuminating the statue. The inventory research conducted on Warsaw cemeteries enable the extraction of a group of tombstones imitating the shape and the decor of the plinth of the statue of the Virgin. The number of examples of this collection of tombstones numbers 19. Their execution dates back to the period 1853-1874 - with one exception only, all of them were elevated during the period of Antoni Messing’s ownership of the stone workshop. All of them represent the same commemoration in the form of a crucifix located on a plinth. Examples can be separated into two groups. One, comprising 8 tombstones, the closest to the original, the other, comprising 11 examples preserves the architectural structure without the sculptural decor. The origin of the formal concept is to be traced in the project of Henryk Marconi’s garden vase designed for Wilanowski Park (ca. 1845-1851) as well as the finishing elements of the Stanisław and Antoni Potocki’s tombstones. Consequently, the contribution of Messing consists in the creation of the series of tombstones modelled on the statue of the Virgin Mary rather than the originality of the project.  

scholarly journals First conclusions about results of GPR investigations in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland

2017 ◽  
Author(s):  
Anatolii Chernov ◽  
Dariusz Dziubacki ◽  
Martina Cogoni ◽  
Alexandru Bặdescu
Keyword(s):  
20Th Century ◽  
Virgin Mary ◽  
Underground Structures ◽  
Blessed Virgin Mary ◽  
First Results ◽  
The Church

Abstract. The article shows results of the GPR investigation in the Church of the Assumption of the Blessed Virgin Mary (XIV–XVI AD). Due to the wars in the 20th century, the majority of the documents connected with the church's history was lost. For this reason under the floor of the catholic temple, the unknown structures might still exist. To verify the presence of underground structures such as crypts and tombs, a GPR survey was carried out in chapels and aisles with 500 and 800 MHz GPR shielded antennas. During the investigation, numerous anomalies were detected. It was concluded that anomalies under the chapels were caused by the presence of the crypt beneath the floor. The presented work shows first results of GPR surveys in the church in Kłodzko.

scholarly journals Kobieta w pismach Jana Kasjana

Vox Patrum ◽  
2016 ◽  
Vol 66 ◽  
pp. 155-168
Author(s):  
Arkadiusz Nocoń
Keyword(s):  
Virgin Mary ◽  
The West ◽  
John Paul Ii ◽  
Blessed Virgin Mary ◽  
Desert Fathers ◽  
Christian Literature ◽  
The Many ◽  
John Cassian ◽  
The Church

John Paul II remarked, in his famous Letter to Women, that the “sons of the Church” also contributed to undermining the dignity of women over the centuries. Can John Cassian be counted amongst them? It was he who spread the doctrine of the Desert Fathers in the West, and some, such as Anatole France, accuse them of entertaining hatred towards women. By analysing the writings of John Cassian, we discover, however, that, besides the many interesting texts of his, uncommon in Christian literature, in which he talks of God as a mother, and alongside the fervent invitation to Christians to honour the Blessed Virgin Mary, the texts which concern women contain not a trace of discrimination. In his writings, woman is not inferior to man, either by nature or by virtue. On the contrary, there are times when he holds them out as examples to be followed for their great faith and virtue. If, at times, he also presents woman with reference to some vice, he does so only to illustrate the virtue of some other person. Generally speaking, therefore, the vision of woman found in his writings is basically positive, and it finds a place naturally in his ascetical doctrine of mediocritas. It was certainly not he who, by his writings, contributed to undermining the dignity of women.

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