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 Modernity and contemporaneity in dialogue with the heritage

2020 ◽  
Vol 7 ◽  
pp. 158-169
Author(s):  
João Luís Marques
Keyword(s):  
18Th Century ◽  
Cultural Value ◽  
Second Vatican Council ◽  
Young Professionals ◽  
Parish Church ◽  
Vatican Council ◽  
Worship Space ◽  
The 1960S ◽  
Art And Architecture ◽  
The Church

Since the 1960s, the artistic and architectural interventions carried out in the church of Santa Isabel and Rato Chapel, in Lisbon, brought to the debate the overlap of different narratives in these two different spaces of worship: the first, is a parish church preserved by the earthquake of Lisbon (1755), which had its liturgical space redesigned before the Second Vatican Council; the second, is a private chapel annexed to a 18th century palace that became a symbolic worship space for students and engaged young professionals since the 1970s. Enriched with the work of either well-known artists or, sometimes, anonymous architects, the two case studies show us the life of monuments, where Modern and Contemporary Art and Architecture participate in preserving and enhancing their cultural value. At the same time, the liturgical and pastoral activities are shown to be the engine behind successive interventions.

Igołomia i Wawrzeńczyce – dwa kościoły przy Wielkiej Drodze / Igołomia and Wawrzeńczyce – two churches by the Great Road

2020 ◽  
pp. 175-203
Author(s):  
Monika Kamińska
Keyword(s):  
World War Ii ◽  
World War I ◽  
Middle Ages ◽  
18Th Century ◽  
Virgin Mary ◽  
World War ◽  
Mary Magdalene ◽  
Parish Church ◽  
History Of ◽  
The Church

The parish churches in Igołomia and Wawrzeńczyce were founded in the Middle Ages. Their current appearance is the result of centuries of change. Wawrzeńczyce was an ecclesial property – first of Wrocław Premonstratens, and then, until the end of the 18th century, of Kraków bishops. The Church of St. Mary Magdalene was funded by the Bishop Iwo Odrowąż. In 1393 it was visited by the royal couple Jadwiga of Poland and Władysław Jagiełło. In the 17th century the temple suffered from the Swedish Invasion, and then a fire. The church was also damaged during World War I in 1914. The current furnishing of the church was created to a large extent after World War II. Igołomia was once partly owned by the Benedictines of Tyniec, and partly belonged to the Collegiate Church of St. Florian in Kleparz in Kraków. The first mention of the parish church of the Nativity of the Blessed Virgin Mary comes from the first quarter of the fourteenth century. In 1384, a brick church was erected in place of a wooden one. The history of the Igołomia church is known only from the second half of the 18th century, as it was renovated and enlarged in 1869. The destruction after World War I initiated interior renovation work, continuing until the 1920s.

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 Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli

Ars Adriatica ◽  
2012 ◽  
pp. 203
Author(s):  
Bojan Goja
Keyword(s):  
Eighteenth Century ◽  
Surrounding Area ◽  
Archival Research ◽  
Parish Church ◽  
Large Numbers ◽  
Venetian Republic ◽  
The Church ◽  
Made In

Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli). Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar. The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented.

scholarly journals Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 61-80
Author(s):  
Mario Pintarić ◽  
Damir Tulić
Keyword(s):  
16Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Third ◽  
15Th Century ◽  
First Time ◽  
Santa Maria ◽  
The Church

The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.

scholarly journals Prilog Trogirskoj klesarskoj radionici

Ars Adriatica ◽  
2011 ◽  
pp. 97
Author(s):  
Ivan Josipović
Keyword(s):  
Ninth Century ◽  
Time Frame ◽  
Eighth Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
Similar Concept ◽  
Almost All ◽  
Short Time ◽  
First Time ◽  
The Church

The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and  in the analogies with other similar fragments of pre-Romanesque reliefs which have already been attributed to the same workshop. This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from  Pađene, Brnaze, Malo polje of Trogir and Otres, but also those from Krković and Ostrovica. In addition, two fragmented reliefs which have been inserted as spolia in east wall of the parish church of St George at Pađene near Knin are also attributed to the same workshop. These fragments have been measured and photographed in more detail for the first time for this paper. The analysis of their decoration has resulted in the conclusion that these fragments belonged to a widely distributed type of chancel screen pilasters, with a somewhat more complex decoration consisting of a dense interlaced mesh of three-strand bands.  Finally, the gable from the Trogir Town Museum, and other stylistically similar relief from Trogir, have been brought into a stronger connection with the church of St Mary, and its original liturgical furnishings in particular. Following from such a conclusion, as well as the fact that the same workshop produced liturgical installations in another hexaconchal church at Brnaze near Sinj, the author dates both structures to the period when the workshop was active (the first quarter of the ninth century), and places the construction of almost all Dalmatian hexaconchs in a relatively short time frame from the end of the eighth century to mid-ninth century.

scholarly journals Zachowane regesty z ksiąg metrykalnych parafii narolskiej z XVII-XVIII wieku

2021 ◽  
Vol 8 ◽  
pp. 163-209
Author(s):  
Henryk Gmiterek
Keyword(s):  
Eastern Europe ◽  
20Th Century ◽  
19Th Century ◽  
New Records ◽  
18Th Century ◽  
16Th Century ◽  
Early 20Th Century ◽  
The Town ◽  
The Church ◽  
Made In

Rozwój badań nad zachowanymi księgami metrykalnymi (urodzeń, zawieranych małżeństw i zgonów) ma pierwszorzędne znaczenie nie tylko dla uszczegółowienia ustaleń genealogicznych poszczególnych rodów czy rodzin, ale przede wszystkim dla pogłębienia wiedzy o lokalnych społecznościach i zachodzących w ich obrębie procesów społecznych. Uprzystępnienie w różnych formach badaczom tej kategorii masowych źródeł historycznych może się w dłuższej perspektywie przyczynić do wyraźnego poszerzenia naszej wiedzy o różnorodnych zjawiskach demograficznych i stosunkach społecznych w obrębie żyjących przed wiekami pokoleń. Słowa kluczowe: Narol, parafia Narol, szlachta województwa bełskiego, genealogia The Extant Entries from the Narol Parish Records of the 17th – 18th Century The parish in Narol was established by Florian Łaszcz Nieledewski in 1595, in a village existing from the mid-16th century, near which he founded the town of Florianów (now Narol) in 1592. Visitations by bishops of Chełm, in whose dioceses Narol was located, confirm that the parish records (births, marriages) were kept from the very beginnings of the parish but in the autumn of 1648 they were destroyed during the Cossack-Tatar invasion (most probably burnt). The new records were kept from 1650. In the early 20th century they were seen in the Narol church by Karol Notz, famous in Galicia (Eastern Europe) for making inventories of historic relics. In 1914, the parish books were burnt during the fire of the town and the church. Their only known traces, discussed in the present publication, are excerpts/copies made in the mid-19th century by Ludwik Zieliński, which mostly refer to the noble families connected with Narol. The overwhelming majority of the 546 extracts are birth entries, only 29 being records of marriages.

scholarly journals Kolegium pijarów w Chełmie. Historia – architektura – autorstwo

2019 ◽  
Vol 67 (4) ◽  
pp. 5
Author(s):  
Ryszard Mączyński
Keyword(s):  
18Th Century ◽  
Main Body ◽  
Horizontal Projection ◽  
Level Of Education ◽  
The Subject ◽  
Scientific Reflection ◽  
The City ◽  
Roof Part ◽  
The Church ◽  
Made In

The building of the old College of Piarist in Chełm – located on Lubelska Street, near the late baroque Church of Holy Apostles the Messengers – is now the seat of the Wiktor Ambroziewicz Chełm Land Museum. Until now, it has not raised much interest among researchers and – appearing as a work of architecture devoid of expressive style features – has not been the subject of scientific reflection. This situation is changed by the disclosure of the preserved drawing from 1698, showing the building in a horizontal projection and axonometric view, stored in the Archivio Generale delle Scuole Pie in Rome. The information contained in written documents kept there allow to determine the time of construction of the building for the years 1698-1700. The project proves that the preserved edifice did not change substantially its one-story block, set on the plan of the letter H. The innovations concerned only the roof part over the main body, which was originally the Krakow roof, and the extension of one of the side wings in 1720-1724 (so that the college was connected to the church). Neither did the subsequent transformations significantly affect the internal divisions, be it in the two-and-a-half tract main corpus, with the cross-corridor communication system introduced therein, or in the single tract side wings. The shape of the building and the severity of the development of its facade, representing the baroque in its classicizing version, suggests the designer – Giuseppe Piola, an architect working in Warsaw at the turn of the 17th and 18th centuries, building, at the request of the Piarist order, also their church and monastery complex in Szczuczyn. However, the extension of the college wing made in the first half of the 18th century should probably be associated with the person of another capital architect – Carlo Antonio Bay, who at the same time, together with his son-in-law, Vincenzo Rachetti, also an architect, made calculations for the Piarist priests from Chełm for the profitability of their parcel located in the suburbs of the city of Lublin. The building in Chełm was a monastic college, and at certain times also a “profesorium”, in which Piarist clerics learned philosophy at a higher level of education. Contrary to some suggestions, there was never a public school run by the Piarists in this building. It was founded – as a Russian gymnasium – only after the January Uprising and the dissolution of the Scholarum Piarum community.

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.

The Starry Universe of Jacques Cassini: Century-old Echoes of Kepler

2021 ◽  
Vol 52 (2) ◽  
pp. 147-167
Author(s):  
Christopher M. Graney
Keyword(s):  
18Th Century ◽  
The Sun ◽  
Johannes Kepler ◽  
Apparent Diameter ◽  
Early 18Th Century ◽  
Made In

This paper discusses measurements of the apparent diameter and parallax of the star Sirius, made in the early 18th century by Jacques Cassini, and how those measurements were discussed by other writers. Of particular interest is how other writers accepted Cassini’s measurements, but then discussed Sirius and other stars as though they were all the same size as the sun. Cassini’s measurements, by contrast, required Sirius and other stars to dwarf the sun—something Cassini explicitly noted, and something that echoed the ideas of Johannes Kepler more than a century earlier.

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