scholarly journals Ikonografija romaničke katedrale u Dubrovniku

Ars Adriatica ◽  
2014 ◽  
pp. 63
Author(s):  
Pavuša Vežić
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Twelfth Century ◽  
Lateral Wall ◽  
Ground Plan ◽  
Architectural Features ◽  
Art Works ◽  
Archival Record ◽  
East End ◽  
The One

In order to deepen our contemporary knowledge about the Romanesque cathedral of Dubrovnik, it is of utmost importance to turn to the archaeological remains and the documented material evidence in order to establish its ground plan. On the basis of the ground plan and in combination with the way the Cathedral was depicted in the art works produced during the period from the fifteenth to the seventeenth century, while also taking into account the contemporary written sources, we can propose a reconstruction of the Romanesque Cathedral together with a number of architectural features which have not been preserved. The Cathedral was an aisled basilica with a semi-circular apse which protruded at its east end. The nave was separated from the two aisles by means of arcades consisting of six piers resting on rectangular bases. The piers carried the vaults and these, in turn, supported the galleries above the aisles and the roof of the basilica. Such an arrangement was recorded by Diversis and Casola in the fifteenth century. In all likelihood, the two buttresses on the façade and eight more on each lateral wall were added later. At the top, the buttresses were connected by semi-circular arches and an exterior gallery existed above them. This gallery was connected to the one at the back of the church, creating thus an ambulatory which enabled the circumambulation of the basilica. This feature was mentioned by Casola and can be seen, to a certain degree, on the triptych painted by Nikola Božidarević. Most depictions show the Cathedral as having a dome on a round drum. However, the dome on the triptych painted by Pietro di Giovanni features a polygonal drum. The fact that the bases of the two piers situated under the dome are narrower compared to others, as can be seen on the ground plan recorded by Stošić, may have had something to do with that. The depictions of the dome regularly show exterior ribs which is a feature that requires further critical deliberation. At the same time, the dome does appear frequently in the architecture of Italian Romanesque churches. This can be seen in the architectural heritage of Apulia, Tuscany and Lombardy alike. When it comes to Dalmatia, however, only the cathedrals in its southern part, that is, at Dubrovnik and Kotor, were provided with a dome which is a phenomenon that points to the longevity of Byzantine tradition in these towns. The proposal put forward by Stošić, that the building of the Romanesque cathedral started during the last three decades of the twelfth century, when the Archbishop of Dubrovnik was Andrew of Lucca in Tuscany, seems convincing. Stošić also drew attention to the fact that the buttresses were added onto the exterior face of each lateral wall in order to carry the weight of the gallery in the upper part of the basilica. This may indicate that the initial concept was altered and it could be linked to an archival record of 1199 which mentions that a certain Eustace was required to carry out building works on the Cathedral. This Eustace was the son of Bernardo, a foreman (protomagister) in Trani in Apulia. This means that the twelfth century was not the time when the building works began, as Peković suggested, but the time when the building continued after the introduction of a new design with exterior galleries. Such galleries are found in Italian churches (in Apulia, Tuscany and Lombardy alike) as well as in some Dalmatian ones, for example on the lateral wall of Zadar Cathedral and on the wall of the semi-circular apse of the basilica of St Chrysogonus in the same town. On the other hand, fact remains that the exterior galleries in Apulian churches were supported by a series of robust buttresses which carried high vaults (Bari, Bitonto, Trani). These buttresses are much more solid in comparison to the narrow ones which were added onto the walls of Dubrovnik Cathedral. Perhaps this can be understood as a consequence of the change of design for the new cathedral which saw the replacing of what one might call a Tuscan project of the second half of the twelfth century with the Apulian one from the turn of the thirteenth. The building works continued long after this, well into the mid-fourteenth century, and in the process the cathedral acquired a number of Gothic elements. Its overall architectural composition was also imbued with the Gothic spatial articulation such as the testudines opere gothico. This makes it clear that during the thirteenth and fourteenth century, Dubrovnik experienced intense connections with Apulia.

An Incomplete Integration into the Orbis Christianus

2015 ◽  
Vol 21 (2-3) ◽  
pp. 232-249 ◽  
Author(s):  
Benjamin Weber
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Twelfth Century ◽  
Mutual Knowledge

Contacts between Ethiopia and the papacy may have developed since the twelfth century and are securely documented from the first half of the fourteenth century. Information and mutual knowledge, very vague at the beginning, slowly increased through merchants, missionaries, and official embassies; both sides learned from each other. But numerous misunderstandings remained and fabulous tales about Ethiopia were diffused in papal documents until the fifteenth century. This was caused, of course, by the difficulty of obtaining precise and genuine information about these remote lands but it was also the consequence of an intentional confusion and distortion of reality, fed by the papacy in order to highlight its universal power.

A late medieval pit at Westminster Abbey

1960 ◽  
Vol 40 (3-4) ◽  
pp. 188-194 ◽  
Author(s):  
J. G. Hurst
Keyword(s):  
Sixteenth Century ◽  
Fourteenth Century ◽  
Twelfth Century ◽  
Late Medieval ◽  
To Come ◽  
The One ◽  
Ancient Monuments ◽  
General Appearance

When the deanery of Westminster Abbey was being rebuilt in the autumn of 1951, as a result of war damage, a pit was found containing fourteen complete pots and fragments of nearly twenty others. The Ministry of Works was called in and the pottery was cleaned and restored in the Ancient Monuments Laboratory; it is now in the deanery. Unfortunately the pit was dug out by workmen before the find was reported to the Clerk of Works, but all the pottery was said to come from the one pit. The pit was about 5 × 3 ft. and was situated under a new flight of stairs in the new entrance hall (fig. I). It is not possible to tell exactly how this part of the building was arranged in late medieval times but the pit appears to have been inside the building. Although it has the general appearance of a latrine pit it may have been used for storage or some other purpose. The wall immediately to the east is twelfth century and the room in which the pit now is was probably the twelfth-century hall of the abbot's lodging. The whole building was reconstructed by Abbot Litlington in the late fourteenth century and Abbot Islip carried out further work in the early sixteenth century.

The New Palace Yard and Its Fountains: Excavations in the Palace of Westminster 1972-4

1989 ◽  
Vol 69 (2) ◽  
pp. 279-297
Author(s):  
Valerie Horsman ◽  
Brian Davison
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Twelfth Century ◽  
Central Area ◽  
Historic Buildings ◽  
Historic Site ◽  
High Quality ◽  
The Creation ◽  
Important Site

Excavations in the New Palace Yard at the Palace of Westminster, between 1972–4, have illuminated the development of this historic site on the northern periphery of the medieval palace. The Yard was first laid out in the late thirteenth or early fourteenth century over previously marshy land at the edge of Thorney Island. In the central area of the Yard, part of the foundation of a magnificent fountain, known historically as the Great Conduit was found. Built in the mid-fifteenth century, the conduit formed a major landmark until its demolition some two hundred years later. Preserved within its foundation were the fragmentary redeposited remains of a high quality fountain of polished Purbeck marble, dated to the late twelfth century. Due to the enormous scale of the building works significant environmental evidence was recovered allowing elucidation of the topographical development of this important site, from the prehistoric period to the creation of the Yard in the late thirteenth century.This paper is published with the aid of a grant from the Historic Buildings and Monuments Commission for England.

Venice and the Knights Hospitallers of Rhodes in the Fourteenth Century

1958 ◽  
Vol 26 ◽  
pp. 195-212 ◽  
Author(s):  
A. T. Luttrell
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
The Other ◽  
The Mediterranean ◽  
The Republic ◽  
The One ◽  
The Church ◽  
Strong Contrast

In Gentile Bellini's painting of a Venetian festa a knight of the Order of St. John stands alone in the Piazza of San Marco. He is dressed in a black cloak adorned with the eight-pointed cross of the Hospitallers and is attended by a single page. The ecclesiastical and lay dignitaries of the Republic file solemnly past; but he has no part in the ceremony and his posture suggests an awareness that the presence of the Order was resented. For two centuries both Venice and the Hospitallers were among the foremost opponents of the Turks in the Mediterranean, but a deep antipathy existed between them. Allies by force of circumstance, their attitudes towards the infidels were in strong contrast and united action often became impossible. On the one side, were traditional elements in Venetian policy, the pre-eminence of trading interests, independence of the church and an opportunist exploitation of crusading ideals; on the other, the Hospitallers' alliance with Venice's greatest rival, Genoa.The Hospital's Priory of Venice was founded in the twelfth century and by the fourteenth included houses in many parts of Emilia and the Romagna, mostly outside Venetian territory.

Philoponus, in De Anima III: Quest for an Author

1992 ◽  
Vol 42 (2) ◽  
pp. 510-522 ◽  
Author(s):  
Peter Lautner
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Twelfth Century ◽  
Direct Reference ◽  
De Anima ◽  
The Third ◽  
De Interpretatione ◽  
Codex Vaticanus ◽  
The Voice

It has been strongly disputed that Philoponus is the author of the commentary on the third book of De Anima printed in vol. xv of CAG under his name, and Stephanus of Alexandria has been taken to be its real author. The evidence for the authorship of Stephanus is as follows: (I) Codex Parisinus gr. 1914, written in the twelfth century, has an adscript by a later hand saying βιβλ⋯ον τρ⋯τον ⋯π⋯ ϕωνης στεϕ⋯νου (‘third book from the voice of Stephanus’), and the same appears in the fifteenth-century Codex Estensis iii F 8. (II) In 543.9 there is a clause saying ὡς ⋯ν τῷ περ⋯ ⋯ρμηνε⋯ας ⋯μ⋯θομεν (‘as we learnt in the De Interpretatione’), which was taken by M. Hayduck to be direct reference to Stephanus' commentary on the De Interpretatione, edited also by Hayduck in vol. xiii/3 of CAG. (III) The third book, says Hayduck, is short (brevis) and jejune (jejunus), in contrast to the verbosity of the preceding two books. (IV) The commentary on the third book of De Anima is divided into lectures (πρ⋯ξεις), but the first two books are not. (V) Some locutions are used constantly in the third book and in Stephanus' in De Interpretatione as well. (VI) In the Codex Vaticanus gr. 241 fol. 6 (fourteenth century) we are told that Stephanus also wrote a commentary on the De Anima.

In and Out, Then and Now

2015 ◽  
Vol 18 (2) ◽  
pp. 378-403
Author(s):  
Franz-Josef Arlinghaus
Keyword(s):  
Fifteenth Century ◽  
Twelfth Century ◽  
Sociological Theory ◽  
The Self ◽  
Single Person ◽  
Autobiographical Texts ◽  
The One ◽  
Relationship Of ◽  
The Relationship ◽  
Ways Of Being

This article explores how the relationship of a single person and society is depicted in the twelfth century and the fifteenth/sixteenth centuries in French and German autobiographical writings. Shifting away from looking at the ‘group–single person’ relationship, which is so prominent in the debate on medieval individuality, and turning to ‘society’, the article suggests that this wider scope can offer new ways of identifying parallels and differences between modern and pre-modern concepts of the self. Drawing on sociological theory (Simmel, Luhmann) on conceptualising the self, the article argues that, with respect to self-esteem, self-consciousness and (if at all) ‘autonomy’ there are more similarities than differences between medieval and modern ways of being ‘individual’. Besides the similarities, the fundamental differences can be found in the overall perspectives and the general frameworks against which concepts of the self are developed. On the one hand, people conceptualise themselves as being part of, or rather, exponents of society. On the other hand, they describe themselves as being counterparts of, or rather, external to society. Whether this approach helps to yield a different view of how pre-modern autobiographical texts can be read, with side glances to the merchant Lucas Rem and the professor Johan vam Hirtze (both fifteenth century), the study concentrates on Guibert of Nogent, a twelfth-century abbot, and Katharina Schütz-Zell, a sixteenth-century widow of a Protestant priest.

scholarly journals Two unnoticed pieces of medieval polyphony

1992 ◽  
Vol 1 (2) ◽  
pp. 167-173
Author(s):  
David Hiley
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
The Other ◽  
The One

The two pieces introduced and briefly discussed in this article have so far remained unnoticed because of the manner of their notation. In each case pieces of two-voice polyphony were notated with the two voices separate, instead of in the score notation which has been usual since, roughly, the second half of the twelfth century. In the one case, the sequence Magnus deus in universa terra in a manuscript from Marchiennes of the fourteenth century, a second voice was added at the back of the book in which the usual melody had already been recorded. In the other case, the song Ad honorem regis summi in the so-called Codex Calixtinus, the two voices are notated successively, verse 1 of the text being given with the first voice, verse 2 with the second voice.

scholarly journals Poteri signorili e feudali nelle campagne dell'Italia settentrionale fra Tre e Quattrocento: fondamenti di legittimità e forme di esercizio.

2005 ◽  
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Northern Italy ◽  
The Other ◽  
Ordinary Citizen ◽  
The One

This volume contains the proceedings of the study convention held in Milan on 11 and 12 April 2003. The objective of these study days was to address the question of the powers of lordship which were exercised in the countryside of central-northern Italy between the mid fourteenth century and the end of the fifteenth century. The discussions focused on what instruments and what foundations of legitimacy these same powers had and what was their relationship with the authority of the prince and with the ordinary citizen, on the one hand, and with the community and the homines on the other. These and various other issues thrown up by the study of feudal power are the topics which emerge in the various contributions gathered in this volume, devoted principally to the Lombardy of the Visconti and the Sforza, but also to other areas of Italy.

From Constantinople to Istanbul: The Residences of the Venetian Bailo (Thirteenth to Sixteenth Centuries)

2015 ◽  
Vol 18 (1) ◽  
pp. 128-146
Author(s):  
Aygül Ağır
Keyword(s):  
Fifteenth Century ◽  
Eleventh Century ◽  
Archaeological Data ◽  
Left Behind ◽  
Golden Horn ◽  
Architectural Features ◽  
Italian City ◽  
City States ◽  
The One ◽  
Written Sources

Medieval Italian city-states with access to the sea, most notably the Venetian and Genoese, were in need of safe ‘stopovers’ that would allow their inhabitants to travel to distant places across the territories in which they conducted commerce. As the most important ‘stopover’ and centre of consumption, Constantinople became a point of attraction for Italian merchant colonies, particularly after the eleventh century. Among these, the most powerful one with the largest settlement was the Venetian colony. Following a decree dated 1082 (Chrysoboullos) that granted them certain privileges, the Venetians settled across the southern shores of the Golden Horn. In terms of administration, it appears that, until the Latin period (1204–1261), no formal officers were appointed to the Venetian Merchant Colony. ‘The bailo’ was first instituted in Constantinople only after the treaty of 18 June 1265. The mention of a house owned by the bailo dates as late as 1277. Documents on the residence of the bailo remain silent until the early fifteenth century. It is unclear if the palace of the bailo mentioned in fifteenth-century documents and the house allocated to the bailo in 1277 are the same building. Despite the Turkish conquest of Constantinople in 1453, the Venetians, albeit with interruptions, continued to live on the historic peninsula. However, it is no longer possible to speak of a Venetian settlement similar to the one that had existed in Byzantine times. Per the agreement signed on 16 August 1454, the Venetians were granted a house and a church that ‘once’ belonged to Anconitans. The possible location and architectural features of the residences of the bailo, which have left behind no archaeological data, are discussed here through written sources including Ottoman documents.

The Conquest in Historical Writing from the Late Thirteenth Century

2020 ◽  
pp. 173-208
Author(s):  
George Garnett
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Old English ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Twelfth Century ◽  
Eleventh Century ◽  
Historical Writing ◽  
The Third ◽  
History Of

Chapter 5 analyses three genres of historical writing about England in the later middle ages: histories of individual churches, universal histories, and histories of the kingdom. It confirms the provisional judgement reached in Chapter 4: that with respect to the Conquest and earlier England, historical writing fossilized. There were, however, exceptions, most of which could be categorized in the first genre. These are examined in great detail, and follow on from the treatment of the unusual episodes recorded during the thirteenth century at St Augustine’s, Canterbury and Burton Abbey which were considered in Chapter 4. The first is the problematic, neglected Historia Croylandensis attributed to (Pseudo-)Ingulf, which is for the most part a fabrication of the fourteenth or fifteenth century, but which masquerades as the work of the abbot at Crowland at the end of the eleventh century, and therefore as contemporaneous with the great post-Conquest histories of England. The second is the early fourteenth-century Lichfield Chronicle, written by Alan of Ashbourn. The third is a general history of England conventionally attributed to John Brompton, abbot of Jervaulx in the early fifteenth century, and perhaps written at the abbey. All three pay a great deal of attention to (different) twelfth-century compilations of Old English and immediately post-Conquest law. This unusual characteristic accounts for their exceptional interest in the Conquest. The chapter also includes a briefer discussion of the more conventional histories into which condensed earlier discussions of the Conquest were inserted.

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