scholarly journals Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija

Ars Adriatica ◽  
2015 ◽  
pp. 141
Author(s):  
Damir Tulić
Keyword(s):  
Eighteenth Century ◽  
Early Years ◽  
High Quality ◽  
Parish Church ◽  
Important Link ◽  
Marble Statue ◽  
Venetian Lagoon ◽  
Set Up ◽  
Santa Maria ◽  
The Church

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

scholarly journals Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija

Ars Adriatica ◽  
2015 ◽  
pp. 141
Author(s):  
Damir Tulić
Keyword(s):  
Eighteenth Century ◽  
Early Years ◽  
High Quality ◽  
Parish Church ◽  
Important Link ◽  
Marble Statue ◽  
Venetian Lagoon ◽  
Set Up ◽  
Santa Maria ◽  
The Church

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

scholarly journals Glory Crowned in Marble: Self-promotion of Individuals and Families in Seventeenth- and Eighteenth-Century Monuments in Istria and Dalmatia

2019 ◽  
pp. 139-150
Author(s):  
Damir Tulić
Keyword(s):  
Eighteenth Century ◽  
Parish Church ◽  
Military Engineer ◽  
Common Purpose ◽  
The Military ◽  
Venetian Republic ◽  
The Town ◽  
The Church ◽  
Commemorative Monuments

Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar’s Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.

scholarly journals La basílica de santa María de Elche: proyecto clasicista en la arquitectura del siglo XVII

Imafronte ◽  
2020 ◽  
pp. 59-84
Author(s):  
Carlos Enrique Navarro-Rico
Keyword(s):  
Early Years ◽  
Santa Maria ◽  
The Church

La basílica de santa María de Elche se construyó en un dilatado periodo de tiempo (1673-1784), si bien la totalidad de su fábrica es deudora de la concepción del proyecto original. Este fue elaborado por el arquitecto Francisco Verde, siendo continuado por Pedro Quintana y rediseñado por Juan Fauquet. En este artículo se explora dicho proyecto en el marco de la arquitectura seiscentista, así como se aporta documentación inédita sobre los primeros años de construcción y sus artífices. The church of Santa Maria (Elche) was built on a lengthy period of time, although the construction is based on the conception of the original project, designed by the architect Francisco Verde, continued by Pedro Quintana and redesigned by Juan Fauquet. This article explores the project in the context of the architecture of that time and provides new documentation about its architects and the early years of the construction.

scholarly journals Geochemical and Petrographic Characterization of Bricks and Mortars of the Parish Church SANTA Maria in Padovetere (Comacchio, Ferrara, Italy)

Minerals ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 530
Author(s):  
Elena Marrocchino ◽  
Chiara Telloli ◽  
Mario Cesarano ◽  
Manlio Montuori
Keyword(s):  
Electron Microscope ◽  
Scanning Electron Microscope ◽  
Archaeological Investigation ◽  
X Ray ◽  
Parish Church ◽  
Materials Used ◽  
Santa Maria ◽  
The Church ◽  
Scanning Electron

From the 1950s and 1960s of the last century, a parish church dating back to the 6th century AD was identified during reclamation works of Valle Pega. The archaeological investigation allowed the recovery of the parish and the attached baptistery, as well as some tombs closely connected to the church. Following the excavation, it was possible to collect some samples of bricks and mortars in order to identify the different compositions of the materials used for the construction of the parish. All the samples were analyzed through optical microscopy, X-ray powder diffractometric analysis and observation through scanning electron microscope. Thanks to the investigations carried out on the samples, it was possible to hypothesize the different construction phases and the different materials used and to identify the firing temperatures at which the bricks were built.

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 Conservation of the Church and the Friary of “Santa Maria degli Angeli” in Atella (Potenza, Italy)

2018 ◽  
Vol 7 (4) ◽  
pp. 178
Author(s):  
Filiberto Lembo ◽  
Francesco Paolo Rosario Marino ◽  
Carmela Cancellara
Keyword(s):  
Agricultural Products ◽  
Regional Culture ◽  
The South ◽  
Cultural Goods ◽  
Existing Building ◽  
Strategic Position ◽  
Set Up ◽  
Santa Maria ◽  
The Church

Built at the end of XV century and re-built in XVIII, as a consequence of many earthquakes, englobing the precious portal of a previous church of XIII, the complex set up by the Church of Santa Maria degli Angeli and the Friary of Minor Friars, expropriated by the unitary Italian State after 1860 and sold to private peoples, had a destiny common to many similar buildings in the south of Italy, becoming farm and agricultural products’ warehouse. Struck again by the earthquake of 1980, it has been the object of partial safeguard works, but is now abandoned and in ruin. Because of its strategic position, in a context very rich of environmental and historical-cultural goods, it could be easily restored and intended to be a youth hotel, fulfilling an investment of great value for the development of the regional culture and economy. Research done through the careful architectural and technological survey of existing building and the design of low-technology works of conservational reconstruction and structural-functional update, demonstrates the feasibility of hypothesis and its sustainability.

The Case of the Reverend James Shore

1996 ◽  
Vol 47 (3) ◽  
pp. 478-504
Author(s):  
Grayson Carter
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Church Of England ◽  
The Law ◽  
Set Up ◽  
The Church

The two hundred or so evangelical clergymen who seceded from the Church of England into Protestant Dissent during the first half of the nineteenth century often paid a considerable price for their action. By crossing the subtle social boundary between Anglican priesthood and Nonconformist ministry they forfeited status and often, no doubt, income. A number vanished into comparative obscurity as pastors of small chapels, whether as ministers of a major denomination, Strict and Particular Baptists, Christian Brethren, or preachers in some unlabelled and impoverished chapel. If not so severely penalised for their secession as many of their colleagues who went to Rome, particularly those with wives for whom entry into the Roman priesthood was closed, they usually came off the worse in temporal terms for following the dictates of conscience. This, no doubt, they fully anticipated. What was not anticipated, however, was the imposition of a legal penalty for their act of secession. Though Anglican secessions to Rome or Dissent were not infrequent, their legality was apparently seldom if ever questioned. Liberal Churchmen like Theophilus Lindsey, who had abandoned the establishment for Unitarianism during the eighteenth century, had set up their chapels with impunity. In 1831 the evangelical William Tiptaft received a threat from Thomas Burgess, the bishop of Salisbury, upon seceding from the parish of Sutton Courtney, Berkshire, but nothing came of it. Those who left the via media for Rome were assumed to be acting within the framework of the law when they took up a new ministry as priests of another apostolic confession.

‘The Rector presents his compliments’: Worship, Fabric, and Furnishings of the Priory Church of St Bartholomew the Great, Smithfield, 1828-1938

1999 ◽  
Vol 35 ◽  
pp. 320-332
Author(s):  
Martin Dudley
Keyword(s):  
Eighteenth Century ◽  
Benjamin Franklin ◽  
Henry Viii ◽  
John Wesley ◽  
Process Of Change ◽  
Parish Church ◽  
The North ◽  
City Of London ◽  
The City ◽  
The Church

For nearly 900 years the Priory Church of St Bartholomew the Great has functioned as an expression of wider religious moods, movements, and aspirations. Founded in 1123 by Rahere, a courtier of Henry I, at a time when the Augustinian Canons gained a brief ascendancy over older forms of religious life, it represents the last flowering of English Romanesque architecture. The Priory was dissolved by Henry VIII, became a house of Dominicans under Mary, and saw the flames that consumed the Smithfield martyrs. Since Elizabeth’s reign it has been a parish church serving a small and poor but populous area within the City of London but outside the walls. Its history is fairly well documented. Richard Rich lived in the former Lady Chapel. Walter Mildmay worshipped, and was buried, there. John Wesley preached there. Hogarth was baptized there. Parts of the church had been turned over to secular use. There was a blacksmith’s forge in the north transept beyond the bricked-up arch of the crossing and the smoke from the forge often filled the building. A school occupied the north triforium gallery. The Lady Chapel was further divided, and early in the eighteenth century Samuel Palmer, a printer, had his letter foundry there. The young Benjamin Franklin worked there for a year in 172 s and recorded the experience in his autobiography. The church, surrounded by houses, taverns, schools, chapels, stables, and warehouses, was a shadow of its medieval glory; but between 1828 and 1897 it changed internally and externally almost beyond recognition. The process of change continued over the next forty years and indeed continues still. These changes in architecture and furnishings were closely linked to a changed attitude to medieval buildings, to issues of churchmanship, and to liturgical developments.

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.

Writing the History of the English Bible in the Early Eighteenth Century

2004 ◽  
Vol 38 ◽  
pp. 268-278 ◽  
Author(s):  
Scott Mandelbrote
Keyword(s):  
Eighteenth Century ◽  
Church Of England ◽  
Roman Catholic ◽  
Early Years ◽  
Christian Belief ◽  
Rule Of Faith ◽  
The Bible ◽  
The Reformation ◽  
History Of ◽  
The Church

The letter of Scripture suffering various Interpretations, it is plain that Error may pretend to Scripture; the antient Fathers being likewise dead, and not able to vindicate themselves, their writings may be wrested, and Error may make use of them to back itself; Reason too being bypassed by Interest, Education, Passion, Society, &c…. Tradition only rests secure.The 1680s were a difficult decade for the English Bible, just as they were for so many of the other institutions of the English Protestant establishment. Roman Catholic critics of the Church of England, emboldened by the patronage of James II and his court, engaged in controversy over the rule of faith and the identity of the true Church, much as they had done in the early years of the Reformation or in the 1630s. Nonconformists and freethinkers deployed arguments drawn from Catholic scholarship, in particular from the work of the French Oratorian Richard Simon, and joined in ridicule of the Bible as a sure and sufficient foundation for Christian belief.

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