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 ◽  
...  

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.

2020 ◽  
Vol 65 (2) ◽  
pp. 38-53
Author(s):  
Jelena Celunova

This article is devoted to the research of the Book of Psalms manuscript from A. S. Norovʼs book collection stored in the Department of manuscripts of the Russian State Library. The manuscript is written in the beginning of the 18th century in Church Slavonic language Polish letters. This manuscript has never been studied before, it is nonetheless of interest primarily as a Latin-graphic text, which is a transliteration of the originals in Church Slavonic. Very few such texts have survived, and almost all of them were created in the Grand Duchy of Lithuania. The article provides a complete description of the manuscript and analyses of its language peculiarities. The analysis has made it possible to identify Church Slavonic protographs of the manuscript, and also to establish that the manuscript was written by women (most likely nuns) for private use. Since the authors of the transliteration themselves had very good command of Church Slavonic, it can be assumed that the text was written to order. Against the background of the cultural and historical context of the turn of the 17th and 18th centuries it can be assumed that the manuscript was written by the nuns of one of the southwestern Russian Uniate monasteries who had moved to one of the monasteries in Russia at that time.


Author(s):  
Carsten Riis

About the painting “The Siege of Constantinople” as found on six churches from the 16th century in Moldavia. In the first decades of the 16th century the late Byzantine iconography flourished in Moldavia on church exteriors. On six churches within a radius of 30 kilometres are found a siege scene, “The Siege of Constantinople”, in connection with a painting of the Akathist Hymn. The article seeks the historical background of the painting in the siege of Constantinople by the Turkish army in 1453. In uncovers, through an interpretation of the painting from the Moldovita Monastery, the Moldavian painters’ knowledge of the fall of Constantinople. At the same time, this was the defeat of the centre of the Orthodox Church to which Moldavia belonged. From the connection with the Akathist Hymn and the explanatory text which follows the painting on the church in Arbore, the religious aspect of the paintings is connected to the Persian siege of Constantinople in 626, where an intervention by Virgin Mary was believed to have saved the city. During the Turkish pressure in the 1530’s, this tradition is moulded into an anti-Turkish ideological manifest in Moldavia. This takes place by altering the historical scene for the events in 626, and in this manner the situation of Moldovia is incorporated into the paintings. The church of Arbore has been painted as the last one and has an account which varies in considerable degree from the five others regarding the historical aspect, because at that time Turkish control of the area increased. However, its religious aspect is still Christian and anti-Turkish. After 1541 the picture is no longer painted, probably because of even stronger Turkish control.


Genealogy ◽  
2018 ◽  
Vol 2 (4) ◽  
pp. 39
Author(s):  
Leticia Galobart

The members of the Torroja family were extremely important as advisers on political and military strategy to the counts of Barcelona (monarchs of the Crown of Aragon) Arnaldo was elected Grand Master of the Knights Templar (1181–1184). On 30 September 1184, the Templar Master passed away in the city of Veneto; Arnaldo de Torroja was buried at the church of San Vitale in Verona. The church was destroyed when the river Adige flooded it in the 18th century, and it was closed down in 1760 as a result of the damage caused. Some years ago, behind a wall, a sarcophagus was discovered on which was carved the typical Templar cross (Cross pattée) and, in 2016, it was opened by a team of Italian scientists. The skeletal remains corresponded to the age Arnaldo. Thanks to the book that I recently published “Armorial de los Obispos de Barcelona, siglos XII–XXI”, it has been realized that the sarcophagus of the brother of Arnaldo of Torroja, Guillermo is contained within the Family heraldry “Golden a castle of Gules”, they requested that the aforementioned bishop’s remains be analysed, in order to compare them with those of Arnaldo.


2019 ◽  
Vol 11 (2) ◽  
pp. 108-118
Author(s):  
Iryna Dubrovina ◽  
Kateryna Horash ◽  
Anton Karmazin

The article is devoted to the characterization of the cultural palette of Kremenets as one of the most important educational centers of Volhynia of the first half of the XIX century. The leading cultural center of the city of that time was the Volhynia gymnasium and lyceum (1805–1833). The opening of the institution became a true triumph of the dedication activity of its founders – Hugo Kollontai (1750–1812) and Tadeush Chatskyl (1765–1813). A separate page of the Kremenets culture is its connection with the famous Polish poet Yuliush Slovatskyl (1809–1849), and now his memorial museum is open in the city. The contemporary educational activity of the Kremenets Humanitarian and Pedagogical Academy named after Taras Shevchenko is also considered.


Author(s):  
Paweł Sygowski

<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>


Ikonotheka ◽  
2018 ◽  
Vol 27 ◽  
pp. 109-131
Author(s):  
Anita Kunikowska

The Kalisz Orthodox church from the 1870s (Fig. 1) was demolished in the interwar period and quickly replaced by a “new” Orthodox church by the same name (Fig. 6). The surviving official correspondence reveals a specific set of arguments for the dismantling of the “old” church, e.g. that it was becoming dilapidated, was a threat to public safety and constituted an alien addition to the architectural landscape of the city. The demolition of the Orthodox church was to provide jobs for the unemployed and to open up the possibility of erecting a post office in that spot. The municipal authorities convinced the Ministry of Culture and Art that the local Orthodox parish was not interested in reclaiming the church for their own needs, even though this was not the case. The community ultimately conceded to having the church dismantled but demanded that a new temple be erected as compensation. The example of Kalisz aptly illustrates the attitude the authorities of the Second Republic of Poland had towards Russian Orthodox churches that had been erected in the partition period. The situation mirrored the controversies around the fate of the Orthodox church in Saski Square in Warsaw, if in a more provincial environment. The architectural style of the “new” Orthodox church in Kalisz puzzles many authors – the building, clearly representative of Russian historicism, is associated with Rundbogenstil and Latin- and Occidental-style Orthodox churches, which were spared by the interwar Polish authorities who wished to convert Orthodox citizens to Catholicism within the framework of the so-called neo-Union.


2018 ◽  
Vol 10 (1) ◽  
pp. 90-103
Author(s):  
Dietmar Plajer

Abstract The Reformation in Transylvania, Lutheran in structure, has been from its very beginning in direct contact with representatives of the Orthodox Church. An Orthodox clergyman, Philippus Pictor (Filip Moldoveanul), had worked for decades in Hermannstadt in the service of the magistrate, with tasks – among other responsibilities – in the printing house; it was probably during his activity in office that the (now lost) Romanian catechism of 1544, the church-slavonic and the bilingual (Slavonic-Romanian) gospels were printed. There are good reasons to assume that these prints were made directly by the initiative of the city council; but this was not an attempt at the conversion of Romanians to the Evangelical faith, but rather an exercise of the duty – emerging from Luther’s theology – to make possible for all people the access to Scripture.


Slovene ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 461-474
Author(s):  
Dmitry I. Polyvyannyy

[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.


Geosciences ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 31
Author(s):  
Elena Marrocchino ◽  
Chiara Telloli ◽  
Carmela Vaccaro

This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.


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