scholarly journals Rozwój przestrzeni liturgicznej kościołów franciszkańskich od XIII do XVIII wieku

2019 ◽  
Author(s):  
Marcin Drąg
Keyword(s):  
Pastoral Care ◽  
First Generation ◽  
18Th Century ◽  
Virgin Mary ◽  
15Th Century ◽  
Modern Age ◽  
Immaculate Conception ◽  
Original Message ◽  
Saint Francis ◽  
The Church

Development of liturgical space in Franciscan churches between 13thand 18th centuries The aim of this writing is to show changes which took place in sacral space of Fran-ciscan temples. At first Friars Minor Conventual were occupying small, abandoned churches. There they found their space for prayer. However, the first generation of Marcin Drąg OFMConv98 the followers of St. Francis did not possess their own sacral area. Instead, they were only its users.Letters of the order’s founder are clearly defining sensitivity connected with cult which all members of the order should possess. Therefore emerges a need of sacral space’s arrangement just in the first decades of the order. Thanks to papal privileges and a demand for ceremonial celebration of liturgy, Franciscan churches are equipped with choirs, lecterns and all paraments needed. This fact is affirmed by Ordinationes(the Franciscan liturgical statutes).The 1260 Narbonne constitutions defined a plan for sacral space of Franciscan churches. It was based on order’s spirituality. The crucified Saviour is put in the middle of this plan. His sacrifice is being re-lived in the mystery of the Holly Mass. Virgin Mary and Saint John the Apostle are participating in this sacrifice as represent-atives of the Church, while Saint Francis and Saint Anthony are representing people redempted with Christ’s blood. By following Jesus, they have received a prize of His eternal companion in heavenly glory.Simultaneously with arrangement of God’s service in conventual churches, friars are becoming more open to fraternity, which determine later arrangements in space of Franciscan churches. Many churches has become places of relics worship and important shrines, with Assisi and Padua among others. Spirituality of the Order and devotion of people have led to creation of side chapels and altars which were spon-sored by benefactors, who received Holly Masses, celebrated for them, and pastoral care in exchange.The 1632 constitutions of Pope Urban the 8th together with order’s etiquette from 1759 are re-affirming the original message of Franciscan temples. It is based on mys-teries of salvation which are represented by the crucified Jesus Christ, the Immaculate Conception of Virgin Mary and Franciscan Saints who with their lives example have shown a way to glory. The idea of Franciscan devotion is represented in dedicated altars and ceremonial processions.In modern age, churches of Friars Minor Conventual were constantly influenced by changes of Renaissance (15th century) and Baroque (from 18th century), which composition was totally different from Gothic. However, despite some architectural changes, the Franciscan idea of devotion, which was included in the plan of churches, has remained the same.The analysis of sacral space in Franciscan churches which has been conducted in this article heads to a conclusion of constant development of Franciscan churches interiors. The changes which took place during 13th and 18th centuries were dictated by evolution of order’s spirituality and needs of believers.

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.

7. Modern Mary—Reformation to the present

2021 ◽  
pp. 123-146
Author(s):  
Mary Joan Winn Leith
Keyword(s):  
21St Century ◽  
Vatican Ii ◽  
Virgin Mary ◽  
16Th Century ◽  
Protestant Reformation ◽  
Council Of Trent ◽  
The Enlightenment ◽  
Immaculate Conception ◽  
Religious Ideals ◽  
The Church

‘Modern Mary—Reformation to the present’ looks at the Virgin Mary from the Protestant Reformation of the 16th century to the present. During this period Mary was often at the centre of conflicts over religious ideals that contributed to the Enlightenment. The Catholic Council of Trent reaffirmed Mary’s perpetual virginity, intercession, pilgrimage, and relics. Catholic Marian beliefs were shaped by some of the misgivings that Protestants had voiced about Catholic views of Mary. The rosary and apparitions of Mary illustrate Catholic views of Mary after the Council of Trent. The so-called ‘Marian Century’ began in 1854 with Pope Pius IX’s declaration of Mary’s Immaculate Conception effectively ended in 1965 with the church reforms of Vatican II. Marian spirituality in the 21st century have taken often surprising directions.

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 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 The indoor climate modelling and the economic analysis regarding the energetic rehabilitation of church

2020 ◽  
Vol 1 ◽  
pp. 67-73
Author(s):  
Florin-Emilian Turcanu ◽  
Marina Verdes ◽  
Vasilica Ciocan ◽  
Catalin George Popovici ◽  
Sebastian Valeriu Hudisteanu
Keyword(s):  
18Th Century ◽  
Environmental Issues ◽  
Heating System ◽  
Primary Energy ◽  
Virgin Mary ◽  
Climate Modelling ◽  
Indoor Climate ◽  
Heating Systems ◽  
The Impact ◽  
The Church

The paper describes the behaviour of a heating system with radiators in a cult building. There has commonly used in many churches with many shortcomings. The temperature distribution in the analysed space is simulated in 2D. The simulation is based on an example, the Cathedral of the Assumption of the Virgin Mary in Jassy. The heating system with radiators simulated with the FLUENT program, the results being edifying for the factual state of the building. An important aspect is the impact of these heating systems on the works of art, the church being the 18th — century edifice. Current environmental issues lead to the continuous development of technologies used to reduce primary energy consumption. Churches are an invaluable wealth, sheltering heritage elements preserved in museums and historic buildings. Unheated churches have been used for centuries. Then, after installing one or more different heating systems, signs of rapid degradation appeared.

Our Lady and the Saints

2018 ◽  
pp. 213-228
Author(s):  
Emery de Gaál
Keyword(s):  
Sixteenth Century ◽  
New Testament ◽  
Virgin Mary ◽  
Communion Of Saints ◽  
Immaculate Conception ◽  
The New Testament ◽  
The Church

This chapter considers the nature and development of Mariology—the theology of the Virgin Mary, the Mother of God—within the context of the Church understood as the communion of saints. The chapter begins by detailing the gradual unfolding of Marian theology and devotion in the Church from the New Testament until the sixteenth century. The development and proclamation of the dogmas of the immaculate conception and of the assumption are then studied. Treatment of Mary and the Church is followed by discussion of the theology of sainthood. The chapter ends with reference to Vatican II’s emphasis on Mary’s role within the Church.

scholarly journals The Catholicon of the Monastery of Agios Panteleimon on the Island of Ioannina, Greece

2020 ◽  
pp. 125-140
Author(s):  
Ioannis P. Chouliarás ◽  
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Late 19Th Century ◽  
Early 19Th Century ◽  
15Th Century ◽  
Entrance Door ◽  
The Right ◽  
The Church ◽  
Semicircular Arch ◽  
Early 18Th Century

The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.From the early building phase the modern church has incorporated part of the S wall, which dates to the early 15th century. On the W side was added a late 19th-century loggia, which is roofed with a sloping roof lower than that of the church and possibly replaced an older one. The column of the loggia comes from an earlier building phase of the church. On the W side is raised a rectangular narthex, possibly of the same date as the loggia, which is roofed with a quadruple roof. The present entrance door to the main church is located at the W end of the S wall, while the original door was opened in the middle of the same wall and has been walled today. There is a small conch above the walled door.The church is built of stone with irregularly placed stones. More elaborate construction on the arch with carved stones in the pseudo-isodomic system. On the S wall between the stones are inserted bricks. Brick arched frame is formed above the walled gate. The fresco decoration of the catholicon is confined to the outer front of the S wall and the lower parts of the main church. It is of particular importance, as we distinguish five post-Byzantine phases, the first of which at the end of the 15th century. The first is located in the E part of the outer front of the S wall. The rest continue to the W on the outer front of the same wall and on the lower parts inside the main church.In the initial phase of the frescoes belong the Deisis with the Christ and the Virgin, as well as the frontal St. Nicholas, behind the Virgin. The upper parts of the scene have been repainted. The next phase, which can be dated to the 16th century, involves the half-bodied Christ above the conch of the S wall, who blesses with open arms and two full-length archangels on either side of the conch, who have also been repainted. In the third phase of the painting belongs the enthroned Virgin holding the Child amid two angels, pictured behind her massive wooden throne. The composition is to the right of the entrance door to the church. This layer is precisely dated by a dedicatory inscription bearing the date ZΡKϚ (= 1617/18). The penultimate phase is found only in the interior of the catholicon, in the lower parts of the sanctuary, and on the N and S walls of the main church, where a decorative zone is distinguished. The feet of at least two saints are visible on the N wall, another figure of saint next to the iconostasis on the S wall and to the right of the doorway to the church the lower part of the body of a frontal archangel, who steps on a cloud. Above the door there should have been the inscription, mentioned by Aravantinos, but not preserved today, and bearing the date ΑΨΖ (= 1707). During the late 19th century, the outer conch of the S wall was painted with St. Panteleimon, who is depicted half-bodied and holding a vessel and a scalpel.The building phases of the catholicon and the multiple layers of its decoration make it one of the most important monuments of the Ioannina area, as it locates the oldest known frescoes on the Island and throughout the Ioannina basin. At the same time, after reading of one of the dedicatory inscriptions, it was possible to distinguish more clearly the painting layers and to make more effective use of the older reading, by Aravantinos, of the inscription in the interior of the catholicon.

scholarly journals ANTONI MESSING, WSPÓŁTWÓRCA POMNIKA NAJŚWIĘTSZEJ MARYI PANNY PRZED KOŚCIOŁEM REFORMATÓW I SERII WZOROWANYCH NA NIM NAGROBKÓW WZNIESIONYCH NA CMENTARZACH WARSZAWY

2017 ◽  
Vol 23 ◽  
pp. 208-222 ◽  
Author(s):  
Marta Wiraszka
Keyword(s):  
Virgin Mary ◽  
The Other ◽  
Formal Concept ◽  
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 modeled on the statue of the Virgin Mary rather than the originality of the project. 

scholarly journals Austrijski slikar Leopold Kupelwieser i biskup Josip Juraj Strossmayer

Ars Adriatica ◽  
2016 ◽  
pp. 209
Author(s):  
Ljerka Dulibić ◽  
Iva Pasini Tržec
Keyword(s):  
20Th Century ◽  
Virgin Mary ◽  
Blessed Virgin Mary ◽  
Immaculate Conception ◽  
Archival Documents ◽  
Old Masters ◽  
Academy Of Sciences ◽  
The Church

All 20th-century chronologies of the collector’s activity of Bishop Josip Juraj Strossmayer (1815-1905) and overviews of the evolution of today’s Strossmayer’s Gallery of Old Masters at the Croatian Academy of Sciences and Arts mention the bishop’s cooperation with the Austrian Nazarene painter Leopold Kupelwieser (1796-1862), father of Paul Kupelwieser, the former owner of the Brijuni islands. This episode from the “prehistory” of Strossmayer’s Gallery has hitherto been known only as a brief notice repeated in almost identical formulations: “In 1857, the bishop sent the first larger group of paintings to Vienna in order to be restored under the supervision of painter Leopold Kupelwieser.” Research of archival documents mentioning the cooperation between Bishop Strossmayer and painter Kupelwieser has now been complemented with an overview of Kupelwieser’s activity in Croatia, with an aim of promoting the preservation and evaluation of this segment of his painting oeuvre. Besides paintings ordered by Strossmayer (presently at the Diocesan Museum of Zagreb), Kupelwieser produced two paintings for Croatian churches independently of his cooperation with the bishop (for the church of St Stephen of Hungary, today’s church of the Immaculate Conception of the Blessed Virgin Mary in Nova Gradiška, and for the chapel of St Peter and Paul in Dvor na Uni). Two more paintings are preserved on the Brijuni islands that do not directly belong to Kupelwieser’s oeuvre yet are closely linked to him.

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