scholarly journals Byzantine Fourteenth-Century Glazed Vessels Featuring Monograms Excavated in Cherson and the Castle of Cembalo

2020 ◽  
Vol 48 ◽  
pp. 225-253
Author(s):  
Natalia V. Ginkut ◽  
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Technological Parameters ◽  
Three Samples ◽  
Two Samples ◽  
The Family ◽  
Holy Water ◽  
The University ◽  
Archaeometric Study ◽  
Made In

This paper addresses the Byzantine vessels featuring monograms excavated in Cherson and in Cembalo, and their interpretation and significance for the life of the Greek population of the south-western Crimea. So far, archaeological researches discovered 15 vessels made in Byzantium, which showed monograms of the life of saints (“George,” “Michael,” and “Prodromos”), the family name “Palaiologos,” and also code letters “A” (“relic”) and “K.” These vessels were containers for holy water, and in a few cases, plausibly, for myrrh. These vessels were delivered to Cherson and Cembalo as gifts or eulogiai from Constantinople (?), as a part of ideological propaganda. The comparative archaeometric study of the three samples from Cembalo castle in a lab of the University of Lyon revealed one vessel’s similarity with the products of a fourteenth-century pottery workshop discovered in the vicinity of Istanbul. Although two samples more belong to a group different from the said workshop’s products, they still show similar technological parameters. The chronology of the vessels in question lays within the 1320s–1350s in Cherson and from the second half of the fourteenth to the early fifteenth century in Cembalo.

A note on two manuscripts of Sophocles

1977 ◽  
Vol 97 ◽  
pp. 168-169 ◽  
Author(s):  
N. G. Wilson
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
The Other ◽  
University Library ◽  
The University

In my review of R. D. Dawe's Studies in the text of Sophocles (JHS xcvi [1976] 171 ff.), I reached the conclusion that scholars now possess all the information about manuscripts that is needed in order to constitute the text of the Ajax, Electra and Oedipus Tyrannus, subject to two provisos.The first of these concerns the Jena manuscript (Bos. q. 7), a copy written late in the fifteenth century and containing only the first two plays. Reports of interesting readings found in it were given by Purgold in 1802, and since collations were not always undertaken very carefully at that date it seemed worth while to examine the book again to see whether the reports were correct. Thanks to the good offices of the University Library in Jena I was able to collate a microfilm, and am now in a position to state that Purgold did his work well. The interesting readings cited by subsequent editors are correctly reported, and so far as I can see there are no others of striking merit.The other manuscript which seemed to deserve further investigation is in Milan (Ambrosianus E 103 sup.). It is usually assigned to the fourteenth century, and if this date were certain it would not deserve any special attention. In my opinion the script is of a type that must almost certainly be placed before the year 1300, probably c 1275, and in that case the book might be of some interest, since it could be early enough to escape the reproach of offering a text affected by Palaeologan scholars. I have now collated the text from a microfilm kindly supplied by the Ambrosian Library. A very small number of valuable readings came to light.

III John Benet's Chronicle for the years 1400 to 1462

1972 ◽  
Vol 9 ◽  
pp. 151-233 ◽  
Author(s):  
G. L. Harriss ◽  
M. A. Harriss
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Trinity College ◽  
Trinity College Dublin ◽  
Hands On ◽  
Late Fifteenth ◽  
Made In

MS. E.5.10 in Trinity College, Dublin, is a volume measuring approximately 8½ × 6 inches, consisting of 224 leaves of vellum and paper written in English and Latin.1 The greater part is in one clear, regular fifteenth-century cursive hand, but the volume also includes sections of thirteenth- and fourteenth-century date and has flyleaves of fragments of similar date. Throughout the volume additions have been made in the late fifteenth and early sixteenth centuries by a dozen or more different hands. On fo. 2v an inscription in the hand of the greater part of the book reads: ‘Iste liber est Domini Johannis Benet de harlyngdon. Quisquis istum elongaverit de custodia sua absque suo consensu anathema sit maranatha’, and at not less than twelve other places throughout the volume Benet signs his name, usually in the form ‘quod Benet’2. Three of these are dated: on fo. 75v ‘Quod Benet apud Harlyngdon Anno Domini M1CCCColxjo DominicalilitteraC’; on fo. 12Ir ‘quod Benet apud Harlyngdon Anno Domini M1CCCC1XViijo littera dominicali B’; on fo. 189v ‘M1CCCClxxj 13 die Novembris quod Benet’. John Benet was vicar of Harlington in Bedfordshire throughout the period covered by these dates, during which he wrote and assembled his book. The paper he used shows a variety of watermarks of the mid-fifteenth century, such as might be expected of a compiler in the provinces buying paper in small packets or using what happened to be at hand. After it was bound several of the remaining blank leaves were used by others for additional notes. The volume was foliated by one of these later hands, and on ff. 191–2 a table of contents with the folio references was made in the late fifteenth century. All the items in the table are present in the book as it survives today.

A new study of woodcuts in the incunabula of the Netherlands

Quaerendo ◽  
1982 ◽  
Vol 12 (2) ◽  
pp. 159-167
Author(s):  
Ina Kok
Keyword(s):  
The Netherlands ◽  
Fifteenth Century ◽  
Library Science ◽  
Low Countries ◽  
Extensive Collection ◽  
The Subject ◽  
And Function ◽  
The University ◽  
Insight Into ◽  
Made In

AbstractA century ago, in 1882, the art historian William Conway published the chief results of his research into the woodcuts in the incunabula of the Low Countries, in a series of articles in The Bibliographer. Two years later his book The woodcutters of the Netherlands in the fifteenth century appeared. Conway's approach is that of an art historian: he classifies the woodcuts according to their artists and then groups these together in schools. Two general surveys of this area have appeared since Conway, Delen (1924) and Schretlen (1925), both likewise written from the angle of art history. Unlike Conway, however, they make no attempt at completeness, so that even today for an overall view one has to turn to Conway. Despite the progress that has been made in the field of bibliography in our own century and the new discoveries of Netherlandic illustrated incunabula, there has so far been no new study of the subject in bibliographical terms. Work is now in progress on such an investigation at the Department of Book and Library Science at the University of Amsterdam. Besides a census of all woodcuts and the books in which they appear, the project is intended, through a study of the sorts of edition that were illustrated and the association between illustration and text, to gain an insight into the nature and function of the illustrations. Study of the technical aspects of the woodcuts is designed to provide greater insight into the practice of printing with woodcuts in the fifteenth century and the wanderings of the wood blocks from printer to printer. An extensive collection of photographic reproductions of pages with woodcuts has now been brought together, and work has started on preliminary ordering and analysis.

scholarly journals Treasures of the Elite of the Bulgharian Ulus of the Gol­den Horde

2021 ◽  
Vol 9 (3) ◽  
pp. 520-546
Author(s):  
Konstantin A. Rudenko ◽  
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Study Results ◽  
Archaeological Materials ◽  
The Republic ◽  
First Time ◽  
Gold Coins ◽  
The Village ◽  
The City ◽  
Made In

Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.

The sermon literature of pope Clement VI

1975 ◽  
Vol 11 ◽  
pp. 163-172
Author(s):  
Diana Wood
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Teaching Skill ◽  
University Of Paris ◽  
The University ◽  
Walter Burley

Maximus sermocinator verbi Dei is the description of pope Clement VI, formerly Pierre Roger, given by a fourteenth-century French chronicler. Others of the pope’s compatriots were equally fulsome in their adulation. An Italian chronicler, perhaps an ex-student at the university of Paris, where Pierre Roger had been a master in theology, records:. . . gratissimus fuit sermocinator. Quum cathedram concionaturus aut disputaturus ascendebat, tota Parisiorum Civitas, ut eum audiret, accurrebat. Proh quam eleganter sermocinabatur!In Prague, Clement’s ex-pupil, the emperor Charles IV, remembered the grace with which he had been infused through listening to one of his master’s sermons over twenty years before. Even the English joined this chorus of praise. Thomas Walsingham paid tribute to Clement as a man of singular culture, while Walter Burley lauded his teaching skill, his oratory, and his legendary memory. By the early fifteenth century Clement’s sermons were regarded as models. Several of them appear, abbreviated and anonymous, as part of a treatise on preaching by Paul Koëlner, canon of Ratisbon, written some time before 1420.

John Bretland Farmer, 1865-1944

1945 ◽  
Vol 5 (14) ◽  
pp. 17-31 ◽  
Keyword(s):  
Sixteenth Century ◽  
Natural Science ◽  
Royal Botanic Garden ◽  
Grammar School ◽  
Botanic Garden ◽  
The Family ◽  
Obituary Notice ◽  
The University ◽  
Made In

By the death of Sir John Farmer in 1944 biology lost a remarkable personality, notable not only in academic botany and in the field of its application, but also as an administrator. He was born on 5 April 1865 at Atherstone, the son of John Henry Farmer and Elizabeth Corbett, née Rutland. The family was an old Leicestershire one of which the earlier name was Warde, the change to Farmer being made in the sixteenth century. He attended the Queen Elizabeth Grammar School at Atherstone, but owing to temporary ill-health he left after five years and was later educated privately. He went to Magdalen College, Oxford, in 1883 holding a demyship in natural science from that year to 1887, when he took a first class in the Honours School of Natural Science. While at Oxford Farmer came under the influence of Isaac Bayley Balfour, who was Sherardian Professor of Botany for the brief period of 1884-1888, when he went to Edinburgh as Professor of Botany in the University and Regius Keeper of the Royal Botanic Garden, a post which Balfour’s father had held before him. In after life Farmer always spoke most warmly of Bayley Balfour as teacher, botanist, gardener and friend, and ended an obituary notice of his old teacher with this high appreciation, ‘Really great men are very rare and Isaac Bayley Balfour was one of them’. It is probable that Farmer owed to Bayley Balfour not only encouragement in botany but also his gardening enthusiasm.

The English Clergy and the Hundred Years War

1983 ◽  
Vol 20 ◽  
pp. 171-178
Author(s):  
A. K. McHardy
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Hundred Years War ◽  
War Effort ◽  
The Church ◽  
Made In ◽  
Poll Tax

The Contribution made by the Church to the English war effort during the Hundred Years War was immense. It is the purpose of this paper to describe the forms which this contribution took, and then to offer some reflections on it.The most important clerical contribution to the war was financial: the taxes voted by the clergy in their two convocations and collected by themselves for the benefit of the crown. These corresponded to the lay subsidies voted in parliament. Normally such taxes were tenths of clerical income as it had been assessed, about 1291, for the benefit of the papacy. No new assessment of clerical wealth was made in the fourteenth or fifteenth centuries, but during the decade 1371 to 1381 a series of experimental taxes was levied from clergy and laity alike. These experiments, culminating in the notorious poll tax of 1380–1 which provoked open rebellion, were not repeated. But in the fifteenth century successive governments tried to tap the wealth of the chantry and stipendiary chaplains through a series of taxes of the poll tax type. Unlike the fourteenth-century poll taxes these measures were imposed at infrequent intervals (in 1406, 1419, 1430, 1436, 1449), but, like them, were abandoned because they failed to bring in the hoped-for revenue.

Medici Funerary Monuments in the Duomo of Florence during the Fourteenth Century: A Prologue to “The Early Medici”*

2006 ◽  
Vol 59 (4) ◽  
pp. 1117-1163 ◽  
Author(s):  
John T. Paoletti
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Visual Imagery ◽  
Social Hierarchy ◽  
Funerary Monuments ◽  
The Arts ◽  
The Social ◽  
The Family ◽  
Early Activity

Medici patronage of the arts in the fourteenth century has gone largely unstudied. Yet there is a notable paper trail, backed by a small number of sculptural remnants of funerary monuments, indicating that prominent members of the family understood the power of visual imagery for establishing their patrilines as leading families, both within the social hierarchy of Florence and within the Medici consorteria. These sculptural remains give clear precedent for the early activity of Giovanni di Bicci and Cosimo de’ Medici as artistic patrons in the fifteenth century.

scholarly journals Srebrna oltarna pala u Kotoru

Ars Adriatica ◽  
2013 ◽  
pp. 53
Author(s):  
Nikola Jakšić
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Fourteenth Century ◽  
Visual Quality ◽  
The Right ◽  
Made In

The article analyses a silver altarpiece in Kotor Cathedral which was made in the repoussé technique in the mid-fifteenth century. The figure of St. Tryphon (fig. 11) is the only saint which had been preserved from an earlier, fourteenth century altarpiece. Two figures (Christ and St. Peter; fig. 2, 3) were made by master John of Basel, active in Kotor until 1440 when he moved to nearby Dubrovnik where he was commissioned, by the Franciscans, with a silver crucifix, still preserved. The figures of three saints (fig. 6, 8), in the right part of the middle row (fig. 5), distinguish themselves from the others with their visual quality and are the work of a master who trained in a more developed artistic centre. A more numerous group of figures, the author of the article attributes to a local goldsmith called Marin Adamov (fig. 5, 9, 10). His work on the altarpiece is directly testified with a document dated in 1445. Finally, the altar piece was dismantled and re-assembled in the seventeenth century when the Venetian master goldsmithVenturin added the figures (of a mediocre quality) of St. Francis and St. Jerome (fig. 13). The author of the paper proposes a reconstruction of the original appearance of the altarpiece in the mid-fifteenth century. Accordingly,saints’ figures were arranged in two rows, with Christ figure in the centre of the upper row. The lower centre figure was St. Tryphon, flanked by St. Marc the Evangelist and St. Simeon the Righteous whose Kotor feast coincides with that of St. Tryphon.

scholarly journals A Model of Peloneustes philarchus

1922 ◽  
Vol 59 (7) ◽  
pp. 309-310
Author(s):  
H. Neville Hutchinson
Keyword(s):  
Natural History ◽  
British Museum ◽  
University Of Kansas ◽  
The Past ◽  
The Family ◽  
The University ◽  
Made In

Plate XIV shows two photographs of a model I have recently made in order to show the outward aspect of Peloneustes philarchus, a pliosaur from the Oxford Clay. It is based on the complete mounted skeleton now in the British Museum (Natural History), Cromwell Road, a part of the well-known Leeds collection. This skeleton has a length of 10 ft. 6 in., and my model is 23 in. long, so the scale is roughly about 1:5. No other museum possesses a mounted skeleton of this genus, the nearest thing to which is the Trinacromerum, described as a Cretaceous plesiosaur by Dr. S. W. Williston in his work on Water Reptiles of the Past and Present, Chicago, 1915, where a restoration is shown on p. 89, fig. 42. The specimen is in the Museum of the University of Kansas. This same Leeds collection has given us two fine mounted skeletons of the genus Cryptoclidus, of the family Elasmosauridæ, and now we have also this fine mounted skeleton of Peloneustes, which belongs to the Pliosauridae. Hence it is now possible for geologists to see at a glance the chief characteristics of these two families, and my hope is that this model may be of some use to students of Palæontology. In making the model I have had the advantage of much valuable assistance from my friend, Mr. E. Godwin, an accomplished sculptor, without whose assistance I doubt if it could ever have been completed; for when I attempted to model the head I found a task that was beyond my power to accomplish properly, not having had any training in the art of sculpture.

Sign in / Sign up

Export Citation Format

Share Document