scholarly journals The Menology of Lectionary D 227 from the Collection of the IOM RAS: Liturgical Reading for the Feast Day of the Placing of the Cincture (Girdle) of the Virgin Mary

2021 ◽  
Vol 17 (4) ◽  
pp. 77-93
Author(s):  
Maxim V. Fionin
Keyword(s):  
19Th Century ◽  
Virgin Mary ◽  
The 19Th Century ◽  
The Church

The article briefly describes the menology section of lectionary D 227 from the collection of the Institute of Oriental Manuscripts. In the 19th century, the manuscript belonged to the monastery of St.George Al-Humaira in Syria, where it was restored by monks. Unfortunately, the restoration was poorly done and some pages at the end of the manuscript have changed their position. The author explores the origin of the early liturgical reading from Lk 19: 110 (about Zacchaeus) on the church feast the Girdle of Virgin Mary. Не suggests that the reading about Zacchaeus (Lk 19:110) could have appeared in the Constantinoples lectionaries of the 7th14th centuries under the influence of the Jerusalem service.

scholarly journals Paintings of Dotnuva Church of the Lord’s Revelation to Virgin Mary

Menotyra ◽  
2018 ◽  
Vol 25 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Virgin Mary ◽  
Identical Composition ◽  
The Cross ◽  
Dutch Painter ◽  
The 19Th Century ◽  
The Church ◽  
The Way

The article discusses the poorly investigated painting heritage of the Dotnuva Bernardine Church, which covers the period from the monastery establishment in 1701 until its closure in 1864. In the article, we have tried to disclose, based on written sources and studies in situ, the origin of the pictures, their shifts during the time, to examine the iconography, attribution questions and also to reveal the piety traditions of Bernardines manifested through the paintings. The Bernardines in Dotnuva have retained a rare and valuable painting of the Virgin Mary with a child adorned with the baroque crowns from the second half of the 17th century. The painting was created according to the example of “The Virgin Mary with a Child” (1520) of a Dutch painter Adriaen Isenbrant. In the iconographic programme of the altars and the titles of the church the spirituality of Bernardines is reflected. They were intended to bless the Revelation to Virgin Mary, the sufferings of Jesus and to glorify the most important Saints of the Franciscans as well as other Saints (St. Anna, St. Barbara). Tense artistic interactions between the monasteries of St Casimir province reveal the early paintings of Dotnuva Church – St. Anthony of Padua and St. Anna (“St. Family”) painted by the same iconographic types prevalent in the environment of Bernardines. A painting of St. Anthony (beginning of the 18th century) brought from Vilnius is of identical composition as paintings of Vilnius Bernardines, and a painting of St. Anna as paintings from Kretinga). This tendency is also observed in the later paintings of Dotnuva Church. Several paintings remain in Dotnuva Church from the 18th century, but the paintings from the first half of the 19th century comprise the largest part. It can be assumed that the artistic quality of the paintings acquired from the first half of the 19th century was influenced by Chrapowicki family, church benefactors and collators, representative position and a demanding approach of Bernardines to art works. From the beginning until the middle of the 19th century, installation works in a new masonry church took place. Valuable altar paintings depicting the Way of Cross of exceptional iconography and a rare painting from the Old Testament were acquired. In the 1770s, GeorgiusKosztown, a professional painter, created a painting “The Trial of Susanna” for the church, which was mentioned in the visitation act in 1817. On the basis of stylistics and historical assumptions, he also could be the author of other altar paintings created at the same time: St. Francis of Assisi, St. Anna (St. Family), St. Barbara, St. Anthony of Padua, Way of the Cross and St. Dominic. J. Roselino, another professional painter, worked in Dotnuva at the same time. In 1819, he created a painting “St. Florian”. The artistic value of the works acquired in the middle of the 19th century has decreased. Adolf Czapski (“The Trinity”), a painter from Kėdainiai, Zboilev (“The Divine”) and other unknown painters participated in the decoration of the church. This study of the heritage of the Dotnuva Bernardine Church is only preliminary. This publication is intended to draw attention to the survived altar paintings characterised by stylistic integrity, images of the Way of the Cross and other valuable works.

scholarly journals Prace Konstantego Wojciechowskiego przy katedrze we Włocławku a koncepcja „stylu wiślano‑bałtyckiego”

Porta Aurea ◽  
2020 ◽  
pp. 294-310
Author(s):  
Krzysztof Stefański
Keyword(s):  
19Th Century ◽  
Small Towns ◽  
Virgin Mary ◽  
Blessed Virgin Mary ◽  
Northern Poland ◽  
History Of ◽  
The 19Th Century ◽  
The Church ◽  
National Style ◽  
Assumption Of The Virgin

The Włocławek Cathedral dedicated to the Assumption of the Blessed Virgin Mary is one of the most important Gothic churches in the lowlands of northern Poland. However, overshadowed by the Cathedrals in Poznań and Gniezno, it is considered a building that is more modest in scale and less artistically valuable. An important issue related to the history of the church is its restoration that was carried out in the last two decades o the 19th century, initially according to the plans of Tadeusz Stryjeński from Cracow and then led by the Warsaw architect Konstanty Wojciechowski (1841–1910). Wojciechowski re-Gothycized the building, giving it a ‘cathedral’ form featuring a magnificent façade with two high towers. These works coincided with the growing popularity of the idea of the ‘Vistula-Baltic Gothic’ as the Polish national style in church construction. The Warsaw architect used the forms of the cathedral he rebuilt to develop his own vision of the church in the ‘Vistula-Baltic style’, competitive to the solutions used by Józef Dziekoński. The incarnation of this vision was the church of the Assumption of the Virgin Mary in Łódź, followed by a series of smaller buildings erected in villages and in small towns within the Russian partition, in which the architect repeated his pattern on a smaller or larger scale. The culmination of Wojciechowski’s creative path was the Church of the Holy Family in Częstochowa (the current Cathedral), built from 1901.

On the Origin of the Zaraysk Gospel

2021 ◽  
Vol 70 (2) ◽  
pp. 193-204
Author(s):  
Alexey B. Mazurov ◽  
Alexander V. Rodionov
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
Theoretical Development ◽  
Old Russian ◽  
15Th Century ◽  
Art Historians ◽  
Ancient Manuscripts ◽  
The 19Th Century ◽  
The Temple ◽  
The Church

The article considers theoretical development of the problem of the origin and provenance in the 15th — the first quarter of the 19th century of the famous Old Russian book monument — the Zaraysk Gospel. Although it has repeatedly attracted the attention of archaeographers, textologists, paleographers, linguists and art historians, this article is the first experience of studying these issues. Created in 1401 in Moscow, the Gospel, which is parchment manuscript, was purchased in 1825 by K.F. Kalaidovich for Count N.P. Rumyantsev from the Zaraysk merchant K.I. Averin, that determined its name by the place of discovery. The scribe book of Zaraysk in 1625 in the altar of the Pyatnitsky chapel of the St. Nikolas wooden church (“which’s on the square”) in the city’s Posad, recorded the description of the manuscript Gospel, corresponding by a number of features to the Zaraysk Gospel. The connection of the codex with the St. Nicholas church is indirectly confirmed by the drawing of the church placed on one of its pages (f. 156 ver.) with the remains of inscription mentioning St. Nicholas the Wonderworker. This allows concluding that the manuscript in the 17th century was in the book collection of the temple. In the 17th century, the ancient St. Nicholas church was re-consecrated to the Epiphany, and the sacristy was moved to the stone St. Nicholas cathedral in Zaraysk. It is most likely that in the first quarter of the 19th century, the merchant K.I. Averin purchased the Gospel from the members of the cathedral’s clergy. The article analyzes the context of the early contributions of the 15th century “to the Miraculous Icon of St. Nikolas of Zaraysk”, one of which, most likely, was the parchment Zaraysk Gospel. The authors assume that this contribution is related to the chronicle events of 1401 or 1408. The study is significant in terms of the theoretical development of methods for identifying ancient manuscripts and their origin.

scholarly journals The regulation of midwives in England, c.1500–1902

2020 ◽  
pp. 096853322097617
Author(s):  
Sarah Fox ◽  
Margaret Brazier
Keyword(s):  
19Th Century ◽  
Medical Literature ◽  
Professional Status ◽  
Statutory Authority ◽  
History Of ◽  
Informal Regulation ◽  
The 19Th Century ◽  
Statutory Regulation ◽  
The Church ◽  
Subordinate Role

Throughout the 19th century, midwives were depicted as incompetent slatterns in both popular imagery and medical literature. We examine how, between 1500 and 1800, midwifery was regulated by a combination of formal licensing by the Church and informal oversight within the community. We argue that episcopal licensing demanded that midwives demonstrate knowledge and competence in midwifery, not only that they were spiritually fit to baptise dying infants. Although episcopal licensing lacked statutory authority, the symbiosis of formal and informal systems of regulation ensured good midwifery practice and midwives were regarded as experts in all matters relating to childbirth. The Midwives Act 1902 introduced statutory regulation of midwives, restoring their ‘professional status’ if in a subordinate role. We show that the history of the regulation of midwives across four centuries casts light on the interplay between formal and informal regulation and matters of gender and professional status.

scholarly journals Kerk en kultuur by die vryheidsoekende Afrikaner van die 1ge eeu - 'n historiese ondersoek

1996 ◽  
Vol 52 (4) ◽  
Author(s):  
A. D. Pont
Keyword(s):  
19Th Century ◽  
Historical Investigation ◽  
Definition Of ◽  
The 19Th Century ◽  
The Relationship ◽  
Stated Problem ◽  
The Church

Church vis it vis culture among the republican Afrikaner of the 19th century - an historical investigation. In this study attention is given to the question of the correlation between and/or position of the church vis a vis culture among the republican Afrikaner of the 19th century. Initially attention is given to  a workohle definition of church and culture and then, in the light of Calvinist theology, the relationship is discussed. Eventually the stated problem is discussed and the conclusion formulated that the culture of the Afrikaner was strongly influenced and directed by its theological viewpoints. A few conclusions are drawn.

scholarly journals Remarks on the Proportions and Dimensions Used in the Design of the Medieval Church of Zsámbék

2019 ◽  
Vol 50 (2) ◽  
pp. 97-114
Author(s):  
Krisztina Fehér ◽  
Balázs Halmos
Keyword(s):  
19Th Century ◽  
Archaeological Excavation ◽  
13Th Century ◽  
Medieval Church ◽  
History Of ◽  
The 19Th Century ◽  
The Church ◽  
Design Logic

Since the 19th century, the church of Zsámbék was continuously a focus of scholars' interest. The present paper intends to research the church ruins with a new aspect. Using an accurate terrestrial laser scan survey, the geometry of the plan is analysed in order to find proportions among the dimensions. The main goal of the study is to gather information about the design logic of the first masters of the 13th-century Premonstratensian abbey. In addition, our goal was to detect contributions to the 13th-century construction history of the church, that cannot be found in archives of graphic sources. The latest archaeological excavation achieved excellent results concerning several crucial historical points; however, the periodization of the church is still not entirely clarified. From the 19th century, different scholars have proposed various hypotheses about this topic, without consensus.

scholarly journals An Auspicious Alliance: Pugin, Bloxam, and the Magdalen Commissions

1990 ◽  
Vol 49 (2) ◽  
pp. 154-160
Author(s):  
Leon B. Litvack
Keyword(s):  
19Th Century ◽  
Anglican Church ◽  
Gothic Revival ◽  
History Of ◽  
The University ◽  
The 19Th Century ◽  
Roman Catholics ◽  
The Church

This article forms the sequel to "The Balliol that Might Have Been: Pugin's Crushing Oxford Defeat" (JSAH, XLV, 1986, 358-373). That study showed that Augustus W. N. Pugin (1812-1852) was prevented from carrying out his plans for renovating Balliol College, Oxford, because of his somewhat singular views and oppressive nature, combined with the prevailing sentiments against Roman Catholics in the University. The present study surveys the history of the two small commissions that Pugin was granted: the Magdalen College gateway and the Church of St. Lawrence, Tubney (the only Anglican church Pugin ever built). In both cases Pugin was appointed as architect through the benevolence of Dr. John Rouse Bloxam, in appeasement for the failures at Balliol. Pugin executed the designs in secrecy and with extraordinary speed, thereby hoping to avoid criticism or scandal, in an effort to erect a small monument to himself in Oxford, his "city of spires," which he hoped could serve as the model for the 19th-century Gothic revival in England.

Nikænum i dansk liturgisk tradition1

2008 ◽  
Vol 71 (1) ◽  
pp. 1-27
Author(s):  
Holger Villadsen
Keyword(s):  
19Th Century ◽  
High Mass ◽  
Latin Text ◽  
The Reformation ◽  
Nicene Creed ◽  
The 19Th Century ◽  
The Church

This article examines the use of the Nicene Creed in the Church of Denmark from 1514 to 1992 when a new Service Book, Den Danske Alterbog, was authorized for use in the Evangelical LutheranChurch of Denmark. The Reformation replaced the Nicene Creed with a Danish hymn, but until 1640 the Latin Nicene Creed was sung in some cases. The Latin text was the same as in the medievalmissals and was printed 1573 in the Gradval edited by Niels Jesperssøn. From 1640 to the 19th century the creed was sung only in the hymnal form. In the 19th century the creed as a hymn graduallydisappeared. In 1949 the Danish bishops edited a new Service Book with an order for High Mass, where the creed was the Apostles’ Creed, and where the Nicene Creed in Danish translation was placedin a footnote. In the Service Book from 1992 the two creeds are in principle placed at the same level. The article ends with the proposal of a new Danish translation of the Nicene Creed based on theGreek version known from the Council of Chalcedon 451.

scholarly journals Muuga või Kersna? Eesti rööpsete perekonnanimede teke ja kadu

2020 ◽  
Vol 11 (1) ◽  
pp. 43-85
Author(s):  
Fred Puss
Keyword(s):  
19Th Century ◽  
Vital Statistics ◽  
The State ◽  
Family Names ◽  
The 19Th Century ◽  
The Church

Rööpsete perekonnanimede teke on unikaalne Eestis ja Lätis, kus mõisas pandi 1820.–1830. aastail samale talupojale üks, kirikus aga teine perekonnanimi. Nimede panemise õigus oli mõisadel, kuid kohati võtsid pastorid osa nimede panekust ning muutsid kirikuraamatutes nimesid ka hiljem. Eestis oli üksikuid piirkondi (mõisu), kus rööpnimede hulk oli suurem, nt Ahja mõisas 53%, Roosna-Alliku mõisa Järva- Madise kihelkonna osas 32%, olles enamasti aga mõne protsendi piires. Võnnu kihelkonnas muutsid vastastikku üksteise nimeloomet mõisavalitsused, kolm järjestikust pastorit ning eriti köster. Pärast üldise perekonnanimepanekuga loodud rööpnimesid oli XIX sajandi teisel poolel ja XX sajandi algul nende tavalisim tekkepõhjus saksastamine, harvem sugulussuhete muutumine (kärgpered, lapsendamised). Kui mõnel pool jõudsid kirikuraamatute nimekujud ka hingeloendisse, siis tavaline see polnud. Sel põhjusel oli ka XX sajandi algul inimestel vallavalitsuse välja antud tsaariaegses passis või iseseisvusaegsel isikutunnistusel üks, kirikuraamatutes teine nimi. Rööpnimed kaotati enamasti riiklike perekonnaregistrite sisseseadmisega alates 1926. aastast ning ametlikustati reeglina sünnikandes leiduv nimekuju. Osal juhtudel tekkisid topeltnimed. Rööpnimed on dokumentides tekitanud segadust ka hiljem. Abstract. Fred Puss: Muuga or Kersna? The appearance and perishment of Estonian parallel family names. The reason for the appearance of parallel family names in Estonia and Latvia is unique: in the 1820s–1830s, the manor officials gave family names to local peasants and the Lutheran pastors changed those names or gave different ones. In some areas, mismatch was up to 53%, but generally did not exceed a few percent. Sometimes in the church records, the names were later changed to match the manor (or later tax) records, but much less often vice versa. However, when the names in the church records were changed (mostly Germanized) in the second half of the 19th century, but not in the tax records, new mismatches appeared. As of 1926, the state began to keep vital statistics records and the name in a birth entry in the church book was usually fixed as the only family name thereafter. This marked the end of the occurrence of most of the parallel family names in Estonia, but some became double family names and some still caused confusion in later records.

scholarly journals Renewal of the Dominican Monastery and Church in Dubrovnik in the 19th Century: Old Library and Church Altars

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Vinicije B. Lupis
Keyword(s):  
19Th Century ◽  
Church Renewal ◽  
The 19Th Century ◽  
The Church

In this work the author analyzes less known data about the renewal of the Dominican church and monastery in Dubrovnik during the 19th century, paying special attention to three altars, primarily the altar presently located in the church of St. Nicholas in Čilipi which once belonged to the Palmotić family, and altar of St. Vincent Ferrer sold to Muo in 1883 where it is still situated. In the work Viginti supra centum Sanctorum, Beatorum, ac Venerabilim Fratrum Ordinis Praedicatorum Chronologico ordine digestae Imagines by Serafin Marija Crijević, there is a depiction of Blessed Mannes Guzman on the page five, actually a sketch of the present-day altar of St. Dominic in the monastery church. The altar of St. Dominic is the only preserved altar from the Dominican church renewal after the earthquake. For now it is the only altar in Dubrovnik from this period, with preserved original sketch after which it was made, enriching in that way previous insights about the Baroque altars in Dubrovnik.

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