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 Mother Behavior to Their Daughters As Seen in ''Pride and Prejudice" and "Little Women"

2019 ◽  
Vol 2 (4) ◽  
pp. 620-625
Author(s):  
Fitri Arniati ◽  
Muhammad Darwis ◽  
Nurhayati Rahman ◽  
Fathu Rahman
Keyword(s):  
19Th Century ◽  
Major Theme ◽  
The Novel ◽  
Pride And Prejudice ◽  
Late 19Th Century ◽  
Early 19Th Century ◽  
Little Women ◽  
Women's Role ◽  
The Right

This research is to study about the mother behavior to their daughters as seen in "Pride and Prejudice" and "Little Women". The mother behavior to their daughters show the different way of women as a mother in bringing up their children according to their social and condition at the time. The data were taken from two novels entitled "pride and prejudice" and "little women" is the topic of the study. The  women held in the early 19th century and the late 19th century was described as one that belonged in the home as a wife and mother, and that should marry a man who can support their family. Also throughout the novel women's role in society was described as one that is to be accomplished in household  chore and those of entertainment, such as singing  and playing music. The role of women in society was a major theme throughout the novel "Pride and Prejudice" and "Little Women" The method used in this research  is a study of comparative literature to analyze mother behavior especially for Mrs. Bennet, Lady Catherine de Bourgh, These women have similarities and different behavior in find the right mate for their daughters. This study shows that every woman has characteristics in caring for their children and paying attention to the survival of their children.

scholarly journals Original Varnish Recipes in Post-Byzantine Painting Manuals

Heritage ◽  
2021 ◽  
Vol 4 (4) ◽  
pp. 3572-3582
Author(s):  
Georgios P. Mastrotheodoros ◽  
Konstantinos G. Beltsios
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Analytical Data ◽  
Primary Source ◽  
Analytical Investigation ◽  
Early 19Th Century ◽  
Panel Painting ◽  
Byzantine Icons ◽  
Early 18Th Century

During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.

Gypsies: from Belarus to Siberia (according to documents and materials of the 18th - first half of the 19th century)

2020 ◽  
Vol 2020 (10) ◽  
pp. 130-142
Author(s):  
Vladimir Shaidurov ◽  
Tadeush Novogrodsky ◽  
Galina Sinko ◽  
Stepan Zakharkevich
Keyword(s):  
Ethnic Minorities ◽  
19Th Century ◽  
18Th Century ◽  
Early 19Th Century ◽  
15Th Century ◽  
The 19Th Century ◽  
First Time ◽  
Archive Material

In the 14th — 15th century the Belarussian part of the Polish-Lithuanian Commonwealth became a center of ethnic minorities, among which Gypsies stood out. Until the first half of the 18th century, they enjoyed the patronage of the local magnates, thanks to which they got a lean system of self-government and were able to fill their own economic niche. In the 18th century, Gypsies of Belarus were forced to leave their traditional places of residence. As a result, they came to Walachia, Moldavia and Siberia. At the end of the 18th — early 19th century Romani had a mostly semi-nomadic lifestyle in Siberia, many of them settled in cities and engaged in trade and crafts. The present paper approaches the issues of the ethnic-dispersive Gypsies community setup in Siberia, the basis of which was laid by Belarusian Gypsies. The paper is written mainly based on archive material, introduced into scientific circulation for the first time.

The Kazakh Khanate

2019 ◽  
Author(s):  
Joo-Yup Lee
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Steppe Zone ◽  
Russian Empire ◽  
16Th Century ◽  
Sharp Decline ◽  
Early 19Th Century ◽  
15Th Century ◽  
The Russian Empire ◽  
Mongol Empire

The Kazakh Khanate was a Chinggisid nomadic state that ruled the eastern Qipchaq Steppe (Dasht-i Qipchāq), a steppe zone that roughly corresponds to modern-day Kazakhstan, during the post-Mongol period as one of the most important successor states of the Mongol Empire and the last reigning dynasty of the Chinggisids. The Kazakh Khanate branched off from the Ulus of Jochi, whose people (ulus) were called Uzbeks in 15th-century Central Asia. The Kazakh Khanate was founded by the Uzbeks led by Jānībeg Khan and Girāy Khan, two Jochid princes who sometime in the 1450s had broken away from Abū al-Khair Khan, the Jochid ruler of the eastern Qipchaq Steppe. In the 16th century, like other Chinggisid states such as the Crimean Khanate, the Northern Yuan, and the Shibanid Uzbek Khanate that emerged as regional empires in the territories of the former Mongol Empire, the Kazakh Khanate was transformed into a nomadic empire. During the reigns of Qāsim Khan (r. c. 1512–1521) and his successors Ḥaqq Naẓar Khan (r. c. 1538–1581) and Tawakkul Khan (r. c. 1582–1598), the Kazakh Khanate expanded westward to reach the Yayïq (Ural) River and eastward the Tienshan Mountains. The Kazakh Khanate entered a period of sharp decline at the turn of the 18th century due to the Zunghar Oirat onslaught. As a result, the Kazakh khans and sultans became nominal vassals of the Russian Empire and the Manchu Qing Dynasty. The Kazakh Khanate was annexed by the Russian Empire in the early 19th century, which brought to an end the six-centuries-long reign of the Chinggisids.

scholarly journals Documentary Evidence for the Eighteenth and Nineteenth Century Location of the Adaes Indians

2013 ◽  
Author(s):  
Darryl Pleasant
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Red River ◽  
Primary Sources ◽  
Documentary Evidence ◽  
Land Claims ◽  
Historic Sites ◽  
Early 19Th Century ◽  
Relational Information ◽  
Early 18Th Century

The location of the habitation sites of the Adaes Indians has not been thoroughly investigated by archaeologists and historians. Most researchers have placed Adaes habitation sites in the general vicinity of Los Adaes simply because the presidio and mission were named after the Adaes Indians. This paper will focus on historical documentation to provide a better understanding of the location of the habitation sites of the Adaes Indians during the 18th and early 19th centuries. The earliest accounts presented are narratives of travels along the Red River in the early 18th century. While they unfortunately have no definitive geographical data such as plat maps or land claims, they still provide relational information which can be interpreted along with the more precise geographical documentation of the latter 18th century. All of the late 18th and early 19th century documents reviewed for this paper are primary sources such as conveyances, successions and land claims. The evidence presented in this paper will reveal that the “homeland” of the Adaes was in southern Desoto Parish, Louisiana and extreme northern Natchitoches Parish. This area is approximately twenty miles north of Los Adaes, which agrees with the Spanish documents and with John Sibley’s location of the Adaes. Archaeologically, there is an abundant sample of historic sites that date to the 18th and 19th centuries in that region. These appear as pure aboriginal sites or mixtures of aboriginal and European components.

Битвазапрошлое:храмсвятогоГеоргия вИзраавэпицентре церковно-политическойборьбыконцаXIXв.

2019 ◽  
pp. 256-281
Author(s):  
E.M. Kopot`
Keyword(s):  
Middle East ◽  
Ottoman Empire ◽  
19Th Century ◽  
Russian Empire ◽  
Foreign Affairs ◽  
Late 19Th Century ◽  
History Of ◽  
The Russian Empire ◽  
First Time ◽  
The Church

The article brings up an obscure episode in the rivalry of the Orthodox and Melkite communities in Syria in the late 19th century. In order to strengthen their superiority over the Orthodox, the Uniates attempted to seize the church of St. George in Izraa, one of the oldest Christian temples in the region. To the Orthodox community it presented a threat coming from a wealthier enemy backed up by the See of Rome and the French embassy. The only ally the Antioch Patriarchate could lean on for support in the fight for its identity was the Russian Empire, a traditional protector of the Orthodox Arabs in the Middle East. The documents from the Foreign Affairs Archive of the Russian Empire, introduced to the scientific usage for the first time, present a unique opportunity to delve into the history of this conflict involving the higher officials of the Ottoman Empire as well as the Russian embassy in ConstantinopleВ статье рассматривается малоизвестный эпизод соперничества православной и Мелкитской общин в Сирии в конце XIX века. Чтобы укрепить свое превосходство над православными, униаты предприняли попытку захватить церковь Святого Георгия в Израа, один из старейших христианских храмов в регионе. Для православной общины он представлял угрозу, исходящую от более богатого врага, поддерживаемого Римским престолом и французским посольством. Единственным союзником, на которого Антиохийский патриархат мог опереться в борьбе за свою идентичность, была Российская Империя, традиционный защитник православных арабов на Ближнем Востоке. Документы из архива иностранных дел Российской Империи, введены в научный оборот впервые, уникальная возможность углубиться в историю этого конфликта с участием высших должностных лиц в Османской империи, а также российского посольства в Константинополе.

On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat

2001 ◽  
Vol 18 (3) ◽  
pp. 458-489
Author(s):  
Robert M. Cammarota
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Dramatic Effect ◽  
Rhetorical Device ◽  
The Third ◽  
Musical Texture ◽  
Compositional Practice ◽  
Formed Part ◽  
Early 18Th Century

The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

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.

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