scholarly journals The wall painting in the church of St. Nicholas tes Rhodias near Arta

Zograf ◽  
2010 ◽  
pp. 87-109
Author(s):  
Leonela Fundic
Keyword(s):  
Detailed Analysis ◽  
Thirteenth Century ◽  
Wall Painting ◽  
Significant Part ◽  
Wall Paintings ◽  
First Time ◽  
The Church

The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.

Jan II van Coninxloo en zijn werkzaamheden voor het benedictinessenklooster van Groot-Bijgaarden bij Brussel

1998 ◽  
Vol 112 (2-3) ◽  
pp. 104-126
Author(s):  
Frank Van Der Ploeg
Keyword(s):  
Significant Part ◽  
The Veil ◽  
First Time ◽  
The Relationship ◽  
The Church ◽  
Insight Into

AbstractThis article examines the relationship between the Brussels painter Jan 11 van Coninxloo (ca. 1489-1561 or later) and the Benedictine convent of Groot-Bijgaarden. In earlier publications by J. Maquet-Tombu the link between certain members of the Van Coninxloo family and the Vorst convent have already been pointed out. A new chapter can now be added. In the archive of Groot-Bijgaarden convent are two books in which payments made by the prioresses Françoise and Catherine van Straten for the dccoration of the convent and the church are recorded. The books list a separate item for painting and polychrome work. Here, for the first time, the name Jan van Coninxloo crops up in connection with a sum paid for painting the side panels of the main altar. Van Coninxloo was also paid for painting organ doors, a vaulted ceiling and for 'rough painting'. Four triptychs by Van Coninxloo have also been preserved; they were commissions from women of noble birth who had taken the veil. The names of three of these nuns are known: Anthonine de Locquenghien, Berbel van dcr Noot and Marie Brant. The fourth was called Barbara (Berbel). In view of all this material it may be concluded that Van Coninxloo played a significant part in the decorative appearance of the convent church. He was responsible for triptychs on altars dedicated to St. Anne, St. John and St. Benedict. He also painted the smaller triptych with the Seven Sorrows of the Virgin, the panels of the high altar, doors for an organ and (part of) the ceiling decorations. The article offers a new insight into the context of a group of paintings and adds a number of works to Jan 11 van Coninxloo's oeuvre.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals The vision of Saint Peter of Alexandria, from the Church of St. Archangels in Prilep: Iconographical research

Zograf ◽  
2012 ◽  
pp. 83-88
Author(s):  
Saso Cvetkovski
Keyword(s):  
Thirteenth Century ◽  
Wall Painting ◽  
Saint Peter ◽  
The Church

This text is dealing with a rare thematic innovation that appeared in Byzantine wall painting of the thirteenth century. In particular, the author explores the iconography of the Vision of Saint Peter of Alexandria as found in the Church of St. Archangels in Prilep around 1270. He argues that this work manifests a key moment in the development of this composition over the course of the thirteenth century. This links the same motif found in Melnik from the beginning of the thirteenth century, and a composition from the Church of the Virgin Peribleptos in Ohrid from 1294/1295. In the end, place of the Vision in the painted program of the western part of the Church of St. Archangels in Prilep is analyzed.

Apostolic Monasticism at Tokalı Kilise in Cappadocia

1985 ◽  
Vol 35 ◽  
pp. 57-65 ◽  
Author(s):  
Anthony Cutler
Keyword(s):  
Alluvial Soil ◽  
Tenth Century ◽  
Wall Painting ◽  
Wall Paintings ◽  
Relative Chronology ◽  
The Church

At least as early as the day, nearly eighty years ago, when Hans Rott gained access to “Doghalikilise” through an entrance reduced to a narrow cleft by heaps of rubble and alluvial soil, the monument has been recognized as the largest and most important in Göreme. Many of the wall-paintings of both the Old and the New Church at Tokalı were published by Jerphanion who correctly appreciated the relative chronology of these successive phases. This pioneering and still fundamental survey was supplemented by the excellent photographs of Jeannine Le Brun in Restle's corpus of 1967. In the same year, Cormack suggested on stylistic and iconographic grounds a probable date of ca. 913–920 for the decoration of the Old Church, a period little less than half a century before its relatively gigantic successor was cut transversely across its eastern end. Now, within a year or two, Tokalı Kilise will receive the ultimate accolade of monographic treatment by Ann Wharton Epstein in a book which treats the church as a cultural whole and finally recognizes the frescoes in the New Church as the supreme achievement of Byzantine wall-painting to survive from the tenth century.

scholarly journals Multisensorial Assessment of Laser Effects on Shellac Applied on Wall Paintings

Sensors ◽  
2021 ◽  
Vol 21 (10) ◽  
pp. 3354
Author(s):  
Jana Striova ◽  
Raffaella Fontana ◽  
Ilaria Barbetti ◽  
Luca Pezzati ◽  
Annamaria Fedele ◽  
...  
Keyword(s):  
Yttrium Aluminum Garnet ◽  
Wall Painting ◽  
Operating Conditions ◽  
Wall Paintings ◽  
Conservation Treatment ◽  
Average Temperature ◽  
Yag Lasers ◽  
Laser Treatments ◽  
Laser Sources ◽  
First Time

The assessment of five different laser treatments in the conservation of wall paintings was devised on the basis of the surface temperature monitoring by infrared thermography (IRT), ultraviolet-induced fluorescence-visible (UV-VIS) imaging, and optical coherence tomography (OCT). A series of yttrium-aluminum-garnet (YAG) lasers were tested for removal of shellac layers from wall painting mock-ups. The mock-ups were realized as buon fresco with different mineral based pigments (earths and iron oxide) on a lime- and sand-based mortar. After the carbonatation process, all the samples were treated with shellac (5% in ethanol). The effects of neodymium (Nd):YAG, holmium (Ho):YAG, and erbium (Er):YAG laser sources, in different operative modes, on average temperature of the surface, color, and morphology were inspected with complementary sensors. The results show the necessity to adopt a combined approach in establishing safe laser operating conditions to avoid any undesired effects induced on the artefacts by the laser treatments. We demonstrate, for the first time, the performance of the Ho:YAG laser in the removal of a conservation treatment.

scholarly journals FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK

2020 ◽  
Vol 23 (4) ◽  
pp. 214-220
Author(s):  
Tatiyana V. Yurieva ◽  
Keyword(s):  
Significant Contribution ◽  
Scientific Literature ◽  
The United States ◽  
Wall Painting ◽  
The Third ◽  
The World ◽  
Church Art ◽  
First Time ◽  
The Church

The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.

scholarly journals The Marriage Allegation No. 17: Text and Fate (Dostoevsky’s Wedding in Kuznetsk on February 6, 1857)

2020 ◽  
Vol 7 (4) ◽  
pp. 132-157
Author(s):  
Boris Tikhomirov
Keyword(s):  
Significant Part ◽  
Main Body ◽  
First Marriage ◽  
Memorial Museum ◽  
Authentic Text ◽  
First Time ◽  
The City ◽  
The Church ◽  
Made In

The article introduces for the first time the authentic text of the marriage allegation, compiled by the clergy of the Holy Mother of God-Odigitrievsky Church in the city of Kuznetsk in preparation for the wedding of Fedor Mikhailovich Dostoevsky and Maria Dmitrievna Isaeva on February 6, 1857. The original of this document has not been preserved, as it probably burned down during a fire that occurred in the Kuznetsk Church in December 1919. In the biographical literature, the text of the marriage allegation, which dates back to a handwritten copy made around 1916 by the priest of the Odigitrievsky Church, Nikolai Rudichev, is preserved and now stored in the Memorial House of F. M. Dostoevsky in Semey (Semipalatinsk until 2007). In 1916, it was published with a number of inaccuracies by the priest and local historian B. G. Gerasimov in the now-missing publication “Siberian chronicle.” In this article, the marriage search is reproduced from a photocopy of the lost original, which was made in 1910 and is now stored in the Literary and Memorial Museum of F. M. Dostoevsky in St. Petersburg. The signature autograph of the writer under the text of the marriage allegation makes it an official personal document, which warrants the inclusion of the marriage allegation in the main body of the Academic Complete Works of the writer, in the “Official letters and business papers” section. A significant part of the article contains the polemic with the hypothesis of Siberian local historians M. M. Kushnikova and V. V. Togulev, who believe that the said marriage allegation was removed from the Church archives and destroyed before the fire of 1919. They believe that it was done in order to hide the forgery contained in its text, which makes Dostoevsky’s first marriage illegitimate. While agreeing that the document really did contain forgery, the author of the article relies on the then-contemporary legislation in proving that the conclusion about the illegality of the writer’s marriage is a great exaggeration, and the hypothesis about the seizure and destruction of the marriage allegation has no serious grounds.

Roland and Crusade Imagery in an English Royal Chapel: early thirteenth-century wall paintings in Claverley church, Shropshire

2012 ◽  
Vol 92 ◽  
pp. 129-168 ◽  
Author(s):  
Christopher Barrett
Keyword(s):  
Thirteenth Century ◽  
Early Years ◽  
Historical Background ◽  
The North ◽  
The Status ◽  
North Wall ◽  
First Time ◽  
The Church

A frieze of mounted knights, over 15m long, dominates the nave of the church of All Saints, Claverley, Shropshire. It is part of an extensive mural scheme from the first quarter of the thirteenth century. For the first time the status of Claverley as a Royal Chapel is recognized and the royal and crusading character of the imagery is discussed. The emperors Constantine and Heraclius are identified as part of the Exaltation of the Holy Cross subject on the north wall, and the Holy Cross is suggested as the unifying theme, pre-dating the Florentine mural cycle by Agnolo Gaddi by some 170 years. Claverley is also shown to have the only medieval mural of Roland, hero of the Chanson de Roland, to survive in situ. The historical background of the early years of Henry iii is examined and the possible role of Ranulf de Blondeville, earl of Chester, in commissioning the frieze is considered.

A church with a Roman inscription in Tairia, Monemvasia

2002 ◽  
Vol 97 ◽  
pp. 469-490
Author(s):  
Alexander G. Kalligas ◽  
Haris A. Kalligas ◽  
Ronald S. Stroud
Keyword(s):  
Thirteenth Century ◽  
Tenth Century ◽  
Roman Period ◽  
Second Century ◽  
Wall Paintings ◽  
Imperial Cult ◽  
Small Complex ◽  
The Church ◽  
Assumption Of The Virgin

In Tairia, at a distance of about 10 km from Monemvasia, is a small complex of two Byzantine churches, dedicated to the Assumption of the Virgin and Ag. Anna. Each has a simple one-aisled plan covered by a barrel vault with an intermediate arch. Wall paintings exist in both churches dating from the twelfth, the thirteenth century, and later. The church of the Assumption, or Theotokos, is older and could be dated to the tenth century and thus identified with the church mentioned in a contemporary source, the Life of St. Theodore of Kythira. Ag. Anna imitates the plan of the older church and seems to have occupied the place of earlier service buildings. Built in, on the top of the altar table in the church of the Assumption, is a marble slab with a completely preserved Greek inscription of the Roman period, consisting of five lines which cover the whole surface of the slab and commemorate the dedication to the deities of the Imperial cult (Θεοί Σεστοί) and to a πόλις, the name of which is not known, of a makellon by three Roman citizens out of their own funds. The most probable date for the inscription seems to be the second century AD, but, even though makella existed in few Peloponnesian cities, neither the polis where the establishment was erected is known, nor can the dedicators be safely identified.

scholarly journals The Byzantine wall-paintings in the church of Saint Theodore at Platanos, Kynouria (Arcadia)

Zograf ◽  
2015 ◽  
pp. 91-105
Author(s):  
Maria Agrevi
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
The Church

The church of St Theodore (also known as "Sts Theodoroi") at Platanos, Kynouria, is a single-nave building of small dimensions. The interior surfaces of its walls preserve their Byzantine paintings, which are partially visible under the coat of plaster that covers most of them. The paintings exhibit affinity with wall-paintings of churches in the Peloponnese (neighbouring Laconia included), and can be dated to the last quarter of the thirteenth century.

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