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 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.

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.

The Discovery of an Anglo-Saxon Painted Figure at St Mary's Church, Deerhurst, Gloucestershire

2006 ◽  
Vol 86 ◽  
pp. 66-109 ◽  
Author(s):  
Steve Bagshaw ◽  
Richard Bryant ◽  
Michael Hare
Keyword(s):  
Ninth Century ◽  
Tenth Century ◽  
Wall Paintings ◽  
Anglo Saxon ◽  
Structural Context ◽  
The Subject ◽  
East End ◽  
Significant Addition ◽  
High Level ◽  
The Church

The church of St Mary at Deerhurst in Gloucestershire is well known for its Anglo-Saxon fabric and sculpture. In 1993 a painting of an Anglo-Saxon figure was discovered, and in 2002 it became possible for the authors to study the painting in detail.The painting is on one of a pair of triangular-headed stone panels set high in the internal east wall of the church. The discovery provides a significant addition to the tiny corpus of known Anglo-Saxon wall paintings. The identity of the standing, nimbed figure remains elusive, but the figure can be tentatively dated on art historical grounds to the middle to late tenth century.The authors also explore the structural context of the painting. It is suggested that in the first half of the ninth century the church had an upper floor over the central space (the present east end), and that this floor possibly extended over the whole church. At the east end, there were internal openings from this upper floor into a high-level space in the polygonal apse. At a later date two of these openings were blocked and covered by stone panels, one of which is the subject of this paper. It is possible that the panels flanked a high-level altar or an opening through which a shrine, set on a high-level floor in the apse, could be viewed.

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.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

VIII.—The Palace of Westminster in the Eleventh and Twelfth Centuries

Archaeologia ◽  
1906 ◽  
Vol 60 (1) ◽  
pp. 131-148 ◽  
Author(s):  
W. R. Lethaby
Keyword(s):  
Twelfth Century ◽  
Tenth Century ◽  
Positive Evidence ◽  
Parallel Case ◽  
Edward The Confessor ◽  
The Church

We do not know when the English kings took up their residence at Westminster. Some slight indications suggest that Canute may have first established himself here. It is clear from the name Westminster that the Abbey was first in place, and this is confirmed by the position of the Palace, built along a narrow marshy strip between the better ground of the Abbey precinct and the river. Holyrood seems to be a parallel case of a famous religious house drawing the king's palace to its side. There is no certain evidence for the existence of the Abbey itself until the opening of the last third of the tenth century. The points in favour of Canute's residence at Westminster are as follows. His son Harold was buried in the Abbey, and according to the traditions of the house he was a great benefactor to it, presenting it with many relics, and being much attached to the Abbot Wulnoth. Gaimar, a twelfth-century writer, says that the dispute as to the tide happened at Westminster. “He was in London on the Thames, the tide was flowing near the church called Westminster, and the king stood at the strand on the sand.” The first positive evidence as to the Saxon palace is contained in William of Malmesbury's Chronicle, which tells how King Edward the Confessor was wearing his crown at Westminster, and while sitting at table one Easter Day, surrounded by nobles, he saw a vision.

Wall paintings – diagnostic and archaeometric studies

2018 ◽  
Vol 4 (4) ◽  
Author(s):  
Susanna Bracci ◽  
Giovanni Bartolozzi
Keyword(s):  
Case Studies ◽  
Recent Literature ◽  
Wall Painting ◽  
Wall Paintings

Abstract The paper deals with the techniques and protocols used for studying wall paintings. A brief introduction about the more recent literature dealing with archaeometric and diagnostic analyses of wall paintings is reported. After that, the illustration of three case studies, spanning from Roman to contemporary wall painting are described.

scholarly journals The wall-paintings of Saint Constantine at Missochori: New evidence concerning middle Byzantine Nissyros, Greece

Zograf ◽  
2012 ◽  
pp. 65-74
Author(s):  
Angeliki Katsioti ◽  
Nikolaos Mastrochristos
Keyword(s):  
Twelfth Century ◽  
Wall Paintings ◽  
New Evidence ◽  
The Church

The complex of the churches of Saint Constantine and Saint Mamas is located at Missochori, close to the capital of the island of Nissyros, Greece. The first church preserves wall-paintings dated to the end of the twelfth century, shared donation of two monasteries/churches. The paintings are partly repainted, probably in 1318/1319. Both the murals and the two inscriptions of the church provide new evidence concerning mediaeval Nissyros.

scholarly journals Les peintures murales du catholicon du monastère de Gradac: Répertoire des fresques et observations sur les particularités de certaines représentations

Zograf ◽  
2012 ◽  
pp. 89-108
Author(s):  
Dragana Pavlovic
Keyword(s):  
Wall Painting ◽  
The Church

This paper presents the iconographic program of frescoes in the Church of the Annunciation in the monastery of Gradac, in which there were a number of hitherto unrecognized sections that have now been identified. It publishes the pre served inscriptions on the frescoes, as well as the texts on the scrolls of the hierarchs in the altar space. Finally, it presents observations about the typical program features of the wall painting in the Gradac church, which have not been previously considered in research.

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