A Project by Michelangelo for the Ambo(s) of Santa Maria del Fiore, Florence

1981 ◽  
Vol 40 (2) ◽  
pp. 122-129
Author(s):  
Piero Morselli
Keyword(s):  
British Museum ◽  
16Th Century ◽  
Architectural Drawings ◽  
Early Christian ◽  
Ground Plan ◽  
15Th Century ◽  
Santa Maria ◽  
The Church

A group of Michelangelo's architectural drawings preserved in the Ashmolean and in the British Museum contains several detailed studies for a tall, semi-octagonal structure. Whereas the sketches have been dated ca. 1518, the nature of the building and its intended location are still a matter of debate. Recently, Wilde argued that the drawings show the ground plan and elevation of an ambo. This identification has been challenged on the basis that ambos had disappeared from liturgical use and had been replaced by pulpits centuries before Michelangelo. An examination of documents and sources reveals, however, that single and paired ambos had been built in the 15th century and that the 16th century marked a renewed liturgical interest in the Early Christian amboni tradition. Michelangelo's sketches in all probability reflect a project intended as part of the program for the embellishment of S. Maria del Fiore. This assumption is strengthened by the date of the drawings, executed after Michelangelo's return to Florence, by the contemporary decision of the operai to remodel the old choir of the church, and by the general architectural scheme of Michelangelo's ambo, which seems to have been conceived with the interior of this church in mind.

scholarly journals Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 61-80
Author(s):  
Mario Pintarić ◽  
Damir Tulić
Keyword(s):  
16Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Third ◽  
15Th Century ◽  
First Time ◽  
Santa Maria ◽  
The Church

The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.

scholarly journals Problems in the study of the medieval heritage in the Lim valley

Starinar ◽  
2005 ◽  
pp. 181-195
Author(s):  
Marko Popovic
Keyword(s):  
Careful Analysis ◽  
16Th Century ◽  
Late Antique ◽  
13Th Century ◽  
Metal Artifacts ◽  
Stone Block ◽  
15Th Century ◽  
Medieval Church ◽  
Starting Point ◽  
The Church

Discussing the results of archaeological investigation at two important medieval sites - remains of the monastery of St George at Mazici near Priboj and of the church at Drenova near Prijepolje - the author puts forward his critical observations that make significant revisions to the conclusions suggested by excavators. The remains of a monastery at Mazici have long ago been identified with the monastery of St George in the zupa (district) of Dabar known from early 13th-century records. In the 1310s a monastery of St George is referred to in association with the toponym of Orahovica. After a long gap, the monastery is referred to again several times in the 1600s until its final destruction in 1743, as St George?s at Orahovica or simply Mazic(i). The report following systematic archaeological excavations suggests the unacceptable and unfounded conclusion, with dating and interpretation that the monastery church was built in the 13th century, received additions in the 14th, and was renovated in the 16th-17th centuries when there was a hospital attached to it. Careful analysis of the structural remains and the site?s stratigraphy clearly shows that the monastery was built on the site of a medieval cemetery of a 14th-15th-century date, which means that the church and its buildings cannot be older than the 16th century. The author also argues against the assumed presence of a monastic hospital, the assumption being based upon metal artifacts misinterpreted as "medical instruments" (parchment edge trimmer, compasses, fork!!!). The author?s inference is that the ruins at Mazici are not the remains of the monastery of St George, which should be searched for elsewhere, but possibly the legacy of a 14th-century monastic establishment which was moved there from an as yet unknown location most likely about the middle of the 16th century. The site at Drenova, with remains of a church destroyed by land slide, has been known since the late 19th century when a stone block was found there bearing the opening part of an inscription: "+ Te Criste auctore pontifex...", long believed to date from the 9th-10th century. Following the excavations, but based on this dating the church remains were interpreted as pre- Romanesque, and the interpretation entailed some major historical conclusions. From a more recent and careful analysis, the inscription has been correctly dated to the 6th century. With this dating as his starting-point, the author examines the fieldwork results and suggests that the block is an early-Byzantine spolium probably from the late-antique site of Kolovrat near Prijepolje, reused in the medieval period as a tombstone in the churchyard, where such examples are not lonely. It follows that the inscribed block is not directly relatable to the church remains and that it cannot be used as dating evidence. On the other hand, the church remains show features of the Romanesque-Gothic style of architecture typical of the Pomorje, the Serbian Adriatic coast. According to close analogies found for some elements of its stone decoration, the date of the church could not precede the middle of the 13th century. The question remains open as to who had the church built and what its original function was, that is whether a monastic community center round it. Its founder may be sought for among members of the ruling Nemanjic house, but a church dignitary cannot be ruled out. Anumber of complex issues raised by this site are yet to be resolved, but the study should be relieved of earlier misconceptions. Fresh information about this ruined medieval church should be provided by revision excavations in the future.

Avgia Church (Batumi, Georgia)

2021 ◽  
pp. 177-188
Author(s):  
Shota Mamuladze ◽  
Kakhaber Kamadadze ◽  
Emzar Kakhidze
Keyword(s):  
Ceramic Powder ◽  
The West ◽  
West Side ◽  
Lime Mortar ◽  
Early Christian ◽  
Ground Plan ◽  
South Eastern ◽  
The North ◽  
The Church ◽  
North Western

The church discussed in the paper is situated in Avgia, on the outskirts of Batumi. It is an early Christian period hall-type church with northern and southern wings. The ground plan of the whole structure resembles the well-known layout of the croixlibre. The whole building is 23.85 m long and 19.0 m wide – including the arms. It has a projecting semi-circular apse whose radius is 6.05 m. The main space of the church is divided into three parts. It consists of a transverse hall, which may have operated as a narthex, a hall, and an altar apse. The floor of the structure was covered with pinkish lime mortar, a mixture of small pebbles and ceramic powder. The only central entrance to the church was located on the west side. The northern annex had an entrance in the north-western corner, and the southern one – in the south-eastern corner. The church seems to have been built of rubble stone. The construction style, layout, and archaeological evidence from the site narrow down its chronology to the 5th and 6th centuries AD.

"I Ragionamenti"-Visualizing St. Peter's

1985 ◽  
Vol 44 (2) ◽  
pp. 111-128 ◽  
Author(s):  
Meg Licht
Keyword(s):  
16Th Century ◽  
Small Scale ◽  
Main Concern ◽  
Architectural Drawings ◽  
Christian Church ◽  
San Lorenzo ◽  
Early Christian ◽  
Perspective Drawing ◽  
Santa Croce ◽  
Church Design

Thirteen architectural drawings by four architects-Bramante, Baldassare Peruzzi, Giuliano da Sangallo, and Antonio da Sangallo the Younger-all dating from the period between early 1505 to 18 April 1506, all except one in the Gabinetto dei Disegni e Stampe of the Uffizi, and all connected with the earliest proposals for the new St. Peter's, are examined to establish their authorship and date and the exact sequence in which they were executed. Beyond that, the chronological alignment of the drawings enables us to follow the process of visualizing and creating a building of an unprecedented type and an extraordinary scale. The ground plans of several small-scale prototypes-such as the Audience Hall of the Piazza d'Oro at Hadrian's Villa, the Oratorio of Santa Croce (a tiny 2nd- or 5th-century structure that stood near the Lateran Baptistery until the end of the 16th century), and the 9th-century San Satiro in Milan-are combined with elements of larger-scale prototypes such as San Lorenzo in Milan and the cathedrals of Milan, Pavia, and Florence in the search for a plan and elevation that are both spacious and structurally sound, that sum up both Roman architectural achievement and the heightened unities of Renaissance church design. The main concern in most of these drawings is the delineation of the crossing, the baldacchino formed by the great piers and the dome they support, protecting the tomb of St. Peter and the altar of the Early Christian church. Although in nearly every drawing some attention is paid to the outer perimeters of the building and its internal spatial divisions, many of those decisions are left in suspense, particularly the question of whether the building is to be centralized or longitudinal. Bramante's main concern was to establish the scale of the crossing, the size and shape of the piers and their distance from each other. This nucleus, constructed up through the pendentive level during his lifetime, set the scale for everything that was to follow. In the absence of a definitive plan attributable to the Bramante/Peruzzi team, the pier designs of Uff. 529 A verso and of f. 1466 verso of the Rothschild drawing book, and the interior of the crossing as it appears in the perspective drawing Uff. 2 A, are the best evidence of Bramante's permanent contribution. The drawings considered here trace the experiments with shape and scale that led to the establishment of these elements.

scholarly journals Miracles of the Saints in Nikon’s Chronicle as a Source for the Study of the Church Ideology during the 1520s–1530s

2020 ◽  
Vol 162 (6) ◽  
pp. 58-73
Author(s):  
A.N. Novoselov ◽  
Keyword(s):  
Comparative Analysis ◽  
Russian Literature ◽  
16Th Century ◽  
Historical Events ◽  
Old Russian ◽  
15Th Century ◽  
The Will ◽  
Saint Peter ◽  
The Church ◽  
Will Of God

This paper examines the informative potential of miracles described in Nikon’s Chronicle. Miracles are understood as a symbolic genre of the Old Russian literature. They are stories about unexpected and miraculous events taking place through the will of God and solving some earthly problems. The miracles worked by the following Russian saints were analyzed: Saint Peter of Moscow, Sergius of Radonezh, Barlaam of Khutyn, etc. The texts of miracles from the saints’ lives, Russian chronicles dating from the 15th century to the early 16th century, and Nikon’s Chronicle were compared. It was concluded that the storylines had been considerably revised in the 1520s–1530s. A hypothesis was introduced that the texts were transformed as a result of the influence exercised by Maximus the Greek and the non-possessors, who expressed doubts that certain metropolitans and monastery rectors could have been recognized as miracle workers. This hypothesis was confirmed through the comparative analysis of Nikon’s Chronicle and the trial minutes of Maximus the Greek. The conclusion was made that the miracles described in the earlier sources were rewritten in the subsequent years to shift the emphasis on the important role played by certain church figures in the key historical events.

scholarly journals Arbizuko eremuaren finkatzea

2020 ◽  
Author(s):  
Jose Luis Erdozia
Keyword(s):  
16Th Century ◽  
Sufficient Information ◽  
13Th Century ◽  
The Village ◽  
Santa Maria ◽  
The Church

LABURPENA Ez dakigu Sakanako erdigunean dagoen Arbizu herria noiz sortu zen, baina baditugu hainbat eta hainbat datu xiii. mendetik aurrera, Behe Erdi Aroko mende horretan abiapuntua harturik, nola joan zen finkatzen bere herri-eremua ezagutzeko. Lehenik, XVI. mendearen aurreko datuak («Hamarrenaren liburua», «1360ko Etxarri Aranazko Santa Maria elizaren hamarrenak», «1427ko Mendialdeko suen liburua») izanen ditugu aztergai. Eta, jarraian, 1537ko, 1699ko, 1827ko eta 1872ko mugarriztatzeen dokumentuak Arbizuren herri-eremua nola zegoen zehazturik ikusteko. Aipatu dokumentuetako datuak aitzakia harturik, beste datu batzuk, baina bereziki mugarritzeen ingurukoak eta toponimiakoak jorratuko dira. RESUMEN No sabemos cuándo se creó el pueblo de Arbizu, pero contamos desde el siglo XIII con suficientes datos como para poder vislumbrar cómo se fue conformando su término municipal. En primer lugar, he recogido los datos anteriores al siglo XVI («Libro del Rediezmo», «Diezmos de la iglesia Santa María de Etxarri Aranatz de 1360», «Libro de fuegos de la merindad de las Montañas de 1427») y seguidamente he examinado los amojonamientos de 1537, 1699, 1827 y 1872, para entender cómo ha ido conformándose su término municipal. Entre los datos hasta ahora mencionados, también nos hemos hecho eco de otros referidos a los amojonamientos y a la toponimia de la localidad. ABSTRACT Although we do not know for certain when the village of Arbizu was created, we do have sufficient information from the 13th century onwards to see how its municipality gradually took shape. Firstly, I collected the data prior to the 16th century («Book of Second Tithes», «Tithes of the church of Santa María of Etxarri Aranatz of 1360», «Book of hearths (homes) of the administrative and legal district of the Mountains of 1427»”), I then went on to examine the demarcations of 1537, 1699, 1827 and 1872, in order to understand how its municipality took shape. Among the data mentioned up to now, we have also echoed other data referring to the demarcations and to the toponymy of the locality.

scholarly journals DOMIŠLJANJE KONTINUITETA. PROBLEM NAJSTARIJEGA TROGIRSKOG MEMORIJALNOG TEKSTA

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Ivan Basić
Keyword(s):  
Middle Ages ◽  
16Th Century ◽  
Historical Narratives ◽  
Early Medieval ◽  
Early Middle Ages ◽  
Written Text ◽  
15Th Century ◽  
High Middle Ages ◽  
History Of ◽  
The Church

The oldest recorded history of the hexaconch rotunda of St. Mary de Platea in Trogir is associated with the memorial text preserved in two versions (Daniele Farlati, Petar Lučić). The written note provides information on the builder (restorer) of the church at the beginning of the 8th century, a relative of Severus the Great – the leader of the citizens of Salona who settled in Split in the 7th century. The author evaluates the validity of this note: he discusses the directions of previous research, transmission of the text, historiographical interpretations, and the archaeological, typological and stylistic context of the church. Through analysis he concludes that the memorial text is not of early medieval provenance; instead he gives a new proposal for its origin: it belongs to the artificial tradition shaped by the older historical narratives within the communal elite of Trogir in the 15th century, which was turned into a written text in the 16th century. He also defines the rotunda of St. Mary as an early medieval building from the beginning of the 9th century (without older phases) which was transformed into a communal church (ecclesia communis) of Trogir in the high Middle Ages. The author attributes to the text the function of creating the illusion of communal patronage of the church in continuity since the early Middle Ages.

Christus Virgo

2012 ◽  
Vol 41 (2) ◽  
pp. 22-27
Author(s):  
Sissel Undheim
Keyword(s):  
Moral Status ◽  
The Other ◽  
Late Antique ◽  
Church Fathers ◽  
Early Christian ◽  
Female Sex ◽  
The One ◽  
The Church

The description of Christ as a virgin, 'Christus virgo', does occur at rare occasions in Early Christian and late antique texts. Considering that 'virgo' was a term that most commonly described the sexual and moral status of a member of the female sex, such representations of Christ as a virgin may exemplify some of the complex negotiations over gender, salvation, sanctity and Christology that we find in the writings of the Church fathers. The article provides some suggestions as to how we can understand the notion of the virgin Christ within the context of early Christian and late antique theological debates on the one hand, and in light of the growing interest in sacred virginity on the other.

scholarly journals 'n Heilige, algemene kerk

2015 ◽  
Vol 71 (3) ◽  
Author(s):  
Wim Dreyer
Keyword(s):  
Early Development ◽  
Growth And Development ◽  
16Th Century ◽  
Nicene Creed ◽  
The Church

A holy, universal church. The Nicene Creed and the  Apostolicum went through different processes of growth and development. In the early development of both creeds, it is noticeable that articles about ‘the church’ are absent. In this contribution the creeds are examined in terms of their development, the inclusion of the articles on the church, their reception during the 16th century Reformation as well as difficulties in the official Afrikaans translations. It concludes with a short exposition of the Apostolicum’s article on the church (sanctam Ecclesiam catholicam).

What Is Hidden in the Small Box? Narratives of Late Antique Roman Palestine in Dialogue

AJS Review ◽  
2021 ◽  
Vol 45 (1) ◽  
pp. 76-94
Author(s):  
Reuven Kiperwasser
Keyword(s):  
Cultural Context ◽  
Late Antique ◽  
Early Christian ◽  
Narrative Tradition ◽  
Judaic Studies ◽  
Roman Palestine ◽  
The Church ◽  
Shared Narrative

This study is a comparative reading of two distinct narrative traditions with remarkably similar features of plot and content. The first tradition is from the Palestinian midrash Kohelet Rabbah, datable to the fifth to sixth centuries. The second is from John Moschos's Spiritual Meadow (Pratum spirituale), which is very close to Kohelet Rabbah in time and place. Although quite similar, the two narratives differ in certain respects. Pioneers of modern Judaic studies such as Samuel Krauss and Louis Ginzberg had been interested in the question of the relationships between early Christian authors and the rabbis; however, the relationships between John Moschos and Palestinian rabbinic writings have never been systematically treated (aside from one enlightening study by Hillel Newman). Here, in this case study, I ask comparative questions: Did Kohelet Rabbah borrow the tradition from Christian lore; or was the church author impressed by the teachings of Kohelet Rabbah? Alternatively, perhaps, might both have learned the shared story from a common continuum of local narrative tradition? Beyond these questions about literary dependence, I seek to understand the shared narrative in its cultural context.

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