scholarly journals Una escultura inédita de san Roque del Círculo de Balduque, recuperada en Tenerife

2021 ◽  
pp. 31-45
Author(s):  
José Cesáreo López Plasencia ◽  
Keyword(s):  
16Th Century ◽  
Parish Church ◽  
Immaculate Conception ◽  
Wood Sculpture

"In this paper we study a wood sculpture representing Saint Roch of Montpellier that belongs to the parish church of The Immaculate Conception, in Realejo Bajo, Los Realejos (Tenerife). The religious effigy, which was venerated in the extinct Franciscan Convent of Saint Lucy, in the same town, has recently been restored. Its art features allow us to relate this simulacrum to the art of the well-known Flemish sculptor and woodcarver Roque de Balduque, who worked in Seville from 1534 to 1561 and is one of the most prominent figures in 16th-century Spanish sculpture."

7. Modern Mary—Reformation to the present

2021 ◽  
pp. 123-146
Author(s):  
Mary Joan Winn Leith
Keyword(s):  
21St Century ◽  
Vatican Ii ◽  
Virgin Mary ◽  
16Th Century ◽  
Protestant Reformation ◽  
Council Of Trent ◽  
The Enlightenment ◽  
Immaculate Conception ◽  
Religious Ideals ◽  
The Church

‘Modern Mary—Reformation to the present’ looks at the Virgin Mary from the Protestant Reformation of the 16th century to the present. During this period Mary was often at the centre of conflicts over religious ideals that contributed to the Enlightenment. The Catholic Council of Trent reaffirmed Mary’s perpetual virginity, intercession, pilgrimage, and relics. Catholic Marian beliefs were shaped by some of the misgivings that Protestants had voiced about Catholic views of Mary. The rosary and apparitions of Mary illustrate Catholic views of Mary after the Council of Trent. The so-called ‘Marian Century’ began in 1854 with Pope Pius IX’s declaration of Mary’s Immaculate Conception effectively ended in 1965 with the church reforms of Vatican II. Marian spirituality in the 21st century have taken often surprising directions.

Łaciński pierwowzór kazań maryjnych Jana z Szamotuł (Paterka) / The Latin Source of the Marian Sermons of Jan of Szamotu Ły (Paterek)

2013 ◽  
Vol 54 (1) ◽  
pp. 15-34
Author(s):  
Roman Mazurkiewicz
Keyword(s):  
Virgin Mary ◽  
16Th Century ◽  
Blessed Virgin Mary ◽  
Immaculate Conception ◽  
Characteristic Features

Summary This author of this article has tracked down the Latin source of the Marian Sermons of Jan of Szamotuły aka Paterek (c. 1480-1519). The extant MS of the Sermons, is dated to the early 16th century. They cover the stories of the Immaculate Conception, the Nativity, the Holy Name, and the Life of the Blessed Virgin Mary. Although indebted in their structure and theological content to medieval scholastic treaties, they were generally believed to be Jan of Szamotuły’s own work. Now we know that his source was a volume of sermons Stellarium coronae Benedictae Mariae Virginis, written by the Hungarian Franciscan Pelbart of Temesvar (c. 1435-1504). The two texts are compared with a view of identifying the characteristic features of the Polish translation (paraphrase). The article also presents some conjectures about the date and circumstances of the writing of the Sermons and their prospective use.

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 Programy heraldyczne w dekoracji kościołów parafialnych w Kraśniku i Chodlu

2018 ◽  
pp. 5-28
Author(s):  
Adam Soćko
Keyword(s):  
16Th Century ◽  
Parish Church ◽  
Family Connections ◽  
Two Stages ◽  
Coats Of Arms ◽  
The Church

The essay is an analysis of coats of arms, mainly from the second quarter ofthe 16th  century, connected with the architecture and decoration of thechurch of the Regular Canons in Kraśnik and the parish church in Chodel. The identification of numerous coats of arms used to decorate the keystones,supports, portals, balustrades, and facades of the Kraśnik church confirms two stages of its construction by two branches of the Tęczyński family (coat of arms Topór ) in the 15th  and 16th  centuries. The identification of the coatsof arms painted on the chancel vault of the church in Chodel determines thedating of its decorations and commemorates the town’s proprietors –  theMaciejowski family and their family connections in the second quarter of the16th  century. The identification of the coats of arms makes it possible to proposeprecise dating of the construction of both churches.

scholarly journals Holy Corn. Interdisciplinary Study of a Mexican 16th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture

Heritage ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 1538-1553
Author(s):  
Diego Quintero Quintero Balbas ◽  
Esteban Sánchez-Rodríguez ◽  
Álvaro Zárate Zárate Ramírez
Keyword(s):  
Mexico City ◽  
Historical Development ◽  
New Spain ◽  
European Countries ◽  
Indigenous Populations ◽  
16Th Century ◽  
City Region ◽  
Micro Level ◽  
Wood Sculpture ◽  
Interdisciplinary Study

Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries.

scholarly journals Kilka uwag na temat twórczości Krzysztofa Boguszewskiego

Artifex Novus ◽  
2019 ◽  
pp. 20-33
Author(s):  
Aleksander Stankiewicz
Keyword(s):  
The Other ◽  
Council Of Trent ◽  
Parish Church ◽  
The Past ◽  
Artistic Activity ◽  
Immaculate Conception ◽  
The Church

SUMMARY The article deals with the artistic activity of Krzysztof Aleksander Boguszewski (d. 1635), nobleman, spiritual and painter, active in Poznań in years 1624–1635. In the past, scholars tried to do all they could to expand his oeuvre by resorting to imprecise comparisons or overinterpretation of his works. Also, they wanted to found style of his paintings in works of Herman Han. In the light of documents, it is sure that Boguszewski was not the imitator or even pupil of Han. He probably learned to paint in confraternity of painters in Lublin or Lwów. In fact, we can only proof his signature in one existing work – The entry of St. Martin into Amiens from 1628, originally from Cistercian church in Paradyż, but today exposed in Poznań cathedral. Other paintings from Paradyż Abbey, like The Heavenly Jerusalem (1628?), The Immaculate Conception (1628?) and St. Paul (1628?) and effigies of St. Mary from church in Otorów and Biechów (1632) we can include in the works of Boguszewski using the compare method. The other painting attributed by scholars to artist are fundamentally different. The iconography of his works from Paradyż were projected by the Cistercian abbot, Marek Łętowski (d. 1629). His conception for Boguszewski works was based on the instructions of Church intellectualist, like Carlo Borromeo or Gabriele Paleotti. It is very probably, that the painter, who became a priest in parish church of St. Adalbert in Poznań in 1630, was personally involved in the idea of artists working for the reform of the Church after the council of Trent.

scholarly journals The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century

2019 ◽  
Vol 67 (4 SELECTED PAPERS IN ENGLISH) ◽  
pp. 7-32
Author(s):  
Janina Dzik
Keyword(s):  
Holy Spirit ◽  
18Th Century ◽  
Virgin Mary ◽  
Holy Trinity ◽  
Parish Church ◽  
Immaculate Conception ◽  
Polish Version ◽  
The Times ◽  
The Village ◽  
Original Approach

The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015). The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763). The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa. The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.

Electrochemical nucleation and growth of copper on iron and aluminum: A TEM study of industrial copper cementation

1978 ◽  
Vol 36 (1) ◽  
pp. 454-455
Author(s):  
L.E. Murr ◽  
V. Annamalai
Keyword(s):  
Metal Surface ◽  
Copper Deposit ◽  
Nucleation And Growth ◽  
16Th Century ◽  
Electrochemical Reactions ◽  
Mine Shaft ◽  
De Re ◽  
Copper Precipitation ◽  
Electrochemical Nucleation ◽  
Interesting System

Georgius Agricola in 1556 in his classical book, “De Re Metallica”, mentioned a strange water drawn from a mine shaft near Schmölnitz in Hungary that eroded iron and turned it into copper. This precipitation (or cementation) of copper on iron was employed as a commercial technique for producing copper at the Rio Tinto Mines in Spain in the 16th Century, and it continues today to account for as much as 15 percent of the copper produced by several U.S. copper companies.In addition to the Cu/Fe system, many other similar heterogeneous, electrochemical reactions can occur where ions from solution are reduced to metal on a more electropositive metal surface. In the case of copper precipitation from solution, aluminum is also an interesting system because of economic, environmental (ecological) and energy considerations. In studies of copper cementation on aluminum as an alternative to the historical Cu/Fe system, it was noticed that the two systems (Cu/Fe and Cu/Al) were kinetically very different, and that this difference was due in large part to differences in the structure of the residual, cement-copper deposit.

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