scholarly journals Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo – styl – program ikonograficzny

Porta Aurea ◽  
2021 ◽  
pp. 26-55
Author(s):  
Alina Barczyk
Keyword(s):  
Large Scale ◽  
18Th Century ◽  
Surface Characteristic ◽  
Town Hall ◽  
Pine Wood ◽  
Spatial Composition ◽  
The Church

In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and style of the sculptures. Then the question of attribution is discussed. In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble. This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist. Johann Heinrich Meissner (1701–1770) was born in Królewiec. He was present in Gdańsk, where from 1726 he owned a valued workshop. Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech. Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations. Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood. Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60. The soft modelling of forms precisely emphasizes the anatomy. Figures’ gestures are naturalistic. The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo. Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century. Another thread is the symbolic diagram of the fence decoration. In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e.g. Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends.

Large-scale wetland-restoration of the Ronde Venen, The Netherlands

1995 ◽  
Vol 31 (8) ◽  
pp. 197-205 ◽  
Author(s):  
L. L. Bijlmakers ◽  
E. O. A. M. de Swart
Keyword(s):  
Water Quality ◽  
Wetland Restoration ◽  
Pollution Control ◽  
Large Scale ◽  
Major Elements ◽  
Control Mechanisms ◽  
Important Criterion ◽  
Spatial Strategy ◽  
Hydrological Characteristics ◽  
Spatial Composition

For the area of the Ronde Venen a plan for large-scale wetland-restoration and improvement of the water quality was developed. Major elements of the developed spatial strategy are the optimal use of the specific hydrological and ecological characteristics of the area. Based on regional hydrological characteristics within the study area hydrological sub-units were distinguished by connecting discharge and recharge areas. In this way the intake of polluted surface water from outside the area could be minimized, with an optimal use of specific local differences in water quality. Two scenarios were developed and evaluated using hydrological, hydrochemical and ecological models. The scenarios differed in spatial composition and the way the water level was manipulated. In order to optimize water quality, natural and artificial pollution control mechanisms were implemented as well. An important criterion for the evaluation was the extent to which the scenarios succeeded in optimizing conditions for the realization of the ecological goals. The most promising and acceptable scenario has been worked out in further detail.

Canons to the Left of Him: Brevard Childs, his Critics, and the Future of Old Testament Theology

1997 ◽  
Vol 50 (1) ◽  
pp. 1-38 ◽  
Author(s):  
Iain Provan
Keyword(s):  
Old Testament ◽  
18Th Century ◽  
Biblical Theology ◽  
Point Of View ◽  
The Bible ◽  
The Difference ◽  
Probable Origin ◽  
The Individual ◽  
The Relationship ◽  
The Church

It is well known that the seeds from which the modern discipline of OT theology grew are already found in 17th and 18th century discussion of the relationship between Bible and Church, which tended to drive a wedge between the two, regarding canon in historical rather than theological terms; stressing the difference between what is transient and particular in the Bible and what is universal and of abiding significance; and placing the task of deciding which is which upon the shoulders of the individual reader rather than upon the church. Free investigation of the Bible, unfettered by church tradition and theology, was to be the way ahead. OT theology finds its roots more particularly in the 18th century discussion of the nature of and the relationship between Biblical Theology and Dogmatic Theology, and in particular in Gabler's classic theoreticalstatementof their nature and relationship. The first book which may strictly be called an OT theology appeared in 1796: an historical discussion of the ideas to be found in the OT, with an emphasis on their probable origin and the stages through which Hebrew religious thought had passed, compared and contrasted with the beliefs of other ancient peoples, and evaluated from the point of view of rationalistic religion. Here we find the unreserved acceptance of Gabler's principle that OT theology must in the first instance be a descriptive and historical discipline, freed from dogmatic constraints and resistant to the premature merging of OT and NT — a principle which in the succeeding century was accepted by writers across the whole theological spectrum, including those of orthodox and conservative inclination.

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.

scholarly journals Address of the President Sir Henry Dale, C.B.E., at the Anniversary Meeting, 1 December 1941

1942 ◽  
Vol 179 (978) ◽  
pp. 233-260 ◽  
Keyword(s):  
Technical College ◽  
High Speed ◽  
Large Scale ◽  
Electrical Engineering ◽  
The United States ◽  
The Past ◽  
Pure Mathematics ◽  
Symbolic Structure ◽  
The Church ◽  
Insight Into

This is the first occasion on which I have had the great honour of addressing the Royal Society on this anniversary of its foundation. According to custom, I begin with brief mention of those whom death has taken from our Fellowship during the past year, and whose memories we honour. Alfred Young (1873-1940), distinguished for his contributions to pure mathematics, was half brother to another of our Fellows, Sydney Young, a chemist of eminence. Alfred Young had an insight into the symbolic structure and manipulation of algebra, which gave him a special place among his mathematical contemporaries. After a successful career at Cambridge he entered the Church, and passed his later years in the country rectory of Birdbrook, Essex. His devotion to mathematics continued, however, throughout his life, and he published a steady stream of work in the branch of algebra which he had invented, and named ‘quantitative substitutional analysis’. He lived to see his methods adopted by Weyl in his quantum mechanics and spectroscopy. He was elected to our Fellowship in 1934. With the death of Miles Walker (1868-1941) the Society loses a pioneer in large-scale electrical engineering. Walker was a man of wide interests. He was trained first for the law, and even followed its practice for a period. Later he studied electrical engineering under Sylvanus Thompson at the Finsbury Technical College and became his assistant for several years. Thereafter, encouraged by Thompson, he entered St John’s College, Cambridge, with a scholarship, and graduated with 1st Class Honours in both the Natural Sciences and the Engineering Tripos. Having entered the service of the British Westinghouse Company, he was sent by them to the United States of America to study electrical engineering with the parent company in Pittsburgh. On his return to England he became their leading designer of high-speed electrical generators

‘Sea of Wonders Never Sounded’: The Trinitarian Spirituality of Ann Griffiths

2019 ◽  
Vol 90 (4) ◽  
pp. 357-369
Author(s):  
Caroline Smiley
Keyword(s):  
18Th Century ◽  
The Church

Ann Griffiths, an 18th-century farm wife and hymn writer, is well-known in her native Wales, though relatively unstudied in English. Even in translation her hymns and letters offer a strikingly beautiful as well as informative window into the Trinitarian spirituality of 18th-century Welsh Methodism. Historically, her Trinitarianism is notable in that it is largely assumed and primarily based in the economic Trinity, and yet, is nonetheless profound in its orthodoxy given the Trinitarian controversy of the long century prior. More than mere historical curiosity, however, Griffiths’s writing is particularly intriguing on two points that can edify the church today. First, she writes with considerable theological depth despite a lack of education, religious or otherwise, and second, her theology is both technically rich as well as profoundly devotional.

scholarly journals Geodetic and Architectural Inventory of the Historic Wooden Church of St. Szczepan in Mnichów (Poland) in Terms of Safety Assessment of the Geometric Condition of the Structure.

2020 ◽  
Author(s):  
Tomasz Lipecki
Keyword(s):  
Laser Scanning ◽  
Structural Changes ◽  
18Th Century ◽  
Good Condition ◽  
Geometric Condition ◽  
Mining Operations ◽  
Destructive Effect ◽  
Scanning Method ◽  
3D Solid ◽  
The Church

Abstract The article concerns the method of architectural inventory of the historic, wooden church in Mnichów (southern Poland), built in the 18th century. During hundreds of years of operation, structural changes can be seen in it, as well as in objects located above mining operations. The article explains the principles of inventory and describes the applied method of laser scanning, starting from the design to the creation of a 3D solid model of the object, paying particular attention to the analysis based on the created point cloud. Thanks to them, the area and volumes of all rooms were determined, the verticality of columns supporting the church levels was assessed, the floor level and verticality of walls were determined, as well as the shape and level of the roof edges. Based on the research, it can be concluded that the church, as an example of a wooden religious monument, is in good condition. The detected deformations in this range do not have a destructive effect on the current state of the object, but it should be subjected to control measurements in a cyclical manner. The laser scanning method used allowed for a wide and accurate scope of the study of the geometry of the church structure, without the need to disorganize its equipment.

scholarly journals Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 227
Author(s):  
Damir Tulić ◽  
Mario Pintarić
Keyword(s):  
Small Town ◽  
18Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Church ◽  
Made In

In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

scholarly journals Olomouc - Possibilities of Geovisualization of the Historical City

2011 ◽  
Vol 6 ◽  
pp. 267-274
Author(s):  
Stanislav Popelka ◽  
Alžběta Brychtová
Keyword(s):  
Spatial Data ◽  
Large Scale ◽  
18Th Century ◽  
3D Visualization ◽  
3D Models ◽  
Google Earth ◽  
Point Of View ◽  
World Heritage Site ◽  
Historical Maps ◽  
The City

Olomouc, nowadays a city with 100,000 inhabitants, has always been considered as one of the most prominent Czech cities. It is a social and economical centre, which history started just about the 11th century. The present appearance of the city has its roots in the 18th century, when the city was almost razed to the ground after the Thirty years’ war and a great fire in 1709. After that, the city was rebuilt to a baroque military fortress against Prussia army. At the beginning of the 20th century the majority of the fortress was demolished. Character of the town is dominated by the large number of churches, burgher’s houses and other architecturally significant buildings, like a Holy Trinity Column, a UNESCO World Heritage Site. Aim of this project was to state the most suitable methods of visualization of spatial-temporal change in historical build-up area from the tourist’s point of view, and to design and evaluate possibilities of spatial data acquisition. There are many methods of 2D and 3D visualization which are suitable for depiction of historical and contemporary situation. In the article four approaches are discussed comparison of historical and recent pictures or photos, overlaying historical maps over the orthophoto, enhanced visualization of historical map in large scale using the third dimension and photorealistic 3D models of the same area in different ages. All mentioned methods were geolocalizated using the Google Earth environment and multimedia features were added to enhance the impression of perception. Possibilities of visualization, which were outlined above, were realized on a case study of the Olomouc city. As a source of historical data were used rapport plans of the bastion fortress from the 17th century. The accuracy of historical maps was confirmed by cartometric methods with use of the MapAnalyst software. Registration of the spatial-temporal changes information has a great potential in urban planning or realization of reconstruction and particularly in the propagation of the region and increasing the knowledge of citizens about the history of Olomouc.

scholarly journals The “Slavic-Russian Nation” in the Historical Literature of Ukraine and Russia from the 1600s to the mid-1700s

Slovene ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 417-447
Author(s):  
Petr S. Stefanovich
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
The Political ◽  
Russian History ◽  
Slavonic Language ◽  
Imperial Identity ◽  
History Of ◽  
The Common ◽  
The Church ◽  
Century Literature

The article analyzes the history of the concept of a “Slavic-Russian nation”. The concept was first used by Zacharia Kopystenskij in 1624, but its wide occurrence starts in 1674, when Synopsis, the first printed history of Russia, was published in Kiev. In the book, “Slavic-Russian nation” refers to an ancient Slavic people, which preceded the “Russian nation” (“rossiyskiy narod”) of the time in which the book was written. Uniting “Slavs” and “Russians” (“rossy”) into one “Slavic-Russian nation”, the author of Synopsis followed the idea which was proposed but not specifically defined by M. Stryjkovskij in his Chronicle (1582) and, later, by the Kievan intellectuals of the 1620s–30s. The construction of Synopsis was to prove that “Russians” (“rossy”) were united by both the common Slavic origin and the Church Slavonic language used by the Orthodox Slavic peoples. According to Synopsis, they were also supposed to be united by the Muscovite tsar’s authority and the Orthodox religion. The whole conception made Synopsis very popular in Russia in the late 17th century and later. Earlier in the 17th-century literature of the Muscovite State, some authors also proposed ethno-genetic constructions based on Stryjkovskij’s Chronicle and other Renaissance historiography. Independently from the Kievan literature, the word “Slavic-Russian” was invented (first appearance in the Legend about Sloven and Rus, 1630s). Both the Kievan and Muscovite constructions of a mythical “Slavic-Russian nation” aimed at making an “imagined” ethno-cultural nation. They contributed to forming a new Russian imperial identity in the Petrine epoch. However, the concept of a “Slavic-Russian nation” was not in demand in the political discourse of the Petrine Empire. It was sporadically used in the historical works of the 18th century (largely due to the influence of Synopsis), but played no significant role in the proposed interpretations of Russian history.

scholarly journals Modernity and contemporaneity in dialogue with the heritage

2020 ◽  
Vol 7 ◽  
pp. 158-169
Author(s):  
João Luís Marques
Keyword(s):  
18Th Century ◽  
Cultural Value ◽  
Second Vatican Council ◽  
Young Professionals ◽  
Parish Church ◽  
Vatican Council ◽  
Worship Space ◽  
The 1960S ◽  
Art And Architecture ◽  
The Church

Since the 1960s, the artistic and architectural interventions carried out in the church of Santa Isabel and Rato Chapel, in Lisbon, brought to the debate the overlap of different narratives in these two different spaces of worship: the first, is a parish church preserved by the earthquake of Lisbon (1755), which had its liturgical space redesigned before the Second Vatican Council; the second, is a private chapel annexed to a 18th century palace that became a symbolic worship space for students and engaged young professionals since the 1970s. Enriched with the work of either well-known artists or, sometimes, anonymous architects, the two case studies show us the life of monuments, where Modern and Contemporary Art and Architecture participate in preserving and enhancing their cultural value. At the same time, the liturgical and pastoral activities are shown to be the engine behind successive interventions.

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