scholarly journals Glory Crowned in Marble: Self-promotion of Individuals and Families in Seventeenth- and Eighteenth-Century Monuments in Istria and Dalmatia

2019 ◽  
pp. 139-150
Author(s):  
Damir Tulić
Keyword(s):  
Eighteenth Century ◽  
Parish Church ◽  
Military Engineer ◽  
Common Purpose ◽  
The Military ◽  
Venetian Republic ◽  
The Town ◽  
The Church ◽  
Commemorative Monuments

Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar’s Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.

scholarly journals Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli

Ars Adriatica ◽  
2012 ◽  
pp. 203
Author(s):  
Bojan Goja
Keyword(s):  
Eighteenth Century ◽  
Surrounding Area ◽  
Archival Research ◽  
Parish Church ◽  
Large Numbers ◽  
Venetian Republic ◽  
The Church ◽  
Made In

Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli). Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar. The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented.

scholarly journals Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija

Ars Adriatica ◽  
2015 ◽  
pp. 141
Author(s):  
Damir Tulić
Keyword(s):  
Eighteenth Century ◽  
Early Years ◽  
High Quality ◽  
Parish Church ◽  
Important Link ◽  
Marble Statue ◽  
Venetian Lagoon ◽  
Set Up ◽  
Santa Maria ◽  
The Church

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

scholarly journals The 10-year anniversary of the Republic of Lithuania: the State celebration program of 1928 and the monuments of independence

Menotyra ◽  
2018 ◽  
Vol 25 (1) ◽  
Author(s):  
Skirmantė Smilingytė-Žeimienė
Keyword(s):  
Cultural Memory ◽  
Local Communities ◽  
The State ◽  
Organizational Skills ◽  
The Republic ◽  
The Military ◽  
The Church ◽  
Anniversary Celebration ◽  
Commemorative Monuments

The Supreme Committee for the 10-year Anniversary Celebration of the Independence of the Republic of Lithuania was established in 1928. The committee performed its mission making the national rally campaign of the celebration of two state festivals – February 16 and May 15. The organizational skills and experience of Vladas Nagevičius in developing the national important memorial symbols should be noted. He was the chairman of the committee and the director of the Military Museum. The year 1928 evidenced the first manifestation of the global cultural memory in Independent Lithuania. A model of the ceremonial communication of the state festivals was created. It had an important component – a monument – a materialization sign of the memorial. To achieve their objectives, the committee used the periodicals, the Church, radio, artists and, of course, local communities. Dealing with the problems of commemorative monuments – the lack of funding, the risk of cheap monuments, the need to design an exceptional memorial object with national traditions, the committee inspired to introduce the shape of a splendour wooden cross as an identity standard. The Committee and the majority of citizens considered that the traditional monuments of cross-crafting is a successful reflection of the nationhood. The Supreme Committee had an exceptional role in designing the commemorative process in 1928.

scholarly journals THE CREATIVE WORK OF ARCHITECTOR PIERRE RICAUD DE TIRREGAILLE

2020 ◽  
Vol 2020 (13) ◽  
pp. 133-142
Author(s):  
Viktoriya Taras
Keyword(s):  
Eighteenth Century ◽  
Professional Education ◽  
National Library ◽  
Design Work ◽  
Military Engineer ◽  
National Heritage ◽  
Military Engineering ◽  
The Military ◽  
The Village ◽  
The City

In this article we examine the figure of the military engineer, geometer, architect Pierre Rico de Tirregaille (Tirrgaille, French Pierre Ricaud de Tirregaille, Ricaud (Ricaut, Ryko) Pierre de Tirregaille (Tirgaille)). The years of his activity (about 1725 - after 1772) are relatively well known to researchers. But his biography remains unknown, except for the period of activity in the Commonwealth. Analysis of the results of previous research has shown that scientific research has been conducted in several areas. The first area includes research on biographical information about the architect. The second area includes studies on various projects that Pierre Rico de Tirregail commissioned. Manuscripts and graphics are important sources for finding out about Pierre Rico de Tirregail and his design work. They are stored in the archives of Warsaw, Krakow, the National Heritage Institute in Warsaw and the National Library of France in Paris. Pierre Ricaud de Tirregaille was born around 1725 in a French noble family in the district of Tiregale in Provence. His professional education was improved in Barcelona under the guidance of engineer Francis Ricode de Tierreagil. In the territory of the Polish– Lithuanian Commonwealth he worked from 1752 to 1762. We distinguish three periods in the activity of the architect: I - Warsaw (1752–1757), II - Lviv (1757–1760) and III - Warsaw (1760–1762). Most orders were received by the architect from several magnate families: Branicki, Potocki, Mniszeck, and others. The first mention of Pierre Rico de Tirregail's stay in the Polish-Lithuanian Commonwealth dates back to 1752, when he received the rank of lieutenant in the infantry regiment of the Grand Crown Hetman Jan Kliment Branicki (1689–1771). In the architect's portfolio were included: the project and management of installation works on the water supply of the garden and menagerie in the city of Bialystok, the project of the palace with a garden in the city of Krystynopol, the palace in the village Pespa, a project of the Palace Chatsky-Felinsky in Lviv, a project for the modernization of the palace for Anthony Bielsky. Probably, the palace garden for the Greek Catholic Metropolitans in Lviv and the palace with a garden in Krakovets are his work as well. Pierre Ricaud de Tirregaille also made a detailed plan of the city of Warsaw on a scale of 1:1000 between 1762–1763. After an eleven-year stay in Poland, Pierre Rico de Tirregail moved to Berlin. In Berlin, he received a position in the military engineering corps and a position as a teacher at the court of King Frederick II of Prussia. In 1772, in Potsdam, he published a numismatic treatise devoted to Rossian medals of the eighteenth century.

‘The Rector presents his compliments’: Worship, Fabric, and Furnishings of the Priory Church of St Bartholomew the Great, Smithfield, 1828-1938

1999 ◽  
Vol 35 ◽  
pp. 320-332
Author(s):  
Martin Dudley
Keyword(s):  
Eighteenth Century ◽  
Benjamin Franklin ◽  
Henry Viii ◽  
John Wesley ◽  
Process Of Change ◽  
Parish Church ◽  
The North ◽  
City Of London ◽  
The City ◽  
The Church

For nearly 900 years the Priory Church of St Bartholomew the Great has functioned as an expression of wider religious moods, movements, and aspirations. Founded in 1123 by Rahere, a courtier of Henry I, at a time when the Augustinian Canons gained a brief ascendancy over older forms of religious life, it represents the last flowering of English Romanesque architecture. The Priory was dissolved by Henry VIII, became a house of Dominicans under Mary, and saw the flames that consumed the Smithfield martyrs. Since Elizabeth’s reign it has been a parish church serving a small and poor but populous area within the City of London but outside the walls. Its history is fairly well documented. Richard Rich lived in the former Lady Chapel. Walter Mildmay worshipped, and was buried, there. John Wesley preached there. Hogarth was baptized there. Parts of the church had been turned over to secular use. There was a blacksmith’s forge in the north transept beyond the bricked-up arch of the crossing and the smoke from the forge often filled the building. A school occupied the north triforium gallery. The Lady Chapel was further divided, and early in the eighteenth century Samuel Palmer, a printer, had his letter foundry there. The young Benjamin Franklin worked there for a year in 172 s and recorded the experience in his autobiography. The church, surrounded by houses, taverns, schools, chapels, stables, and warehouses, was a shadow of its medieval glory; but between 1828 and 1897 it changed internally and externally almost beyond recognition. The process of change continued over the next forty years and indeed continues still. These changes in architecture and furnishings were closely linked to a changed attitude to medieval buildings, to issues of churchmanship, and to liturgical developments.

Church Extension in Town and Countryside in Later Nineteenth-Century Leicestershire

1979 ◽  
Vol 16 ◽  
pp. 427-440 ◽  
Author(s):  
David M. Thompson
Keyword(s):  
Nineteenth Century ◽  
Church Of England ◽  
Urban Religion ◽  
Rural Religion ◽  
Parish Church ◽  
Regular Contact ◽  
The Village ◽  
The Town ◽  
The Church ◽  
The Ideal

Studies of nineteenth-century urban religion have often been conducted with very little reference to the surrounding countryside. Even Obelkevich in his stimulating study of rural religion in Lincolnshire suggested that there, ‘In the Church of England, though the ideal and model of the village parish church continued to inspire town churchmen, towns and villages largely remained in separate compartments. Only through Methodism did the towns have much effect on village religious life. . . . The circuit, the key unit of Methodist organization, brought preachers and people from towns and villages into regular contact with each other and made it possible for the financial and human resources of the town chapels to contribute to the life of the outlying village chapels’. But the methodist exception is significant, not so much in a denominational sense (although the methodist form of organisation was in theory the best for this purpose) but because it is an example of a situation in which the money and men available in any one particular place were not sufficient to carry out what the church concerned wished to do there. It was therefore necessary to tap the resources of other places to help. In large towns such as Manchester, Leeds and Birmingham, and in some of the smaller industrial towns as well, the necessary resources often had to be found within the town or not at all; and to that extent the study of urban religion on its own is understandable. But in many parts of the country rural evangelism was felt to be as urgent a priority as urban evangelism. The church of England sought to overcome the consequences of rural neglect; and all nonconformists, not only methodists, attempted to involve town members in the life of country chapels. Thus in less exclusively industrial parts of the country than Lancashire, the West Riding of Yorkshire and the Black Country, a genuine conflict of priorities between town and countryside could arise.

scholarly journals Saint Virgin Mary Parish Church in Kraśnik – new research results after I phase of studies 2008-2009

2010 ◽  
Vol 7 (2) ◽  
pp. 053-066
Author(s):  
Halina Landecka
Keyword(s):  
Virgin Mary ◽  
Original Structure ◽  
Russian Government ◽  
Architectural Elements ◽  
Parish Church ◽  
History Of ◽  
New Research ◽  
The Town ◽  
The Church ◽  
Gothic Arch

The town of Kraśnik is one of the oldest of its kind in the Lublin region – archaeological researches confirmed that that in the XIII century in the same place existed a settlement with castle and a church. Municipal rights were granted to Krasnik in 1377, when town was ruled by Gorajski family. A brick church was founded by Teczynski family around 1448. Today this is reflected by the chancel build around the altar from Gothic bricks, to which in the next phases vestry and treasury has been constructed. In 1461 a n Canons Regular of the Lateran Order has been brought to Krasnik from Cracow. The Order extended the original structure and built a monastery. From stone blocks they erected main nave and church aisles and Gothic church was incorporated in the new form. Consecutive rebuilding continued in 1st half of XVI century (raising of church walls, new arches, Renaissance decorations, polychrome wall paintings, memorial chapels). After damages to the church caused by the wars with Sweden, it became a property of Zamoyski family, who rebuilt it in the Baroque style (new elevation copings, building of new chapel in which the foundation date remained – 1657). In the year of 1864 after the cessation of the Order, church has been taken under the control of Russian government. Damaged by fires it required renovations (front elevations, roof). In 1911 the last phase of modifications was recorded – extension to the clock tower. Church in Krasnik with its 600 years of history always attracted attention from architectural researchers and scientists. In 2007 renovation of front elevation commenced. Initial works on removing plaster revealed perfectly preserved stone blocks and details from the earliest phases of the construction (fragments of a Gothic arch, stone window framings, front walls). Conservatory and archaeological researches inside the church on the foundation, roof and elevation levels uncovered new architectural elements and therefore allowed to understand in more complete way the construction phases of the church. As the results of the research, a decision has been made to restore the Gothic form of the church (rarely found in Lublin region) and to expose the oldest brick front, stone contour with beautiful stepped facade, portal, high windows and architectural details from the II phase of construction. Research to reveal more about the history of church, monastery and the town itself continues along with reconstruction works.

The Response of the Auld Kirk in Haddington to the Disruption

2021 ◽  
Vol 50 (1) ◽  
pp. 47-60
Author(s):  
David Dutton
Keyword(s):  
Nineteenth Century ◽  
Coming Out ◽  
Church Of Scotland ◽  
Parish Church ◽  
Number Of Factors ◽  
The Town ◽  
The Church ◽  
Established Church

This article will provide a case study of how the Auld Kirk in Haddington responded to the Disruption of 1843. It will show that despite the diversification of the church in the burgh during the eighteenth and early nineteenth centuries, in 1843 the Church of Scotland was by far the largest denomination and that, despite two ministers and just under 500 members ‘coming out’, it retained its dominance during the remainder of the nineteenth century. This article will identify a number of factors which enabled the established church in Haddington to respond effectively to the Disruption, including the speed with which it reacted to the events of 1843; the reluctance of parishioners to leave the ancient parish church of St Mary's; the relative weakness of other denominations in the town; its ability to attract able and energetic ministers; and, its willingness to pursue a form of ‘territorial ministry’.

A Tudor Organ-Case at Appleby-in-Westmorland

1978 ◽  
Vol 58 (2) ◽  
pp. 320-332
Author(s):  
M. R. Holmes
Keyword(s):  
Present Form ◽  
Parish Church ◽  
Open Work ◽  
The Town ◽  
The Church

SummaryWhen the town organ in the parish church of Appleby-in-Westmorland was damaged by flooding and had to be dismantled for repair and restoration, it was found that the pipes and stops of the Great Organ were practically contemporary, and must date from the instrument's existence in Carlisle Cathedral before its transference to Appleby in 1683. Certain unusual features in the flats were found to have a parallel in a Sienese organ of 1510 or thereabouts, and consideration of this latter instrument showed that a series of carved open-work panels, now incorporated in other fittings in the church, had been part of the original organ-case, a certain asymmetry in the topmost panel being designed to correspond with the irregular centring of the appropriate bay in the quire at Carlisle. Certain heraldic evidence in the ornamentation points to a date between 1542 and 1547, and the present form of the organ was influenced by its transfer to Appleby in 1683—quite possibly under the supervision of the famous ‘Father’ Smith—and its eventual erection under distinguished patronage in 1722.

scholarly journals Construction History and Research of the Holy Trinity Parish Church in Szigetmonostor

2021 ◽  
Author(s):  
Ágnes Gyetvainé Balogh
Keyword(s):  
Eighteenth Century ◽  
Church Architecture ◽  
Holy Trinity ◽  
Parish Church ◽  
The Church

The church of Szigetmonostor, together with the parish building in front, and the late chanter house next to it, is the characteristic complex of its environment. Its plan with the middle tower façade solution is a classic example of Baroque church architecture of the eighteenth century. The most valuable part of the building is the late Baroque pulpit renovated while keeping its original appearance.Szigetmonostor – earlier Monostor – a municipality in Pest County on the Szentendre Island came into the possession of the Zichy family after the Turkish rule. In the 1730s, Ferenc Zichy put the tenure in pawn to Gábor Horányi, a servant judge in Pest County, who started greater developments here by building a castle (today the parish) and a church in the 1740s. The tower was built in front of the main façade a few years after the completion of the nave. The Vienna Court Chamber acquired the manor from the Zichy family in 1766 after a long lawsuit, also redeeming Monostor from the Horányi family. In 1774, the master masons Mihály János Hamon and Jakab Gföller were commissioned to survey the buildings of the manor, which came into the possession of the Crown from the Zichys. Their survey plans illustrate the church with the small teaching house and church garden next to it. During the 19th and 20th centuries, the church underwent several renewals and renovations and minor alterations that could be tracked with the help of records and Canonica Visitatios.

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