The organ made by Andreas Hildebrandt at tHe elevation of tHe Holy Cross Church in Pruszcz Gdański

2020 ◽  
Vol 2 (14) ◽  
pp. 29-58
Author(s):  
Krzysztof Urbaniak
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Source Information ◽  
Initial Shape ◽  
Current State ◽  
Maintenance Work ◽  
Made In

The instrument built in 1728 by the Gdańsk organbuilder Andreas Hildebrandt and quite well preserved to this day in Pruszcz Gdański is the first example of the architectonic concept, which Jan Janca described as the Grańsk prospect (Danziger Prospekt). The organ from Pruszcz Gdański was probably partly rebuilt as early as in the 18th century and the changes were made in the instrument’s disposition. Around 1900 the maintenance work was completed by Otto Heinrichsdorff from Gdańsk. In 1929 the organ was once more restored, this time by Josef Goebel from Gdańsk. It was probably during the maintenance work at the beginning of the 20th century that the position of some registers of the windchest was changed. In 1972, Józef Mollin’s organbuilder company reconstructed the pipes looted in 1945 based on the then current state of knowledge, and in 1999 the same company did maintenance work of the instrument again. Further maintenance work was completed between 2009 and 2010 by Tomasz Szałajda and in 2016 by Zdzisław Mollin. In its initial one-manual version, the instrument had direct counterparts, one of them was the instrument built in 1738-1739 in Wocławy and the second one was the organ made by Cahman and preserved in Lövstabruk. The article presents the results of new instrumental studies on the construction changes made to the organ from Pruszcz Gdański throughout the instrument’s history and it outlines maintenance-related perspectives connected with its future. The importance of Hildebrandt’s organ in Pruszcz Gdański is enormous in the context of huge losses in Gdańsk’s landscape resulting from WWII. It is the only existing example of a larger type of organ from the 18th century near Gdańsk, which still allows for recognising its initial shape and having enough source information about its reconstruction.

scholarly journals Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

Ars Adriatica ◽  
2016 ◽  
pp. 185
Author(s):  
Petar Puhmajer ◽  
Krasanka Majer Jurišić
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Apartment Building ◽  
Wrought Iron ◽  
Late 18Th Century ◽  
Archival Documentation ◽  
The 19Th Century ◽  
Storey Building ◽  
Made In

This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics

2006 ◽  
Vol 4 (1) ◽  
pp. 37-49 ◽  
Author(s):  
Michael J. Demoor
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Fine Arts ◽  
Human Mind ◽  
Philosophy Of Art ◽  
Traditional Theory ◽  
Alternative Account ◽  
Made In

It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic thought, and anticipates certain 20th-century theories.

scholarly journals Zachowane regesty z ksiąg metrykalnych parafii narolskiej z XVII-XVIII wieku

2021 ◽  
Vol 8 ◽  
pp. 163-209
Author(s):  
Henryk Gmiterek
Keyword(s):  
Eastern Europe ◽  
20Th Century ◽  
19Th Century ◽  
New Records ◽  
18Th Century ◽  
16Th Century ◽  
Early 20Th Century ◽  
The Town ◽  
The Church ◽  
Made In

Rozwój badań nad zachowanymi księgami metrykalnymi (urodzeń, zawieranych małżeństw i zgonów) ma pierwszorzędne znaczenie nie tylko dla uszczegółowienia ustaleń genealogicznych poszczególnych rodów czy rodzin, ale przede wszystkim dla pogłębienia wiedzy o lokalnych społecznościach i zachodzących w ich obrębie procesów społecznych. Uprzystępnienie w różnych formach badaczom tej kategorii masowych źródeł historycznych może się w dłuższej perspektywie przyczynić do wyraźnego poszerzenia naszej wiedzy o różnorodnych zjawiskach demograficznych i stosunkach społecznych w obrębie żyjących przed wiekami pokoleń. Słowa kluczowe: Narol, parafia Narol, szlachta województwa bełskiego, genealogia The Extant Entries from the Narol Parish Records of the 17th – 18th Century The parish in Narol was established by Florian Łaszcz Nieledewski in 1595, in a village existing from the mid-16th century, near which he founded the town of Florianów (now Narol) in 1592. Visitations by bishops of Chełm, in whose dioceses Narol was located, confirm that the parish records (births, marriages) were kept from the very beginnings of the parish but in the autumn of 1648 they were destroyed during the Cossack-Tatar invasion (most probably burnt). The new records were kept from 1650. In the early 20th century they were seen in the Narol church by Karol Notz, famous in Galicia (Eastern Europe) for making inventories of historic relics. In 1914, the parish books were burnt during the fire of the town and the church. Their only known traces, discussed in the present publication, are excerpts/copies made in the mid-19th century by Ludwik Zieliński, which mostly refer to the noble families connected with Narol. The overwhelming majority of the 546 extracts are birth entries, only 29 being records of marriages.

scholarly journals Virtual Reconstruction of Petrovskoe-Alabino Manor near Moscow: Research Sources, Methods and Technologies

2020 ◽  
pp. 166-184
Author(s):  
Svetlana Aleksandrovna Poshevelya
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Three Dimensional ◽  
Moscow Oblast ◽  
Historical Sources ◽  
Central State ◽  
Current State ◽  
Virtual Reconstruction ◽  
Dimensional Reconstruction ◽  
Close Cooperation

The article describes methods and technologies of virtual 3D architectural historical reconstruction by the example of the exterior restoration process of Petrovskoye-Alabino manor (18th century) located in Naro-Fominsk District of Moscow Oblast. Currently the object is ruined, the interiors have been completely lost, the facades have also been almost unpreserved and the park has completely disappeared. Petrovskoe-Alabino was a summer country estate built by Nikita Akinfievich Demidov for his wife Aleksandra Evtikhievna who had not seen the manor completion. Having not achieved its main purpose, the manor, despite its unique appearance and aesthetic splendor, did not become famous and left no noticeable traces in historical sources. The primary purpose of the estate determined its special architectural type that is "Monplaisir" which is not often found in Russia. The manor was ruined in the 20th century and is now unprotected. It has not been reconstructed before and all the studies at stake are rather art reviews than historical studies. This article emphasizes the need to preserve cultural heritage and record the current state of destroyed objects as well as describes the process of virtual three-dimensional reconstruction of the manor based on archival and published materials as well as those collected during the research. The work grounds on drawings, sketches and measurements made by professional commissions in the 20th century as well as photographs of various eras, text descriptions of the manor and a set of graphic files created during the process of aerial and land photography of the current state of Petrovskoe-Alabino. Not only have the buildings of the complex been reconstructed, but also the courtyard, the main park alley and the landscape of the main manor territory. The work was carried out in close cooperation with the Central State Archive of Moscow Oblast.

scholarly journals CURRENT STATE AND DEVELOPMENT OF THE CITY PARK IN SKOPJE

2020 ◽  
Vol 1 (28) ◽  
Author(s):  
Jasminka Rizovska Atanasovska ◽  
Iskra Apostolovska ◽  
Nikolčo Velkovski ◽  
Vlatko Andonovski ◽  
Divna Penčić
Keyword(s):  
20Th Century ◽  
Recent Period ◽  
Current State ◽  
Green Area ◽  
Green Areas ◽  
The One ◽  
Intensive Work ◽  
The City ◽  
City Park ◽  
Made In

The City Park in Skopje was established in the early 20th century. There are not many historical dataabout its establishment. Only modest documentation could be found, for the period between the twoworld wars.At the beginning of the 20th century in Skopje a couple of avenues and green areas have been built. Thebigger green area was the one on the location where today’s City Park is built. It was called “Islahane”,after the craft school around which it was established. Its establishment is connected with Hafiz MehmedPasha and the period of Ottomans domination in Macedonia. Built in 1905, it spread out over 16 000m2 and was organized in a classical, geometric style, with trees, shrubs, floral elements and pathways.It was founded on where today’s City Park is located.Through the years it has changed until it got today’s dimensions and borders. The biggest change inits structure was made in the ‘70s of the 20th century when the basic main project for the City Parkwas made. In the last ten years intensive work on its reconstruction has been done, so there is morerelevant data for the Park for this recent period of time.Besides its establishment, this paper presents the current state of the Park, its main characteristics andfunctions. It gives a review of the vegetation and other park elements, as well the state of its overallarea and the changes that have occurred to date.

scholarly journals TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC

2020 ◽  
Vol 16 (2) ◽  
pp. 100-113
Author(s):  
Oleg Khromov
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Religious Art ◽  
History Of ◽  
Passion Of Christ ◽  
The 19Th Century ◽  
First Time ◽  
Made In

The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.

scholarly journals Spanish Style Walking Sticks in the Collection of the National Museum in Krakow

2021 ◽  
Vol 20 ◽  
pp. 259-274
Author(s):  
Monika Paś
Keyword(s):  
Material Culture ◽  
20Th Century ◽  
18Th Century ◽  
Atlantic Coast ◽  
Decorative Arts ◽  
National Museum ◽  
The Third ◽  
The 19Th Century ◽  
Different Parts ◽  
Made In

The collection of the National Museum in Krakow includes over ninety walking sticks from different parts of Europe, Asia and Africa, dated from the 18th century to the second half of the 20th century. Most are kept in the Department of Decorative Arts, Material Culture and Militaria, in the collection of which artefacts manufactured in Spain constitute a relatively small percent. Therefore, from this group it is worth presenting two walking sticks, previously unpublished, connected with the culture and art of the Iberian peninsula. The staffs described in this article represent two categories. The first of them is an elegant clothing accessory carried by a man who took care of his appearance. A note in the documentation of the donation indicates the cane had once belonged to Lucjan Siemieński (1807–1877), a Polish poet. Although its handle was made in Eibar or Toledo, as a whole the cane might have been made and used outside Spanish borders. Regardless of the how and where the cane was bought by Siemieński, it seems it can be dated to the third quarter of the 19th century. The second of the staffs, linked more with the local folklore, provides information about the place where it was made. The inscription visible on the bottom ferrule suggests the staff was made in 1881 in Saint-Jean de-Luz, a town on the Atlantic coast in the Nouvelle-Aquitaine region, France, several kilometres from the border with Spain, a part of the Basque province of Labourd (Lapurdi). Both the construction and decoration signify that is a makila (makhila), a cane characteristic of the Basque men’s costume.

LITERARY ROMANTICISM AS A THEORETICAL ISSUE

2020 ◽  
pp. 19-27
Author(s):  
Vera V. Serdechnaia ◽  
Keyword(s):  
20Th Century ◽  
Conceptual Analysis ◽  
18Th Century ◽  
Theoretical Concept ◽  
Historical Research ◽  
Theoretical Issue ◽  
Main Research ◽  
Literary Process ◽  
History Of ◽  
The Subject

The article is devoted to the analysis of the concept of literary romanticism. The research aims at a refinement of the “romanticism” concept in relation to the history of the literary process. The main research methods include conceptual analysis, textual analysis, comparative historical research. The author analyzes the semantic genesis of the term “romanticism”, various interpretations of the concept, compares the definitions of different periods and cultures. The main results of the study are as follows. The history of the term “romanticism” shows a change in a number of definitions for the same concept in relation to the same literary phenomena. By the end of the 20th century, realizing the existence of significant contradictions in the content of the term “romanticism”, researchers often come to abandon it. At the same time, the steady use of the term “romanticism” testifies to the subject-conceptual component that exists in it, which does not lose its relevance, but just needs a theoretical refinement. Conclusion: one have to revise an approach to romanticism as a theoretical concept, based on the change in the concept of an individual in Europe at the end of the 18th century. It is the newly discovered freedom of an individual predetermines the rethinking for the image of the author as a creator and determines the artistic features of literary romanticism.

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