Period of Recognitionad 313—476
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Some Representative Examples of Romano-British Sculpture Author(S): F
Some Representative Examples of Romano-British Sculpture Author(s): F. Haverfield and H. Stuart Jones Source: The Journal of Roman Studies, Vol. 2 (1912), pp. 121-152 Published by: Society for the Promotion of Roman Studies Stable URL: http://www.jstor.org/stable/295954 . Accessed: 08/05/2014 23:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Roman Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Roman Studies. http://www.jstor.org This content downloaded from 169.229.32.137 on Thu, 8 May 2014 23:47:48 PM All use subject to JSTOR Terms and Conditions SOME REPRESENTATIVE EXAMPLES OF ROMANO-BRITISH SCULPTURE. (Plates IV-IX.) By PROFESSOR F. HAVERFIELD, LL.D. D.LITT. and H. STUART JONES, M.A. The collection of casts lately prepared by the Roman Society, and described in the following pages, was designed to include representative sculptures and architectural decorations of the Roman period in Britain. It had originally been hoped that these casts might find a place in the Archaeological Exhibition held in Rome in I9II and eloquently described by Mrs. -
The Gothic Cathedral. the Architecture of the Great Church
Book Reviews Canterbury Cathedral sAndits Roman- up to date by summarising recent scholar- pulpitum,in his new scheme seems to be a esque Sculpture. By Deborah Kahn. 230 ship on the architectural iconography of matter of deduction rather than record. pp. + 278 b. & w. ills. (Harvey Miller, the crypt, the date of its sculpture, and In fact the account rolls explicitly state London, 1991), ?38. ISBN 0-905203-18-6. the Imperialpedigree of the cushioncapital. that Eastry'srefurbishment included a new The subjectof the remainderof this chapter pulpitumand its inner western opening is Our present understanding of English is less well-trodden ground, namely the still in place. romanesque sculpture has been shaped surviving capital sculpture of the external The alternative suggestion, favoured by very largely by the writings, over some blank arcading of Anselm's choir. This is Woodman and others, that the fragments four decades, of George Zarnecki. His will interesting and little-known material and formed part of the twelfth-century cloister remain the great work of synthesis. It falls it could well have been treated in greater superseded by the one in whose structure to his followers either to elaborate on his detail, given the author's particularlyclose they were re-used, is rather summarily dis- model, with perhaps a little fine-tuning, association with it. missedby Kahn. There are, afterall, healthy or to try to approach the material in some The principal contribution which De- precedents for the redeployment of dis- radically different way, always at the risk borah Kahn has already made to our mantled twelfth-century cloister parts in of destabilising the edifice and possibly knowledge of the cathedral and monastic whatever structure replaced them on the of reducing it yet again to fragments. -
THE LATERAN TREATY 11Th February, 1929
THE LATERAN TREATY 11th February, 1929 1. CONCILIATION TREATY In the name of the Most Holy Trinity. Whereas the Holy See and Ital have recognised the desirability of eliminating every reason for dissension existing between them and arriving at a final settlement of their reciprocal relations which shall be consistent with justice and with the dignity of both High Contracting Parties. And which by permanently assuring-to the Holy See a position de facto and de jure which shall guarantee absolute independence for the fulfilment of its exalted mission in the world permits the Holy See to consider as finally and irrevocably settled the Roman Question which arose in 1870 by the annexation of Rome to the Kingdom, of Italy, under the Dynasty of the House of Savoy; Whereas it was obligatory, for the purpose of assuring the absolute and visible independence of the Holy See. Likewise to guarantee its indisputable sovereignty in international matters, it has been found necessary to create under special conditions the Vatican City, recognising the full ownership, exclusive and absolute dominion and sovereign jurisdiction of the Holy See over that City; His Holiness the Supreme Pontiff Pius XI and His-Majesty Victor Emmanuel III, King of Italy, have agreed to conclude a Treaty, appointing for that purpose two Plenipotentiaries, being on behalf of His Holiness, His Secretary of State, viz. His Most Reverend Eminence the Lord Cardinal Pietro Gasparri, and on behalf of His Majesty, His Excellency the Cav. Benito Mussolini, Prime Minister and Head of the Government; who, having exchanged their respective full powers, which were found to be in due and proper form, have hereby agreed to the following articles: Article 1 Italy recognizes and reaffirms the principle established in the first Article of the Italian Constitution dated March 4, 1848, according to which the Catholic Apostolic Roman religion is the only State religion. -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
York Minster Timeline There Has Been a Minster in York Since AD 627
York Minster Timeline There has been a Minster in York since AD 627. Earlier Minster buildings may have looked like this. The exact location of York Minster the Saxon Minster is not known. From AD 71 From AD 627 Treasure Hunt Discover Where the Minster stands today was The first Minster in York, was small and the treasure once the site of the Roman HQ building. It was in wooden. It was built for the baptism of Edwin, map inside! the middle of a Roman fort. the Saxon King of Northumbria. By AD 640 AD 1080 to AD 1100 A stone Minster had replaced the wooden building. Archbishop Thomas of Bayeux built a This was probably enlarged and improved several Norman Cathedral on the present site. This Minster times before the coming of the Normans. was altered in the 1160s by Archbishop Roger of Pont l’Evéque. AD 1220 Archbishop Walter Gray started to rebuild the South Transept in the Gothic style. (Look at the front page to see it.) Over the next 250 years, the whole of the Minster was slowly rebuilt. The Cathedral you see today was finished in 1472. Welcome to our magnificent Cathedral. This Follow the instructions on your map inside. You Minster or cathedral? What’s the difference? place of Christian worship has been here for will need a pencil to mark the position of each A cathedral church is the mother church of the diocese. It’s where the centuries. It is full of beautiful things waiting treasure. bishop has his seat or ‘cathedra’. -
The Ieonography of Sanctuary Doors from Patmos and Its Place in The
The Ieonography of Sanctuary Doors from Patmos and its Place in the Iconographie program of the Byzantine Ieonostasis By Georgios Kellaris A thesls sutmitted to the Facu1ty of Graduate Studies { and Research in partial fulfi1lment of the requirernents for the degree of Master of Arts Department of Art history McGill University March, 1991 © Georgios Kellaris 1991 Montréal, Québec, canada ---------~~- - ---- il The lconostasis is the most characteristic feature of the Orthodox Church. The metaphyslcal conception of the space of the church prQnpted its emergence, and the ~tical Interpretation of the Liturgy deter~ned its evolution. These aspects were reflected in the iconographie program of the iconostasis. The sanctuary dOOIS are the only part of tt.e Patmlan iconostases bearing figurative decoIatlon. The study of the themes on the doors reveals an iconographie program with strong lituIglcal character. Furthermore, this program encompasses the entire range of the ~tical syrrbol1sm pertaining to the iconostasis. The anal}JSis indicates that the doors are instrumental in the function of the iconostasis as a liturgical device aim1ng at a greater unitY between the earthly and the divine realms. ill 1 L t iconostase est un élément Indispe... .Able de l'Église OrthodoAe. La raison de sa naissance se trouve dans la conception métaphysique de l'éspace ecclésiastique et sa évolution a été determlné par l'interprétë.\tion mystique de la 11 turgie. Ces aspects sont reflétés par le progranme iconographique de l'iconostase. Dctns les iconostases de PatIOOs la porte est la seule section où se trouve des décorations figuratives. L'étude de thémes trouvé sur ces portes révéle un programne iconographique de caractère liturgique. -
Poland and the Holy See. Contribution to the Concordatory Law *
Teka Kom. Praw. – OL PAN, 2014, 44 –63 POLAND AND THE HOLY SEE. CONTRIBUTION TO THE CONCORDATORY LAW * Józef Krukowski The University of S. Wyszy ński in Warsaw Faculty of Canon law Summary. The article contains the explication of the very important questions respecting the normalization of relations between the democratic Poland and the Catholic Church using the international agreement between the Holy See and the supreme authority of Polish State, called „concordat”. This event is consi dered in the historical context of political transformations from the communist totalitarian regime to liberal democracy and at the same time from atheistic state based on the hostile separation to the secular one based on the friendly separation. In complains the following issues: 1) notion and classification of concordats, 2) axiological and formal dimension of its conclusion between the Holy See and Poland (1993 –1998), 3) compliance Concordat’s with the Constitution of Poland, 4) the stabilization function of Concordat, 5) financial clauses. Key words: Holy See, Polish State, concordat, Constitution, Church-State relations The historical events are a good opportunity for the taking this subject into account. The last year (2013) twenty anniversary have passed since the signing of the Concordat between the Holy See and the Republic of Poland and fifteen years since its ratification 1. A few days ago we experienced the canonization by the Pope Francis the two of his predecessors: John XXIII and John Paul II, who contributed to the process of the building justice and peace between the nations in modern world, especially the relations between the Church and State in Poland. -
Monuments, Materiality, and Meaning in the Classical Archaeology of Anatolia
MONUMENTS, MATERIALITY, AND MEANING IN THE CLASSICAL ARCHAEOLOGY OF ANATOLIA by Daniel David Shoup A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Art and Archaeology) in The University of Michigan 2008 Doctoral Committee: Professor Elaine K. Gazda, Co-Chair Professor John F. Cherry, Co-Chair, Brown University Professor Fatma Müge Göçek Professor Christopher John Ratté Professor Norman Yoffee Acknowledgments Athena may have sprung from Zeus’ brow alone, but dissertations never have a solitary birth: especially this one, which is largely made up of the voices of others. I have been fortunate to have the support of many friends, colleagues, and mentors, whose ideas and suggestions have fundamentally shaped this work. I would also like to thank the dozens of people who agreed to be interviewed, whose ideas and voices animate this text and the sites where they work. I offer this dissertation in hope that it contributes, in some small way, to a bright future for archaeology in Turkey. My committee members have been unstinting in their support of what has proved to be an unconventional project. John Cherry’s able teaching and broad perspective on archaeology formed the matrix in which the ideas for this dissertation grew; Elaine Gazda’s support, guidance, and advocacy of the project was indispensible to its completion. Norman Yoffee provided ideas and support from the first draft of a very different prospectus – including very necessary encouragement to go out on a limb. Chris Ratté has been a generous host at the site of Aphrodisias and helpful commentator during the writing process. -
Church and Liturgical Objects and Terms
Church and Liturgical Objects and Terms Liturgical Objects Used in Church The chalice: The The paten: The vessel which golden “plate” that holds the wine holds the bread that that becomes the becomes the Sacred Precious Blood of Body of Christ. Christ. The ciborium: A The pyx: golden vessel A small, closing with a lid that is golden vessel that is used for the used to bring the distribution and Blessed Sacrament to reservation of those who cannot Hosts. come to the church. The purificator is The cruets hold the a small wine and the water rectangular cloth that are used at used for wiping Mass. the chalice. The lavabo towel, The lavabo and which the priest pitcher: used for dries his hands after washing the washing them during priest's hands. the Mass. The corporal is a square cloth placed The altar cloth: A on the altar beneath rectangular white the chalice and cloth that covers paten. It is folded so the altar for the as to catch any celebration of particles of the Host Mass. that may accidentally fall The altar A new Paschal candles: Mass candle is prepared must be and blessed every celebrated with year at the Easter natural candles Vigil. This light stands (more than 51% near the altar during bees wax), which the Easter Season signify the and near the presence of baptismal font Christ, our light. during the rest of the year. It may also stand near the casket during the funeral rites. The sanctuary lamp: Bells, rung during A candle, often red, the calling down that burns near the of the Holy Spirit tabernacle when the to consecrate the Blessed Sacrament is bread and wine present there. -
Architecture for Worship: Re-‐Thinking Sacred Space in The
Architecture for Worship: Re-Thinking Sacred Space in the Contemporary United States of America RICHARD S. VOSKO The purpose of this paper is to examine the symbolic value of religious buildings in the United States. It will focus particularly on places of worship and the theologies conveyed by them in an ever-changing socio-religious landscape. First, I will cite some of the emerging challenges that surface when thinking about conventional religious buildings. I will then describe those architectural "common denominators" that are important when re-thinking sacred space in a contemporary age. Churches, synagogues, and mosques exist primarily because of the convictions of the membership that built them. The foundations for these spaces are rooted in proud traditions and, sometimes, the idealistic hopes of each congregation. In a world that is seemingly embarked on a never-ending journey of war, poverty, and oppression these structures can be oases of peace, prosperity, and justice. They are, in this sense, potentially sacred spaces. The Search for the Sacred The search for the sacred is fraught with incredible distractions and challenges. The earth itself is an endangered species. Pollution is taken for granted. Rain forests are being depleted. Incurable diseases kill thousands daily. Millions have no pure water to drink. Some people are malnourished while others throw food away. Poverty and wealth live side by side, often in the same neighborhoods. Domestic abuse traumatizes family life. Nations are held captive by imperialistic regimes. And terrorism lurks everywhere. What do religious buildings, particularly places of worship, have to say about all of this? Where do homeless, hungry, abused, and stressed-out people find a sense of the sacred in their lives? One might even ask, where is God during this time of turmoil and inequity? By some estimates nine billion dollars were spent on the construction of religious buildings in the year 2000. -
The Neonian Baptistery in Ravenna 359
Ritual and ReconstructedMeaning: The Neonian Baptisteryin Ravenna Annabel Jane Wharton The pre-modern work of art, which gained authority through its extension in ritual action, could function as a social integrator. This essay investigates the figural decoration of the Orthodox Baptistery in Ravenna, in an effort to explain certain features of the mosaic program. If the initiation ritual is reenacted and the civic centrality of the rite and its executant, the bishop, is restored, the apparent "icon- ographic mistakes" in the mosaics reveal themselves as signs of the mimetic re- sponsiveness of the icon. By acknowledging their unmediated character, it may be possible to re-empower both pre-modern images and our own interpretative strategy. The Neonian (or "Orthodox") Baptistery in Ravenna is the preciated, despite the sizable secondary literature generated most impressive baptistery to survive from the Early Chris- by the monument. Because the artistic achievement of the tian period (Figs. 1-5).1 It is a construction of the late fourth Neonian Baptistery lies in its eloquent embodiment of a or early fifth century, set to the north of the basilican ca- new participatory functioning of art, a deeper comprehen- thedral of Bishop Ursus (3897-96?) (Fig. 1).2 The whole of sion of the monument is possible only through a more thor- the ecclesiastical complex, including both the five-aisled ba- ough understanding of its liturgical and social context. The silica and the niched, octagonal baptistery, appears to have first section of this essay therefore attempts to reconstruct been modeled after a similar complex built in the late fourth the baptismal liturgy as it may have taken place in the century in Milan.3 Within two or three generations of its Neonian Baptistery. -
Byzantine Art and Architecture
Byzantine Art and Architecture Thesis The development of early Christian religion had a significant impact on western art after the fall of the Roman Empire in the 4th century (AD). Through examining various works of art and architecture, it becomes evident that the period of Byzantium marked a significant transition in aesthetic conventions which had a previous focus on Roman elements. As this research entails, the period of Byzantium acted as a link between the periods of Antiquity and the Middle Ages and thus provides insight on the impact of Christianity and its prevalence in art and architecture during this vast historical period. Sources/Limitations of Study Primary Sources: Adams, Laurie Schneider. Art Across Time. McGrawHill: New York, 2007. Figures: 8.4 Early Christian sarcophagus, Santa Maria Antiqua, Rome, 4th century. Marble. 8.5 Plan of Old Saint Peter’s basilica, Rome, 333390. 8.6 Reconstruction diagram of the nave of Old Saint Peter’s Basilica. 8.12 Exterior of the mausoleum of Galla Placidia, Ravenna, c. 425426. 8.13 Interior of the mausoleum of Galla Placidia showing niche with two apostles (above) and the Saint Lawrence mosaic (below), Ravenna, c. 425426. 8.14 Christ as the Good Shepherd, the mausoleum of Galla Placidia, Ravenna, c. 425 426. Mosaic. 8.28 Hagia Sophia, Constantinople (now Instanbul), illuminated at night, completed 537. 8.29 Plan, section, and axonometric projection of Hagia Sophia. 8.30 View of the interior of Hagia Sophia after its conversion to a mosque. Colour lithograph by Louis Haghe, from an original drawing by Chevalier Caspar Fussati.