Monastery History

The hidden pages of two tablature fragments, previously glued to the parchment cover of a manuscript (PE 41) in the collection of the Klagenfurt University Library, have recently been extracted and brought to light. The two bifolios contain eight pages of tablature in the notation commonly known as the “old German keyboard tablature”, and rearrangement of the pages reveals the former structure of the tablature. Palaeographic and notational analyses date the fragments to the first half of the fifteenth century. Together with the manuscript, the origin of the fragments can be traced back to the Benedictine Abbey of Millstatt, a former cultural centre in Upper Carinthia. The provenance is supported by the presence of an organ and of organ-playing, which are documented in the visitation minutes during the Melk monastic reform. This tablature fragment is an invaluable addition to the small number of surviving sources of fifteenth-century keyboard tablatures, which are scattered over a wide geographical area. Analyses of two intabulations of an unidentified German secular tenor highlight this tablature as another example of a monastic source containing secular songs, while also revealing its possible didactic use. The similarities of the intabulations to some other tablatures also raise questions about the transmission networks of tablatures, especially within the Benedictine network.

Çalışmada hamsa figürü ve mekân ilişkisi ışığında Matiate Yeraltı Şehri A-10 yapısının işlevinin ortaya konulması amaçlanmıştır. Yapı Midyat ilçesinde konumlanmaktadır. Bu alanda 2021 yılında kazı ve belgelendirme çalışmaları yapılmıştır. Matiate yerleşimine ilişkin en erken kayıtlara MÖ 900 yıllarına tarihlenen Assur yazılı kaynaklarından ulaşılmaktadır. Yapılan çalışmalarda A-10 mekânının iki kullanım evresine sahip olduğu anlaşılmaktadır. Yapı, ilk evresinde üzüm işliği olarak kullanılmıştır. Buna karşın ikinci kullanım evresinde ise, dini bir karaktere bürünmüştür. Hamsa figürü genel olarak bir elin beş parmağını temsil etmektedir. Toplumlar arasında dini perspektifte karşılaşılan bir semboldür. Gerek Müslümanlar gerekse de Museviler arasında dini karakterler ile ilişkilendirildiği bilinmektedir. İslamiyet'te Fatıma'nın, Hristiyanlıkta ise, Meryem'in elini temsil etmektedir. El sembolü dini karakterlerin yanı sıra İslamiyet'te beş şart esasını, Yahudilikte ise Tora'nın beş kitabını sembolize etmektedir. Burada gerçekleştirilen mimari analizler ile hamsa figürünün ikinci kullanım evresi ile ilişkili olduğu saptanmıştır. İkinci kullanım evresinde var olan işliğin arınma havuzuna dönüştürüldüğü, güneye duvar örülerek pencere açıldığı, zemine ahşap masa ayaklığı konumlandırıldığı görülmektedir. İkinci kullanım evresinde dini bir karakter kazanan mekân ve hamsa figürü ilişkisi burasının Yahudilere ait bir ibadet merkezi olasılığını ortaya çıkarmıştır.

Der Ramberg – auf dem Harzrand südwestlich von Quedlinburg gelegen – wurde seit dem Mittelalter von Stift und Stadt Quedlinburg sowie den umliegenden Orten intensiv genutzt. Er diente der Versorgung mit Bau- und Brennhölzern, als Hudewald, für bergbauliche Aktivitäten sowie der Wasserversorgung und erfüllte viele weitere Funktionen. In seinen Wäldern finden sich noch heute die Zeugnisse dieser jahrhundertelangen Nutzungs- und teilweise auch Besiedlungsgeschichte. In dem – auch durch seine geologischen Gegebenheiten definierten – Gebiet konnten bislang weit über 3000 obertägig erhaltene Bodendenkmale und Kulturlandschaftselemente nachgewiesen werden. Dazu zählen unter anderem Pingen und Halden, Steinbrüche, Kunstteiche, Altwege, Meilerplätze, Burgen und Erdwerke sowie Wüstungen. Über 200 weitere nur durch obertägige Lesefunde bekannte archäologische Fundstellen sowie Kleindenkmale komplettieren die Kulturlandschaft am Ramberg.

What was at stake when handwritten artifacts were examined through reproductions in the Eighteenth Century? What were the functions and limits of these reproductions? In this paper, I explore these questions by analyzing four different engravings from a gravestone discovered in 1770. Such a discovery sparked a public dispute, which was arbitrated by the director of the Royal Institute of Historical Sciences at the University of Göttingen, Johann Christoph Gatterer (1727-1799). Here I show that Early Modern printed artifacts are eloquent evidence of how knowledge was then (re)produced and transmitted.

From the perspective of Early Modern historical sciences, what was at stake when documentary evidence was examined through reproductions? What were their functions and limits within eighteenth-century expert opinions on the identification and authenticity of historical documents? How aware were eighteenth-century scholars of their mediality? In this paper, I explore these questions by examining four different engravings of the very same historical evidence. These were produced within the context of a dispute about the identification of a gravestone discovered in 1770. This dispute was arbitrated by the director of the Royal Institute of Historical Sciences at the University of Göttingen, Johann Christoph Gatterer (1727-1799). Here, I argue that when historical documents were examined through reproductions, the artifacts of greatest evidentiary value are not what they visualized but, instead, the artifacts through which historical information was classified, displayed, and conveyed.

Le cas qui nous retiendra dans cet exposé est probablement encore atypique dans le paysage de la recherche sur les zones humides. En effet, au contraire de la plupart des travaux qui considèrent l'exploitation de ces zones dans le cadre d'une économie rurale, ou s'intéressent à l'aspect exceptionnel de certains sites parfois devenus reliques (comme le Marais Poitevin), nous allons ici envisager l'exploitation des zones humides dans le cadre d'une économie urbaine 2. À travers l'étude de l'évolution des zones humides de la périphérie urbaine de Bruxelles entre 1100 et 1550 environ, nous espérons mettre en évidence plusieurs problématiques qui lient intimement l'histoire urbaine à l'histoire des marais pour de nombreuses villes médiévales et modernes. Cette étude constitue une première esquisse, dont l'ambition est d'explorer cette nouvelle voie qui fait de certaines villes les « enfants du marais ». I-Une ville et des villages dans les marais I-1 La genèse du site bruxellois Bruxelles présente un cas particulièrement approprié pour une étude de ce type, dans la mesure où son étymologie indique précisément la localisation dans une zone humide (Broek-zele = « habitat » du marais). Absente de l'histoire gallo-romaine, Bruxelles fait partie, à l'instar d'une série de villes du nord-ouest européen, des cités qui émergent des « brumes » médiévales dans le courant des X e et XI e siècles. L'amélioration des productions Les productions des espaces humides aestuaria, 2007, 9 : 65-82

Propovjedaonica je u crkvu impostirana 1710. godine kao donacija pukovnika Pavla Patačića od Zajezde. Jedna je od propovjedaonica visoke umjetničke vrijednosti toga vremena, kako po tipologiji lica i tretmanu draperije skulptura prikazanih u živom i pokrenutom kontrapostu tako i po obradi bujne ornamentike akantusova lišća i girlandama od cvijeća i voćnih plodova. Prema usporedbi tipoloških srodnika nije nikako za isključiti djelovanje vrsnih pavlinskih majstora 18.st. i na propovjedaonici remetinečke, nekoć franjevačke, crkve. Ova je osobita propovjedaonica s početka 18. st. jedna od najreprezentativnijih među propovjedaonicama u Hrvatskoj iz toga doba. Najviši dio baldahina datira iz 1953. god. i prema procjeni proporcionalnih odnosa preširok je i previsok za cca 10 cm. Tipološki srodnici ili stilske paralele mogu se tražiti u plastici baroknoga drvorezbarstva nešto mlađe propovjedaonice u pavlinskom Olimju, ali su prisutne paralele i na nekom drugom crkvenom inventaru sjeverozapa...

La détermination de ce territoire demeure un problème délicat. Qu'entend-on par « région de Bruxelles » ? Comment peut-on définir avec plus ou moins de pertinence le terroir de Bruxelles, ou plus exactement l'étendue spatiale qui s'est structurée avec la ville ? Autant de questions auxquelles il est difficile de répondre dans le cadre d'une enquête provisoire, mais qui peuvent trouver des réponses a posteriori. Aussi n'est-il pas question ici de définir avec précision ce que l'on entend par région. De manière concrète, cette première investigation a procédé par tâtonnements, agrandissant le cadre lorsque les sources étaient peu nombreuses, le restreignant aux entités proches de la ville ou clairement sous son emprise, lorsque les textes se multipliaient. 3 Par groupe seigneurial, nous envisageons un ensemble large, celui des maîtres du ban, mais aussi celui des maîtres du sol, ce qui donnera par conséquent un aspect relativement hétérogène à ce groupe, qui englobe des individus aux statuts économiques et sociaux parfois très différents. 8 BONENFANT P., « La notice de donation du domaine de Leeuw à l'église de Cologne et le problème de la colonisation saxonne en Brabant », RBPH, 14, 1935, pp. 775-813 : « Duas angarias debent : in angaria, si triticum est, IIII or modios portant, si siligo est, quinque, si avena, sex, usque pontem Senne in Brosele qui appellatur sancte Othele,… et de ponte sublevatur asser unus ut per pontem grana transfundantur in navim ».

La détermination de ce territoire demeure un problème délicat. Qu'entend-on par « région de Bruxelles » ? Comment peut-on définir avec plus ou moins de pertinence le terroir de Bruxelles, ou plus exactement l'étendue spatiale qui s'est structurée avec la ville ? Autant de questions auxquelles il est difficile de répondre dans le cadre d'une enquête provisoire, mais qui peuvent trouver des réponses a posteriori. Aussi n'est-il pas question ici de définir avec précision ce que l'on entend par région. De manière concrète, cette première investigation a procédé par tâtonnements, agrandissant le cadre lorsque les sources étaient peu nombreuses, le restreignant aux entités proches de la ville ou clairement sous son emprise, lorsque les textes se multipliaient. 3 Par groupe seigneurial, nous envisageons un ensemble large, celui des maîtres du ban, mais aussi celui des maîtres du sol, ce qui donnera par conséquent un aspect relativement hétérogène à ce groupe, qui englobe des individus aux statuts économiques et sociaux parfois très différents. 8 BONENFANT P., « La notice de donation du domaine de Leeuw à l'église de Cologne et le problème de la colonisation saxonne en Brabant », RBPH, 14, 1935, pp. 775-813 : « Duas angarias debent : in angaria, si triticum est, IIII or modios portant, si siligo est, quinque, si avena, sex, usque pontem Senne in Brosele qui appellatur sancte Othele,… et de ponte sublevatur asser unus ut per pontem grana transfundantur in navim ».

Le cas qui nous retiendra dans cet exposé est probablement encore atypique dans le paysage de la recherche sur les zones humides. En effet, au contraire de la plupart des travaux qui considèrent l'exploitation de ces zones dans le cadre d'une économie rurale, ou s'intéressent à l'aspect exceptionnel de certains sites parfois devenus reliques (comme le Marais Poitevin), nous allons ici envisager l'exploitation des zones humides dans le cadre d'une économie urbaine 2. À travers l'étude de l'évolution des zones humides de la périphérie urbaine de Bruxelles entre 1100 et 1550 environ, nous espérons mettre en évidence plusieurs problématiques qui lient intimement l'histoire urbaine à l'histoire des marais pour de nombreuses villes médiévales et modernes. Cette étude constitue une première esquisse, dont l'ambition est d'explorer cette nouvelle voie qui fait de certaines villes les « enfants du marais ». I-Une ville et des villages dans les marais I-1 La genèse du site bruxellois Bruxelles présente un cas particulièrement approprié pour une étude de ce type, dans la mesure où son étymologie indique précisément la localisation dans une zone humide (Broek-zele = « habitat » du marais). Absente de l'histoire gallo-romaine, Bruxelles fait partie, à l'instar d'une série de villes du nord-ouest européen, des cités qui émergent des « brumes » médiévales dans le courant des X e et XI e siècles. L'amélioration des productions Les productions des espaces humides aestuaria, 2007, 9 : 65-82

Thale/Harz), St. Marien auf dem Münzenberg (Quedlinburg) und das Zisterzienserkloster Michaelstein bei Blankenburg/Harz inkorporiert. Einzig der Klöster St. Wiperti und St. Marien konnte sich das Stift gänzlich bemächtigen. Kloster Walbeck ging an die Grafen von Mansfeld, Kloster Wendhusen an die Grafen von Regenstein. Diese versuchten auch in den Besitz von Michaelstein zu gelangen, konnten sich hier aber nicht völlig gegen die quedlinburgische Äbtissin Anna II. zu Stolberg und ihren Schutzherrn, Herzog Moritz von Sachsen, durchsetzen.

Pavlinski samostan Svih svetih u Strezi osnovan je 1374. godine zakladnicom magistra Ivana Bisena. Tijekom nesto manje od dva stoljeca streski je samostan postao jedan od najutjecajnijih u ovom dijelu kasnosrednjovjekovnog slavonskog prostora. Radi sve osjetnijih posljedica osmanlijskih prodora, pavlini su pocetkom 16. stoljeca napustili samostan u Strezi i sklonili se u sigurniju Lepoglavu. Napusteni je samostan tako postao lokalnom stanovnistvu glavni izvor građevinskog materijala, sto je znatno ubrzalo njegovu sustavnu razgradnju. Tijekom sest sezona arheoloskih istraživanja (2006.-2011.) potvrđeni su vanjski gabariti samostanskog sklopa, a u vecoj je mjeri istražena i samostanska crkva izgrađena u skladu s uzusom gradnje sakralnih objekata pavlinskog reda. Lađa samostanske crkve u cijelosti je istražena tijekom radova 2008., 2009. te 2011. godine. Istraženo je 77 grobova koji se mogu datirati u period između osnutka samostana (taqn) i vremena kada su pavlini trajno napustili sam...

From the perspective of Early Modern historical sciences, what was at stake when documentary evidence was examined through reproductions? What were their functions and limits within eighteenth-century expert opinions on the identification and authenticity of historical documents? How aware were eighteenth-century scholars of their mediality? In this paper, I explore these questions by examining four different engravings of the very same historical evidence. These were produced within the context of a dispute about the identification of a gravestone discovered in 1770. This dispute was arbitrated by the director of the Royal Institute of Historical Sciences at the University of Göttingen, Johann Christoph Gatterer (1727–1799). Here, I argue that when historical documents were examined through reproductions, the artifacts of greatest evidentiary value are not what they visualized but, instead, the artifacts through which historical information was classified, displayed, and conveyed.

Ce document a été généré automatiquement le 19 avril 2019. Les contenus du Bulletin du centre d'études médiévales d'Auxerre (BUCEMA) sont mis à disposition selon les termes de la Licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Partage dans les Mêmes Conditions 4.0 International.

During the Middle Ages and the early modern period until the beginning of the 20th century, the tower of the market church in Quedlinburg had a central function for the defense against danger. The town community positioned a watchman on an elevated point who kept watch day and night for fire and enemies. Due to its exposed location and height, the towers of the market church, as the highest points within the city walls, always formed a point of attack during thunderstorms. Thus, the tower was a victim of flames due to thunderstorms perhaps in the 16th century, but certainly in 1701 and in 1901 due to carelessness. No separate publication has yet been presented on the ascent of the towers of the market church of St. Benedikti; moreover, the larger stock of graffiti present and presented here for the first time has never before been mentioned in the regional literature, let alone systematically described. Of the 82 graffiti evaluated, more than 81 percent (67) contain a year, four of which even give a date. The oldest surviving graffiti date from the first half of the 17th century. A total of ten can be reliably dated to this period on the basis of the year given to them.

Özet: Bu makalede Elâzığ'ın 4 km doğusunda bulunan Ulukent (Hüseynik) mahallesinde, Çağlayan ailesine ait evin bahçesinde ayrı bir yapı şeklinde düzenlenmiş olan havuzbaşının mimarisi ve yapının duvarına karakalem çalışması olarak yapılmış olan Harput panoraması ele alınmıştır. Havuzbaşı mimari ve plan özellikleri açısından bakıldığında, iki bölümlü olarak yapılmıştır. Esas mekân eyvan biçiminde düzenlemeye sahiptir. Ön cephesi güneye dönük olan yapının güney batıdaki küçük olan (kapalı tutulan) I. mekânında ocak ve davlumbazı bulunduğu belirtilmektedir. Bu mekân mutfak işlevi görmektedir. II. mekânın ise; güney ve doğu cepheleri açık tutulmuş, kuzey ve batı yönleri ise kapalı tutulmuştur. Batı duvarı üzerine Harput panoraması işlenmiştir. Eserin mimarisinden ziyade panoraması, yayınlarda ele alınmıştır. Metin Sözen, Rüçhan Arık ve Namık Açıkgöz çalışmalarında panoramayı ele almışlardır. "Eser birçok unsuru ve umumi kompozisyon anlayışı açısından şehir minyatür hususiyeti a...

İstanbul gibi var olduğu günden bu yana konumu, büyüklüğü, yapıları, kurumları, insanları, yöneticileri ile önem arz etmiş bir şehrin en önemli eserleri bir yana, kıyıda kalmış ve abidevi eserlerinin yanında pek dikkate alınmayan küçük eserlerini incelemek ve araştırmak da diğerleri kadar önemli sayılmalıdır. Bu bağlamda, Kefeli Camii gibi küçük, ancak başından geçenlerle bölgesinin tarihine, Bizans ile Osmanlı kültürüne ve sanatına etki eden bir yapının araştırılıp incelenmesi aslında büyük önem taşımaktadır. Draman gibi çevresindeki önemli bölgelerin arasında kalıp önemsiz görünen kozmopolit geçmişe sahip bir semtin en önemli binalarından olan bu yapı, hakkında ileri sürülen tezler, üzerine yapılan araştırmalarla Bizans ve Osmanlı'nın bazı dönemlerine araştırmalar eşliğinde bir nevi ışık tutar. Bulunduğu bölgenin demografik yapısını dahi değiştirebilen bir yapı demek abartı olmayacaktır. Bu amaç ışığında yazılan bitirme ödevinde Kefeli camii; tarihi, konumu, planı, tanımı, yapı malzemeleri ve geçirdiği değişimler ile ele alınıp incelenecek ve değerlendirilecektir. Bu kapsamda yapının inşası, kullanım amacı, tarih içindeki serüveni ve geçirdiği değişimler, çevresine sosyolojik veya demografik etkileri de değerlendirilerek kaynaklar üzerinden uzman araştırmacıların görüşleri ve çıkarımları üzerinden bir sonuç çıkarılmaya çalışılacaktır. Bu inceleme için Yapı ziyaret edilip fotoğraflanmış, eski fotoğraflar ve kayıtlarla karılaştırılarak yerinde incelenmiştir. Yapı hakkındaki kaynakların taranması için İstanbul Araştırma Enstitüsü ziyaret edilmiş ve Alexander Van Millingen'in "Byzantine Churches of Constantinople", Çelik Gülersoy'un "A Guide to Istanbul", Thomas F. Mathews'un "The Byzantine Churches of Istanbul: A Photographic Survey" isimli araştırma kitaplarının yapıyı ilgilendiren bölümleri Türkçeye çevrilerek incelenmiştir. Semavi Eyice'nin "Dünden Bugüne İstanbul Ansiklopedisi"ndeki Kefeli Mescidi makalesi aynı şekilde incelenerek değerlendirilmiş ve yararlanılmıştır. Birinci elden ulaşılamayan veya ulaşılması zor olan kaynaklara internet taramalarıyla ulaşılmış ve birçok farklı kaynak karşılaştırılarak yapı incelemesinde kullanılmıştır. Bu bağlamda haritalar, eski fotoğraflar, gravürler ve yorumlar göz önüne alınmıştır. Araştırma ve değerlendirme kapsamında İstanbul Üniversitesi Sanat Tarihi Bölümü öğretim görevlilerinden Doç. Dr. Ümmühan Melda Ermiş, Dr. Ahmet Vefa Çobanoğlu ve tez danışmanım Doç. Dr. Ayça Tiryaki'den yapı ve bölge hakkında fikirler ve yöntemler için yardım alınarak yorumlarla bir arada değerlendirilmiş ve ödevin yazımı için bu birikim kullanılmıştır.

Obsah / Contents Štúdie, články / Studies, Articles David PAPAJÍK: K nezdařeným založením klášterů v českých zemích ve středověku na příkladu tržeckého kláštera / On failed attempts at founding monasteries in the medieval Czech lands using the Tržek monastery as an example .

Храм Гроба Господня почти всегда описывается в совокупности с примыкающими к нему разновременными строениями, которые не являются частью храма, но относятся к одному из восстановительных этапов архитектурного комплекса святыни. К таковым относятся часовни, примыкающие к ротонде Воскресения, колокольня, внутренние дворы,  здание патриархата. Далеко не все строения, находящиеся рядом с Храмом Гроба Господня, рассматриваются исследователями в связи с тем, что принадлежат разным христианским конфессиям и сведения о постройках получить затруднительно. Поставленные в данной статье вопросы позволят наглядно увидеть, какие зоны монастырской застройки вокруг Храма Гроба Господня изучены на данный момент, а какие остаются не исследованными.

El objetivo de esta presentación es realizar un recorrido desde el origen del monasterio de Santa María de Junqueras, hasta la actual Parroquia de la Purísima Concepción de Barcelona. Un recorrido, para analizar que queda de la memoria social del Monasterio de Santa María de Junqueras, —el que fuera el monasterio femenino más importante de la orden de Santiago en Cataluña—, como también aquellos elementos que se han conservado observando tanto los bienes tangibles: fábrica monástica y patrimonio mueble; como los bienes intangibles, centrados especialmente en el archivo de la comunidad. Todo ello, analizado dentro del marco de la construcción de la ciudad medieval de Barcelona. Por ello, expondré brevemente una primera etapa de formación, construcción y establecimiento del edificio monástico. Una segunda etapa de uso continuado del edificio y una tercera, de desaparición, traslado e inserción dentro del Eixample de Barcelona, momento en que cambiará su nombre por la Parroquia de la Purísima Concepción. Desaparecido el monasterio y desaparecido su nomenclatura, ¿Qué nos queda de su memoria? Seguiremos el rastro para analizar cuál es el valor patrimonial actual del antiguo monasterio de Santa María de Junqueras.

A proposta apresentada é uma incursão a percepção do público e o privado da comunidade mediante as Visitas Pastorais que a ordem realizou neste Mosteiro feminino da ordem de Santiago, comprovando como uma vida aberta ao exterior será constrangida e fechada para o interior.  O recorrido permite ter a visão de como era a vida da comunidade de acordo com seus regulamentos e ordem até o Conselho de Trento.

Mahallesi sınırları içerisinde bulunan Agios Elefterios (Afkule) Manastırı'nın mimari ve tarihi incelemesini konu almaktadır. İncelemelerimiz kapsamında manastır kompleksinde tespit edilen 11 mekânın olası işlevi ve tarihsel değerlendirmeleri yapılmıştır. Afkule Manastırı, topoğrafik konumu, yöresel malzeme kullanımı, yapım tekniği ve özgün mimari yerleşim örüntüleriyle kırsal dini mimarinin çarpıcı örneklerinden biridir. Ülkemizin kırsal dini mimarisi üzerine yapılmış çalışmalar ne kadar sınırlıysa gayrimüslimlere ait kırsal dini mimari araştırmalar da bir o kadar yetersizdir. Afkule Manastırı bugüne değin mimarlık ve sanat tarihi açısından bilimsel olarak incelenmemiş, manastır kompleksi de bütüncül olarak değerlendirilmemiştir. Anadolu'da plan şeması veren, sınırlı sayıdaki manastırdan biri olan Afkule Manastırı'nda gerçekleştirdiğimiz bu incelemenin Anadolu manastır araştırma ve çalışmalarına yeni bir veri sunması, konu hakkındaki bilgilere katkıda bulunması hedeflenmektedir.

Hauch von Manierismus im Bereich des Hauptportals. Während der ersten hundert Jahre blieb die Ausstattung ebenso nüchtern und militärisch-kunstlos wie die Konstruktion, nicht zuletzt wegen der durch die Belagerung nach wie vor angespannten finanziellen Situation auf der Insel. Erst mit der Ankunft des Barock in Malta bekamen künstlerische Aspekte einen neuen Stellenwert. So wurde der Johanniterorden durch Vermittlung seiner Botschafter in Rom, Florenz und Bologna der mächtigste Kunstmäzen der Insel. Meister Mattias Preti entwarf für die Kathedrale ein barockes Gesamtkonzept, das für das Innere eine vollständige Ausmalung vorsah, von der Decke über die Pfeiler bis hin zum mit Marmor ausgelegten Boden mit dem sieghaften und leidenschaftlichen künstlerischen Ausdruck des Barock (zwischen 1660 und 1699). Auf Mattias Preti, dessen Einfluß in den barocken Profanbauten von Valletta ebenfalls sichtbar wird, folgte Romano Carapecchio, verantwortlich für die nachfolgende Verschönerung der Kathedrale und der Stadt während der ersten Hälfte des 18. Jahrhunderts. Die St. Johanneskathedrale beherbergt außerdem zwei berühmte Gemälde Caravaggios, "Die Enthauptung des heiligen Johannes" und "Der heilige Hieronymus".

Doğu Roma/Bizans İmparatorluğu 1204-1453 yılları arasındaki son döneminde sanat açısından bir canlanma göstermiştir. Bu dönem sanat tarihçileri tarafından Palailogoslar Rönesansı olarak adlandırılmaktadır. Bu çalışmada öncelikle Bizans İmparatorluğu'nun Başkenti Konstantinopolis/İstanbul'da yer alan ve hızla yok olan 'Son Dönem Bizans' yapılarının bezeme özellikleri ve malzemeleri incelenecektir. Bu döneme ait yapılardan İstanbul'da bulunanlar, imparatorluğun diğer kentlerinde bulunan yapılara göre daha görkemlidir. Bunların başlıca nedenleri, başkentte yapılmaları ve prestij yapıları olmalarıdır. Yapılan incelemeler sonucunda bu dönemde özellikle cephe süslemelerinin dikkat çekici olduğu anlaşılmıştır. Sonuç bölümünde ise 'Son Dönem Bizans yapılarının cephelerinde görülen bezemeler belirlenerek bir tablo oluşturulmuştur. Bu tablo sonucunda cephelerde en çok kullanılan bezeme motifleri tespit edilmiştir. Bunun yanı sıra bezemelerin en yoğun olarak bulunduğu yapı belirlenmiştir.

In Antiquity and the Middle Ages, the term amicitia both marked and shaped social relations as mutual, value-based and binding obligations. Thus, amicitia is multi-layered: It did not only describe personal friendship, but also a symmetrical or pseudo-symmetrical bond between supposedly equal, functional, social, and political elites. Amicitia also provided a foreign policy instrument. Such individual and collective ties were primarily confirmed through the exchange of tangible as well as intangible gifts. This section deals with the socio-political dimension of amicitia and gift-exchange in the later and Post-Roman West. The papers focus on the objects, practices, rhetorics and strategies of gift-exchange as a means of diplomacy, as a phenomenon of in- and exclusion, and as a status symbol. Finally, they touch upon the impact of socio-political transformation on a late antique and early medieval culture of gift exchange.

Das Werk ist urheberrechtlich geschützt. Die dadurch begründeten Rechte, insbesonders die der Übersetzung, des Nachdrucks, der Entnahme der Abbildungen, der Rundfunk-und Fernsehsendung, der Wiedergabe auf fotomechanischem, elektronischem oder ähnlichem Wege und der Speicherung in Datenverarbeitungsanlagen bleiben, auch bei nur auszugsweiser Verwendung, vorbehalten.

This paper focuses on medieval graffiti representing knights, riders, horsemen and men-at-arms. Over the last few years, and from different places across Europe, graffiti of single knights and men-at-arms have been discovered – such as in 2015, when the Ottonian crypt at the Münzenberg in Quedlinburg (Germany) was re- opened after almost 500 years of use as a cellar. Comparing forms of contempo- rary armor, weapons, clothing and heraldry can help to date the graffiti. We also find armed men and similar figures in the chapel of Crac des Chevaliers in Syria, one with a falcon, dating to 1240–1270, in medieval Norwegian Stave churches (Unredal, Hedal, Fortun, Lom), and in many places in England (Croxton, Weybread, etc.). At Knaresborough castle, for example, four graffiti show armed men, dating to the 14th/15th century. In addition to individual representations of persons, sketches or illustrations of jousts, battles and sieges can sometimes be found, like in Moings (France), Spiez (Switzerland) or Rochlitz (Germany). In Moings, a total of 37 figures can be dated to the 12th century. This paper offers a catalogue including 69 different graffiti. One half represent upright armed men seemingly watching or guarding; the other half show armed men riding horses. Four main interpretations and motives could be proposed for creating such repre- sentations: 1) The standing men-at-arms can be seen as watchmen or guards of castles, perhaps produced by people performing such a role who would have had plenty of time to create graffiti (even of themselves as an early form of ‘selfie’); 2) mounted, armed men in churches could be interpreted as (armed) pilgrims; larger scenes show 3) participants of tournaments and jousts; and 4) armed hunt- ers. This paper offers a collection of European examples (including Outremer) and a first investigation of this category of graffiti. This interesting topic demands further research, especially the tournament, battle and siege scenes, for which this paper provides a starting point.

Lettrés du Monastère de Poutna au XVIIIe siècle. Entre aspiration et
fabulation
Pour mieux comprendre la culture roumaine ancienne, il nous faut connaître – selon l’auteur de cette étude – la vie et l’activité des hommes qui ont contribué à son édification, mais aussi établir (ou rétablir) la paternité des textes, identifier les copistes, les traducteurs et les possesseurs de manuscrits, la circulation des livres etc. Autrement dit, il nous faut savoir qui pouvaient écrire et qui pouvaient lire.
Le XVIIIe siècle met à la disposition du chercheur passionné par de tels sujets un panorama vaste et intéressant, avec beaucoup de lacunes à combler. A Poutna, ce siècle s’est avéré bien riche en matière culturelle, avec ses lettrés issus de la communauté monastique, hommes laborieux et dévoués à cette mission. Parmi eux, l’archimandrite Vartolomei Mazereanu, traducteur de plusieurs ouvrages théologiques, s’intéressait aussi à l’histoire: il a composé une chronique de la Moldavie pour les années 1741–1769 (mais qui passe encore sous le nom d’un noble moldave, Jean Cantacuzène!) et une brève histoire du Monastère de Poutna, dont il connaissait parfaitement les archives (c’est lui qui avait mis en ordre les vieilles chartes princières, ainsi que tous les autres documents concernant les propriétés, pour dresser un grand catalogue avec leurs résumés). Pourtant, il lui fut impossible de rédiger une histoire critique, qui s’appuie sur les documents et les manuscrits conservés à Poutna et qui utilise aussi les inscriptions votives et funéraires qui y existaient à l’époque. Trop attaché aux légendes, aux soi-disant traditions perpétuées oralement par les vieux moines, il a composé une „histoire” dont la première partie tient du fabuleux (c’est lui qui a inventé le rôle de Daniel l’ermite dans la fondation du Monastère de Poutna, tandis que ce personnage appartient, en entier, à l’histoire du Monastère de Voroneţ!). Ses aspirations ont été surpassées par son penchant pour la fabulation.
A la même époque, Nathan (Nathanael), lui aussi moine à Poutna, puis à l’Ermitage de Poutna [Sihăstria Putnei], traduisait, copiait et rédigeait des obituaires. Excellent calligraphe, il aimait la belle écriture (en imitant les lettres typographiques), l’ordre et la précision. Il a fait précéder l’obituaire qu’il rédigeait pour son ermitage par une brève histoire du couvent, signée par son staretz (prieur) Silas. La première partie de ce texte concerne les années 1466–1711, sans trop de détails et avec une concession faite à ce penchant pour la fabulation; la seconde partie raconte les souvenirs de Silas, depuis son arrivée à l’ermitage jusqu’en 1768. C’est une belle page littéraire, qui devrait être récupérée pour une anthologie de textes autobiographiques, mais avec une correction importante: c’est Silas qui a raconté sa vie, mais seulement de vive voix; celui qui a recueilli ses propos et leur a donné la forme littéraire, c’est Nathan. Nathan en est le véritable auteur.
Ces deux lettrés, Vartolomei et Nathan, furent les collaborateurs dévoués de Iacov Putneanul, métropolite de Moldavie (1750–1760), patron spirituel de Poutna, considéré par ses contemporains le second fondateur du couvent.

« Michel MARGUE et Hérold PETTIAU (éd.), La Lotharingie en question. Identités, oppositions, intégration / Lotharingische Identitäten im Spannungsfeld zwischen integrativen und partikularen Kräften. Actes des 14es Journées lotharingiennes, 10-13 octobre 2006, Luxembourg 2018 (Publications de la Section Historique de l’Institut Grand-Ducal CXXVI) », Francia-Recensio, 2020/1, en ligne.

Interesting facts about the books of an old monastery in Czernowitz

Keywords: Horecea Monastery, Metropolitan Anthony, Abbot Artemon, Church Slavonic books

A number of books written in Church Slavonic which are held at present in the Library of the Holy Synod in Bucharest were previously part of the library of Horecea Monastery (in present-day Chernivtsi). Metropolitan Anthony and Abbot Artemon, the most important founders of this monastic settlement, placed their signatures inside the books they donated to the monastery so that their names be remembered and those to come pray for their souls.

Until 1924, the majority of the population of Mudanya, one of the towns that Ottomans first conquered in Bithynia (1321), was composed of Greeks. The existence of many Greek churches in Mudanya is known both from written sources and from surviving buildings. Two of the ten churches rebuilt are used as cultural centers. The walls of the three churches whose roofs have been destroyed are about to collapse. Only one of the other five churches has extant with a height of about one meter. In the Ottoman period, except for the exceptions, the new church was not built until the 19th century, the churches belonging to the Byzantine and pre19th-century Ottoman periods were repaired to and used with the permission of the sultan. Owing to the reform brought by the Edicts of Tanzimat (1839) and Islahat (1856), the foundations of small-size churches that were demolished were rebuilt on a larger scale. In the Ottoman archives, the documents related to these churches include the reasons for reconstruction, their size, the cost of construction and how this cost will be met, as well as the community population that will use the church, as well as the ground floor plan and front view drawings of some churches. All of the Greek churches in Mudanya have basilica plan, door and window openings with round arches, as well as columns, arches and inner roofs of the naos, have been constructed of wood. The facade arrangement and decorations of the church buildings in Mudanya which have close similarities with the contemporary Greek churches of Bursa and Istanbul, are in eclectic style.

In German. Hirsau Monastery Peter und Paul in the Black Forest (Schwarzwald) was the first of a reform movement (Hirsauer Bauschule) from the Romanesque period. Its cloister, like also the two tower church were built in red sandstone of superb quality. Around 1500 the cloister was restored with net vaults in late Gothic fashion, but these were destroyed later (1692). Remaining walls with rib springs and a lot of loose blocks (rib crossings and ribs) were the starting point of an effort by the author for a (drawn) reconstruction, in charge of the Landesamt für Denkmalpflege Baden-Württemberg. The large cloister (48 bays in four aisles, with an interior corner around the transept) shows a logical sequence of its execution in four different vault patterns, and similar corner vaults. Methodically the design is based on the Prinzipalbogen (principle arch), following explanations by Werner Müller, whom the article has been dedicated to. The author developed a method of photographing the strongly damaged rib crossings (Photos Rose Hajdu) in order to get information about the rib directions. These are considered to depict a Grundmuster (basic scheme), consisting of diagonal lines between rib springs at the wall. Differences in bay width between the original East wing and the wider South wing, are explained by the rib spring detail, which protrudes somewhat in front of the wall. Thus a modular order keeps intact. Former window positions from Romanesque time, can keep their position due to a sophisticated solution for the departure of ribs, also avoiding concentration of thrust forces in this wall lacking buttresses. Differences in bay length at the North wing, are interpreted as a consequence from the Romanesque dimensions of the church. Within the method, following the principle arch,  the complex net vaults can easily respond to the differences in bay length, keeping the same pattern.

EN. The foundation and beginnings of Forest abbey near Brussels are well known since the seminal work of Andrée Despy-Meyer and Georges Despy. Nevertheless, shedding a new light upon this period has been made possible through an in-depth analysis and critical edition of a under-exploited noticia of the twelfth century (DiBe4623).This fascinating noticia offers a firsthand testimony of the oldest «memory » of the abbey that episcopal and pontifical documents could not contain. It especially allows to establish with a better degree of certainty the accurate circumstances of its foundation by reassessing the role of squire Franco I of Brussels and by enlightening initial endowment of the abbey, comprising the parish church of Forest with its land properties.

FR. La fondation et les premiers développements de l’abbaye de Forest près de Bruxelles sont bien connus depuis les travaux d’Andrée Despy-Meyer et de Georges Despy. Néanmoins, par le biais de l’analyse minutieuse et de l’édition critique d’une notice informe du XIIe siècle (DiBe 4623) sur laquelle les historiens se sont insuffisamment penchés, il est possible d’apporter un éclairage original sur cette question. La notice offre en effet un témoignage de première main sur la « mémoire » la plus ancienne de l’abbaye que la documentation épiscopale et pontificale ne pouvait éclairer. En particulier, elle permet d’asseoir avec plus de certitude les modalités de sa fondation en réévaluant le rôle du châtelain de Bruxelles Francon Ier et en éclairant la dotation primitive constituée par l’église paroissiale de Forest et son patrimoine.

NL. De stichting en het opstarten van de abdij van Vorst bij Brussel zijn goed beschreven in het baanbrekende werk van Andrée Despy-Meyer en Georges Despy. Niettemin wordt er nieuw licht geworpen op deze periode dankzij de diepgaande analyse en kritische editie van een onderbenutte noticia van de twaalfde eeuw (DiBe 4623). Deze fascinerende noticia biedt een uit de eerste hand getuigenis van de oudste «herinnering» van de abdij die bisschoppelijke en pauselijke documenten niet konden bevatten. De juiste omstandigheden van de stichting worden verduidelijkt door de rol van landheer Franco I van Brussel te revalueren en door de initiële schenking van de abdij, bestaande uit de parochiekerk van Forest en landgoed, beter in het licht te brengen.