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The author publishes three Romanian documents from a private collection, once belonging to the Metochion of the Holy Sepulchre's archive in Constantinople. The 17th and 19th century documents were among the papers of estates owned by Moldavian monasteries dedicated to the Holy Sepulchre.
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The donations made to Orthodox monasteries and churches by the princes of Wallachia and Moldavia are an integral part of Romanian history. The present study brings forward new sources from the middle of the eighteenth century concerning the financial aid given by Wallachian princes to the monastery of St. Elias in Deropoli (Dryinupoleos), in Epirus. From the four charters, published in full in the appendix, the motivations for the princely munificence become apparent. The generosity of the Wallachian princes was driven by the poverty of the monastery but also by their strong and long-lived dedication to Epirus, where many of them had their ancestry.
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Among the documents strayed within the archive of the Golia Monastery – which failed to be included in the cargo transported to the Vatoped Monastery on Mount Athos –, several dozens ended up, because of a mix-up, in the Museum of Agnita. Afterwards, they were taken over by the Sibiu County Directorate of the National Archives. The documents were divided, quite randomly, into two files; we publish now 16, dating from the interval 1606−1751. The oldest ones – also the most important and beautiful – concern the following: the village of Cajba (Cajva), within the old region of Iaşilor, on the left bank of Prut, whose history was thus “found again”; the Golia Monastery, within the city of Iaşi, regarding whose history we discovered interesting information; the families of Cantacuzino and Racoviţă, whose genealogies were thus usefully completed.
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L’exonarthex de la grande église du Monastère de Dragomirna abrite cinq dalles funéraires, dont deux ont des inscriptions grecques et une n’a jamais eu d’inscription; les deux autres sont très effacées: elles conservent aujourd’hui seulement des bribes des lettres de leurs inscriptions slaves et de leur décor floral. L’évêque Melchisedec (1823–1892) en 1883 et le professeur Eugen A. Kozak (1857–1933) en 1903 avaient lu et déchiffré les inscriptions, mais sans pouvoir établir l’identité des personnages enterrés là-bas et dont les noms paraissent illisibles. De nos jours encore, on utilise les traductions roumaines établies par N. Iorga (1938) d’après les lectures de Kozak.Heureusement, ces deux inscriptions slaves ont été lues, déchiffrées et traduites vers 1883–1887 par un savant roumain très passionné et très dévoué aux recherches épigraphiques: Nicolas Beldiceanu (1844–1896). Ses décalques, ainsi que ses copies, transcriptions et traductions ont été copieusement utilisés par N. Iorga pour le premier volume de ses Inscriptions des églises de Roumanie (Bucarest, 1905). Mais un cahier est resté inaperçu parmi les milliers de manuscrits de la Bibliothèque de l’Académie Roumaine, où il fut déposé en 1912 par D. A. Sturdza. Dans ce cahier, l’auteur a retrouvé les deux inscriptions de Dragomirna, transcrites d’une manière impeccable, presque photographique, ainsi que leurs traductions.Grâce aux dessins de Beldiceanu, on est arrivé à connaître les noms des personnages enterrés à Dragomirna. Il s’agit de deux membres de la famille des boyards Drăguşescu, dont un est fréquemment mentionné dans les documents de l’époque: Dumitraşco († 1709/1710). Il est le commanditaire d’une de ces deux dalles funéraires, destinée à recouvrir la tombe de son père, Serghie, mort le 4 juillet 1680. Mais, selon les documents, le père de Dumitraşco s’appelait ProdanDrăguşescu ! C’est un faux dilemme: il faut accepter que le personnage eût porté en effet le nom Serghie (St. Serge), mais il était connu avec le surnom Prodan (ce qui signifie «vendu»). C’est lui qui a commandé l’autre dalle funéraire, destinée à recouvrir la tombe d’un certain Savin (peut-être un autre fils), mort le 27 janvier 1673 ou 1674. Ces noms ont été inscrits dans les anciens obituaires du monastère. À partir de ces informations, l’auteur se propose de reconstituer la généalogie de cette famille de boyards du Nord de la Moldavie historique. La dernière partie de l’article concerne un personnage connu sous le nom de Silitrarul – le salpêtrier. Apparenté aux boyards Drăguşescu, descendant lui-même de la vieille aristocratie du pays, il a dû être une sorte d’entrepreneur qui surveillait la production et l’export du salpêtre, ce qui lui a valu son surnom.
More...Egyházgondnoki számadáskönyv 1693-ból
Der erste Schritt der Wiederherstellung der im Jahre 1689 durch Brand schwer beschadigten evangelischen Stadtpfarrkirche A.B. in Kronstadt ist die Wiederherstellung des Dachstuhls gewesen. Aus der ersten Phase der Arbeiten, die wahrscheinlich schon im Jahre 1691 begonnen habén, besitzen wir nur geringe Quellen, die entweder allgemein gehalten sind, oder in ihrer Glaubwürdigkeit angezweifelt werden können. Das letzte Jahr der Dachstuhlarbeiten (1693) ist durch einen Rechungsbucheintrag gut dokumentiert. Im Folgenden werden gemeiusam mit der erstmaligen Veröffentlichung der genannten Quelle, der Kirchenrechnung des Johannes Retsch (Kirchenkurator 1693-1694) von 1693, einige Probleme zur Bauchronologie, zu Malínahmen an der Dachstuhlkonstruktion, zu einzelnen Aspekten der Zimmermannswerkstátte und zur Ablauforganisation der Arbeiten beleuchtet. Die Veröffentlichung der Rechnung ist in erster Linie für die Erforschung der Wiederherstellungsarbeiten an der Schwarzen Kirche von wesentlicher Bedeutung. Neben den Informationen über den Wiederaufbau des Daches bietet sie Aufschluli über den Zustand von Kirche, Nebengebaude und Pfarrhof und die daran vorgenommenen kleineren Restaurierungsmalinahmen in den Jahren unmittelbar nach dem groBen Brand.
More...Adatok a sáromberki Telekikripta építéstörténetéhez
Amid the XVIIIth century, Sámuel Teleki (1739-1822) the fore-coming chancellor of Transylvania, the founder of the Teleki Téka (Teleki Library), has established Dumbrăvioara as the centre of his domains, and after the construction of the castle it also became his family residence. The family burial-place has automatically emerged in the settlement within short period of time. His descendants, the Telekis from Dumbrăvioara, had been buried there in the course of one and a half century. Sámuel Teleki himself buried his first child in 1772 in the place of the actual crypt, and the references hence have erroneously dated the edifice to 1772. However, regarding the proofs of the present research, the crypt was constructed above the dead of the family - meanwhile increased to seven only thirty years later: meanwhile Sámuel Teleki was appointed chancellor of Transylvania, started the construction of the crypt with the participation of the same craftsmen that worked at the Teleki Téka between 1801-1803. His chief craftsman was the builder of the famous Arieş-bridge, János Követsi (1764—1825), the coordinator of several autochthon constructions from Turda, the later geometrist of the Turda county and Aranyos seat. The roof frame is the work of the carpenter Christian Schön, who had made the roof frame of the Teleki Téka as well. In this period he had also built mills in Dumbrăvioara. Nonetheless, the research has also revealed that two allegorical angels have been once stowed to the construction of the chancellor's shrine, who died at the age of eighty three. These angels were manufactured by the famous artist from Cluj, Sámuel Nagy.
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In Transylvania an important and valorous role had the art of the tin founders. As an expression of a flourishing, artistic trade one can find numerous tinworks in ecclesiastical inventories. The present study gives us a general view of tinworks of the Orbai diocese: forms, techniques of tin founding and ornaments, marks, stylistic evolution. At the beginning, tinworks were seen as luxury objects and only later were accepted for general use. In the Orbai congregations remained different tinworks: tankards, dishes, falcons. The cans are classified in more categories: conic, truncated cone, cylindrical and cylindriform. Plates and dishes had festooneries, thin margins and the falcons were polygonal. Specific for the Transylvanian craftsmen are the engraved flowers and geometric motives. The ornaments of the handles are characterized by fine details, equality of composition and predilection for floral motives. On the piece, the place of the stamps differed from one town to another. For example the workshop from Braşov put their can marks inside the tankard and those from Sighişoara and Sibiu put them on the handle shoulder.
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The textiles of different ecclesiastical collections during the last century had a hard destiny. Though they are important examples of the decorative arts from the 16th and 18th centuries they were kept in poor conditions and represented no interests in art historical studies or researches in Transylvania. During the year 2005 I had the opportunity to examine in details some textiles donated to the Calvinist congregation of Sáromberke (Dumbrăvioara) by Baroness Kata Wesselényi. They were used during the liturgy in order to cover the communion table and the other objects. Most of them were designed and prepared in a masterly manner and even now the remained pieces - 11 in total - are in good conditions. This raised my interest for a deeper research, which is presented in this study. During my investigations - studying a narrowly existing bibliography - I found 29 embroideries donated by the same person to the Calvinist congregations of Erdőszentgyörgy (Sângeorgiu de Pădure), Hagymásbodon (Budiu Mic), Kibéd (Chibed), Marosvásárhely (Târgu-Mureş), Uzdiszentpéter (Sânpetru de Câmpie). These textiles were mostly made of linen and cotton, only in one case was used silk. For embroidered parts they used white, coloured silk and metallic threads. The majority of motifs indicate the second part of the 18th century but sometimes they remind us of older - renaissance - patterns. The floral ornaments are dominant - pomegranates, tulips, roses, etc. - but one can meet also figurative elements like the mermaid and the swan. These last two are representations of the coat-of-arms of the Wesselényi and Rhédei families. The most frequently used structures of patterns are the accentuated motifs in the corners or grouped in a band on the margins. The identification of these textiles represented an easy task because all of them have at least one inscription with the name of the donator and the years of her donating acts (between 1755 and 1776).
More...Nagyenyed, Kolozsvár, Marosvásárhely
The constructions of the Calvinist colleges were mainly a result of the economic development from the second part of the 18th Century. These institutions represent a less studied area of the Transylvanian architecture. Art historians - except Margit B. Nagy, who had discussed certain issues related to the Calvinist College in Cluj-Napoca - failed to focus on the issue of these buildings, concentrating mainly on the monographs of the educational institutions, written at the end of the 19th Century. The present paper represents an attempt to study the structures of the buildings from Aiud, Târgu-Mureş and Cluj-Napoca based on the archival sources related to the historical edifices of the Baroque and Classicist periods. In Aiud (Nagyenyed) the construction process of the Old College (burned and pulled down in 1849 started in the first half of the 18th Century, followed by the construction of the Little College, finished under the patronage of Sámuel Teleki with the contribution of the master builders from Târgu Mureş, the mason Paul Schmidt and the carpenter Mihály Győrfi. The same craftsmen took part in the construction project of Teleki's castle from Dumbrăvioara as well. The new requirements of the college from the 1820's resulted the development of a grandiose construction project. The plan of the four winged, three storey building with two interior courts of the New College was elaborated by the architect Boldizsár Schilling. From this project only the southern wing was finalized between 1826 and 1836, by György Winkler, mason from Cluj-Napoca. In Târgu-Mureş (Marosvásárhely) the construction works of the library and the auditorium during 1777 and 1779 (buildings that no longer exist today) had been conducted by the mason Paul Schmidt with the assistance of many other masters (i.e. the framer Vilmos Müncher, the carpenter Mátyus etc.). Between 1801 and 1804 these works were followed by the edification project of the northern wing, designed by László Ugrai and carried out by the masons Constanz Schmidt and Iohannes Sommer. The roof is the work of Christian Schön, a carpenter from Rupea. During the 1780's the old building of the college in Cluj-Napoca (Kolozsvár) dating from the 17th Century was extended with a new wing. The works were led by the master from Cluj, Joseph Leder. With the aid of the archival sources one can reconstruct the list of the majority of the masters who took part in the construction works. The wing was situated on the western side of the old college, approximately on the place of the present building, which was built after the great fire from 1798, between 1799 and 1802 according to the instructions of master Leder. Beside the carpenters Mihály Fűzi and István Jónás, the ironworker István Ungvári and the stone-sawyer Mihály Schindler also took part in the construction process. The library and auditorium were finished later on, between 1817 and 1819 with the participation of the mason Ferenc Gold and the carpenter István Binetz.
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The article presents an analysis of the selected fragments of New Athens (1745-1746) – an encyclopaedia by Benedykt Chmielowski on the beliefs of the Greeks and Romans. The article also reconstructs the linguistic depiction of the Greek and Roman gods presented in the compendium. To this end the article cites the names of the deities presented in the compendium, isolates the derivatives based on central names, separates the characteristic elements of ancient deities and presents the linguistic and non-linguistic methods of the valorisation of the gods.
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Bishop's addresses to the Parliament, linked closely with the office of Chancellor of the Republic, show his political attitude. Therefore, the analysis concerns activity of the parliaments in the years 1776-1788. There must be assumed on basis of previous research that the bishop was proponent of the King. Bishop Okęcki as Chancellor did not played a great role in matters of state. There could be assumed on the basis of literature that he was rather a religious person (Bishop) than a statesman. Both these functions – religious and secular – did not go hand in hand and were not complementary. Bishop as a modest person could not or did not want to use too much his secular authority for the benefit of priesthood. Although there must be emphasized his involvement in educational matters, especially matter of distribution of pojezuickie wealth for National Education Commission. Okęcki as senator always represented the King's position. His dislike of the Russian ambassador Stackelberg could cause his weak involvement in political affairs and affairs of the State. He often abandoned the pursuit of cases supported by Russian envoy. The surviving correspondence between the Bishop and the King shows that he did not obeyed envoy in all matters. He was very meticulous and careful when it comes to the letter of law and duties of his office. He was very often elected to chair the committee for examining different magistracies because of sitting in Senate of Republic. It must be admitted on the basis of analysis of Seym's diaries that he very well fulfilled his tasks. His statements on issues of control were logic. He often was the promoter of new solutions. An example is the proposal of 1778 to empower Parliament to amend the provisions of the Permanent Council.
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The article entitled Learned references to Latin and Latin-speaking authors in selected religious texts by Polish Baroque writers as an expression of the European cultural identity discusses a phenomenon typical of the stylistics of the 17th and 18th century texts. The article includes examples of numerous quotations and allusions (from the Classical Antiquity until the 16th century) proving good knowledge of the Latin tradition by the Polish Baroque writers.
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The article deals with the presence of reflections on emancipation and women’s rights in alternative and steampunk stories. The author points out that in both of the above mentioned genres of fantasy literature, these issues are not an overarching theme, despite the fact that criticism and subversive rewriting of past eras from the point of view of the present is inherent in these genres. The analysis shows that anachronically conceived emancipation of women takes place mainly in novels set in historical eras far removed from the present (deep antiquity and, far less frequently, the Middle Ages). Novels closer to contemporaneity, set in the 18th and 19th centuries, generally do not subject emancipation and women’s rights to alternative reflection. This is all the more astonishing if one bears in mind the fact that the 19th century was time of the birth of the feminist and suffragette movements. This reluctance to rework the nineteenth century from the point of view of women’s emancipation is due to the still active cultural memory of the period. The author’s thesis is that the unwillingness to rework the issues of emancipation and women’s rights in an alternative way is related to the still active cultural paradigm, founded, among others, on the Judeo Christian tradition. Another reason is the domination of ‘hegemonic masculinity’ in alternative and steampunk, which is a literary, phantasmatic reaction to the dynamic processes of women’s emancipation taking place in the actual world.
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After defeating the Austrian troops in Moldavia in the autumn of 1716 and the beginning of 1717, the Moldavian army, with Tartar allies, entered Transylvania following the Sultans’ orders. The aim was to open a secondary Ottoman front and relieve the Austrian pressure against Belgrade. While the Moldavians and part of the Tartars were besieging the Saxon town of Bistritz, the bulk of the Tartars made a plunder raid to the West. Laden with booty, they were caught and massacred on their return, in Maramureș, by local peasant troops. The event represented the last Tartar raid west of the Carpathians.
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Mikołaj manor house, together with the last farm buildings, is a remnant of an extensive mayor’s estate, whose name dates back to the 17th century. Meanwhile, within the estate of the Wadowice mayor, there were two manors, which were described in the inventory of this estate in 1721. Thus, the analyzed source is one of the few pieces of evidence for researching the past and appearance of wooden manors around the city of Wadowice. In the article, the author presented the appearance of both manors and compared them with the 18th-century appearance of the surrounding noble manors, in order to provide a synthetic characterization of the manors and noble residences near Wadowice in the 18th century.
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Beside last wills, marriage agreements are one of the most important sources for studying family life of bourgeois and peasants of the 18th century. By analysing these contracts and completing its data (for instance, studying the status and age of the couple) we can size up some tendencies in the marriage mart. The subject of our investigation is the society of Óbuda/Altofen, a market town. It is particularly interesting, because its population was composed by various ethnicities.
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Thе present publication is the first in historiography to highlight the unknown pages from the biography of Maria Andreevna Kantakuzino, wife of Foma (Toma) Kantakuzino, Major General of the Russian Army, an associate of Peter the Great. The research is based on documents discovered by the author in the State archives of the Russian Federation. The hallmark of this article is the fact, that the biographical data of Maria Cantacuzino are disclosed in the context of the political events of the 1st quarter of the 18th century, as well as her personal ties and correspondence with statesmen of the Russian Empire, the author reflects the issue of the financial situation of the countess in Russia. At the same time, the publication sheds light on the previously unknown biographical data of Maria Cantacuzino – the time and conditions of her arrival in Russia, the place of residence, as well as the date of her death. This publication, on the basis of archival documents discovered and introduced into scientific circulation, makes it possible to show the property status and possessions of the Cantacuzino family in Russia in the first half of the 18th century, as well as their fate after the death of the owners.
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The historical, cultural and political structure of each period also shapes the style of works of art. Works belonging to disciplines such as fashion, painting, sculpture and architecture are produced under the influence of the period. In this context, the Gothic style, which paved the way for the Renaissance in art history, influenced societies and shaped many areas from architecture to clothing. Gothic can be defined as a cultural and artistic phenomenon that affects a wide spectrum from architecture to literature, from youth culture to music and even to the big screen. Today, as a style that affects many designers and artists, Gothic art has also been a source of inspiration for many fashion designers and fashion brands. There seems to be a resurgence in fashion today in a fascination for all things Gothic throughout the fashion landscape. In this context, many new permutations and hybrid designs have emerged, from haute couture to street style. This study revealed that aspects of the Gothic style, from its origins in the early 18th century, reflect its continuing flexibility and adaptability throughout history and contemporary society. Over the next centuries, these adaptations reinforced the essence of Gothic, but at the same time remained true to their origins. By examining street style, haute couture, traditional Gothic style themes and new representations of Gothic influences in contemporary fashion, this study explores how the emergence of Gothic themes has shaped and inspired fashion creators and designers in contemporary society.
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