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In the French music the period 1665–1703 is the time of great changes, when the style known generally as classical organ music of the so-called Grand Siècle took its shape. Among the numerous composers active during that period was Guillaume-Gabriel Nivers, organist of Saint-Sulpice – one of the most eminent Parisian churches. His career developed in connection with the church, the convent of Benedictine nuns as well as the school for noble young ladies in Saint-Cyr-l’École. That is why Nivers composed only church music. His works, collected in three organ books and in the Thièry manuscript (ascribed to him), are representative of French music composed in the 17th–18th cent. It was the tradition associated with alternatim technique, with alternating sections in organ verses and chant. The thee organ books by Nivers constitute a large opus which includes numerous genres characteristic for the period; Nivers worked on all of them systematically, which led to their development, especially in liturgical music. On the one hand, Nivers was „pre-classical”, which can be seen in his use of Gregorian cantus firmus (Mass, Hymns, Sequences), from which his contemporaries would largely depart, as well as in the „modal thinking”, especially in the works included in the Premier and Troisième Livre d’Orgue. On the other hand, his oeuvre opened the door to welcome the new period, which can be seen primarily in the „new style” – melodious, based on meticulously chosen registers, varied according to the character of a particular piece and its place in liturgy
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The article concentrates on an interesting 130-year-old artefact located in the Krakow church of Piarists – the decoration of the place where Stanisław Konarski’s (1700–1773) heart was buried. Konarski was a monk of the Pious Schools in the 18th century, as well as publisher of a collection of national laws Volumina legum, a bold commentator calling for strengthening royal power and abolishing liberum veto, reformer of the educational system and founder of the renowned, modern Collegium Nobilium. The circumstances of the discovery and relocation of the relic in 1882 from Warsaw to Krakow and the ceremony of its introduction to the monastic Church of the Transfiguration of Jesus on February 13 are also outlined. Three significant research issues are also discussed. The first one is the problem of the authenticity of the artefact, which was discovered more than a hundred years after Konarski’s death in the possession of a Warsaw optician Jakub Pik. It was then that the question started occupying the minds of researchers, including the rector of the Krakow college Adam Słotwiński. The question is made more relevant by the lack of any direct evidence from 1773 about the removal of Stanisław Konarski’s heart from his body after his death. The information gathered so far allow us to assume, with probability bordering on certainty, that it is authentic and the only surviving part of this famous monk’s body. Another question, totally absent from past reflections on the subject, is the reason why the heart was removed. This particular aspect turns our attention at a strikingly popular early-modern Polish tradition – first in royal families, later also among magnates and nobility – of burying hearts separately, usually by entombing them in a church founded by the deceased. It was found that a considerable number of hearts removed from bodies had been inhumed in Piarist churches (Rzeszów, Warsaw or Łowicz). This tradition, however, did not normally apply to monks. The case of Stanisław Konarski’s heart proves that in the juxtaposition of great merit and monastic vows of humility the merit prevailed. A third question, which contemporaneous researchers could not answer, is the original destination of the box with Konarski’s heart. A confrontation of scant mentions with the situation of Warsaw Piarists in the first half of the 19th century allows us to retrace its route. In 1773 it was placed in the monastic school chapel at Collegium Nobilium, then in 1811 it was relocated to the Piarist church in Długa street; in 1834 the order was deprived of the church, so Konarski’s heart was brought to their college in Jezuicka street. It was held there until 1866, and after the dissolution of the order it was in the possession of Jakub Pik. Pik carefully stored the relic and donated it to the Piarist church in Krakow, where in 1882 it was placed in an alcove in the presbytery. The decoration of the place was designed by Tadeusz Łepkowski, the then restorer. Stanisław Konarski’s bust was sculpted by Tadeusz Błotnicki from Krakow. Facial features were reproduced on the basis of an image from the times of Stanisław August – a sculpture by André Le Brun, displayed in a gallery of people of particular merit to the Republic of Poland opened in the Knights’ Hall at the Royal Castle in Warsaw in 1786.
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The paper is another chapter of the unfinished monograph (see Stratum plus, №6, p. 190-226). The author shows that the last decades of 17th century was a crucial point when the two main forms of feudal exploitation (patrimonial and centralized) getting bigger brought Moldavia into an economic crisis. Under these circumstances any further growth of state rent could only take place by redistributing the liege share in the added product. Charging levies from every landlord, including feuds, was aimed to pump means from private persons over still bigger predators as nobility at state service and the ruler himself, who were sharing part of their wealth with the Ottoman establishment. When transformation of patrimonial rent into centralized one involved all boyars’ and monasteries’ lands, it endangered further destinies of Moldavian patrimonial estates. Levies imposed on private landownership were at core of the main shift in the reform of the rent during the described period. Landowners going bankrupt en mass was its direct consequence. Extermination of patrimonial landownership was the logical outcome of the economic policy focused on maximum taxation. This would bear the complete loss of whatever had left of Moldavia’s local autonomy. Due to a number of external and internal circumstances the Ottoman powers did not go for introducing the military-feudal system in Moldavia, which was common everywhere else in the Empire. If the first attempts of the state’s offensive against patrimonial estates would stir anxiety, in a contemporary’s words “many houses of boyars and monasteries grew poor”, then the end of the period in question was marked by development of a prejudice about the coming collapse of the landlords. This idea became a leading motive of Moldavian chronicles at late 17th – first decades of 18th centuries. At the same time, many holders of patrimonial estates hoped that the liege incomes would grow with transition to the agricultural economy of East-European type. Politically, this transformation would be made possible through accepting the Russian sovereignty. A well known fact is, however, that the Prut River march of the Russian-Moldavian army led by Peter the Great and Dimitrie Cantemir was a failure.To sum up, state exploitation played leading role in Moldavia in the given historical period and, in terms of the burden, was among the heaviest in Europe. At the same time, the liege (private) exploitation fell down to the lowest point in its development through the history of the feudal Moldavia. This evident asymmetry of taxation led to a crisis in the country which was overcome owing to the reforms of early 1740s when transformation of patrimonial rent into centralized rent was limited.
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The author studies fragments of a wooden ship found on the left bank of the Danube (near Izmail, Ukraine) in 1993. Some typological features and metrological indicators of the studied fragments enabled the author to identify the ship as Turkish “sayk” – a small coasting vessel with the capacity of up to 300 tons and length of 20-35 meters. Radiocarbon examination of the timber dated construction of the ship by the late XVII – early XVIII centuries.
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New types of leather objects can be still discovered among the latest archaeological finds from medieval sites in the Russian lands. They prove an earlier made suggestion about an unusually wide use of leather by the contemporary population. The range of leather items in 16th — 17th cc. expanded due to introduction of small hand arms in the Moscow State’s army. Among rare finds, there are saddle cases for pistol and rifle. The item was called olstra and is known owing to three specimen: two olstras were found in Moscow (strata of late 17th — 18th cc.), and the one published here comes from the Ivangorod Fortress. It is dated by late 16th — early 17th cc.
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In the course of archaeological research undertaken by the Saint-Petersburg Expedition in 1993—2009, an old cemetery was excavated on the Okhtinsky Cape. It is located on the left coast of the Okhta River, at the distance of 360 m from its mouth. On the whole, 311 preserved and numerous displaced remains were uncovered on the site. The main time span of the cemetery can be dated by 17th c., but it could have started in 16th c. A number of graves were destroyed or reburied when building new fortification of Nyenschanz in the middle of 17th c. The burials are predominantly Christian, most of them in coffins, oriented to south-west. They yielded scarce finds, such as: items of clothes and attire, Swedish coins, bullets, all belonging to the North-European circle of antiquities. Features of funeral ceremony distinguished on the Okhtinsky cemetery can point to different cultural traditions by their orientation, ways of burial and aspects of grave pits. Unearthed remains of multi-ethnic dwellers of the Neva region who had populated this territory before foundation of Saint Petersburg have both research and memorial value.
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In this research an author collected historical life evidences of the Orthodox, Greek Catholic and Roman Catholic churches of the Polish-Lithuanian Commonwealth beginning from the last 10-15 years of the 16th century to 50-ies of the 17th century. It allowed the author to understand a new conception of appearing and formation of the national version of European liturgical multivoice (partes multivoice), determine the centers of its appearing and extension, persons who took an active part in this process, as well as determine its forms, character and functions.
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Nauk o opravdanju imao je središnje značenje za luteransku reformaciju u 16. st. On joj je vrijedio kao prvi i najvažniji članak koji se istodobno razumio kao ravnatelj i sudac o svim drugim dijelovima kršćanskog nauka. Taj nauk o opravdanju bio je izgrađen u reformatorskom razvoju i s posebnim značenjem zastupan i branjen nasuprot rimokatoličkoj teologiji i Crkvi tadašnjeg vremena, koja je sa svoje strane zastupala i branila svoj drukčije izgrađeni nauk o opravdanju. Upravo je tu iz pogleda reformacije ležala središnja točka svih nesporazuma. Došlo je do osude nauka u luteranskim Ispovijestima i ekskomunikacije na Tridentskom koncilu Rimokatoličke Crkve, koji su još uvijek na snazi i koji razjedinjuju Crkve.
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The author analyzes text of Statutes of Vlachs published for frontiersmen/Grenzers of Varaždin Generalate in in the 1732 in latin and kajkavian variant of Croatian language and compares this document with the older one, the Vlach Statutes / Statuta Valachorum from 1630. year. The aim of this new document was to redefined obligations and rights of frontiersmen in Varaždin Generalate after a long period of social and religious disturbances during first three decades of 18. century. Author points out that the appearance of this document must be considered in context of military reforms in Varaždin Generalate made by Count Caspar Ferdinand von Cordua. He reorganized military structure of Generalate establishing new military units, but reducing the pay of frontiersmen and raising of pay for officers was not acceptable for frontiersmen. Styrian estates although opposed his reforms warning Vienna court that financing of Varasdin Generalate under this circumstances was useless and that well established and equipped frontiersmen army cam also represent potential threat for Monarchy. As for a new Vlach Statutes, they like the old Statuta form 17th century had not consider religious and ecclesiastical issues, but restricted frontiersmens right of free disposition of posessions and forbade buying out military service. Most important change was nomination of military judges (auditors) in seat of every of four captaincies, which have accomplished the duties of previouse supreme judge and eight assessors. Auditors solved different complaints of frontiersmen, including those against military captains (vojvode), and vojvode have got the possibility of making final decisions in quarrels which can be solved without official judicial procedure. Although Vienna Court supported Cordua’s plans and promulgated them in 1733 they have been accepted only partialy, but reforms caused disturbancies and resistence of frontiersmen and new Statuta for frontiersmen of Varasdin Generalate were not officialy proclaimed because authorities wanted to keep peace in Military Frontier.
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Dominant place in notolines manuscripts Irmoloys of the 16 – 18 century item was occupied by the Bulgarian tune. It is the unique and ponderable phenomenon in the bogosluzhebnom singing art of this period. In the article examine-this the features of theoretical subsoil of researches of the Bulgarian tune in musicology labours of domestic and foreign researchers in the chronologic foreshortening.
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John Friedrich Veterani (1643 – 1695) was a descendant of an impoverished Italian noble family. While his brother Simone Lorenzo chose a priest’s calling, he managed to find a place in one regiment of the Habsburg army. He slowly advanced through the ranks, building his career, and around the year 1683 he got the rank of a colonel and his own regiment. He participated in numerous sieges and battles on Hungarian soil during the war against the Ottomans, as well as in the fighting around Osijek in 1687. Next year he was promoted to the rank of vice-marshal and sent to Transylvania (Erdely), where, on and off, he was to spend many years. Emperor Leopold entrusted him the military administration of Transylvania in the hope that Veterani will succeed in maintaining the fragile compromise with the local nobility and the prince, who have until recently acknowledged Ottoman rule. The successful period in which Veterani became fieldmarshal was interrupted in the beginning of 1695 when Ottomans began new attacks, determined to regain Transylvania under their rule. In a short period of time they managed to isolate Veterani and his small troops from the rest of the Imperial army, surround him and defeat on September 21st. Fieldmarshal ended his days in captivity under unclear circumstances. Estates in Baranja (Darda and its surroundings), which were promised to him went into the hands of his only remaining descendant - his daughter Maria Camilla and her husband, count Marsiki, who took Veterani’s surname. Marsiki outlived his wife who died in 1721 as well as their only son, so he carried his surname onto his grandson, Johann Julius Mallenthein. Veterani-Mallenthein family ruled Darda manor until 1749. when it became property of Esterhazy family.
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The paper explores the occurrence, meaning, and function of the echo motif in Old Croatian Literature through five focal points. The first part presents the echo motif, which was often named differently by Croatian authors. It analyzes the story of Narcissus and Echo from Ovid’s Metamorphoses, juxtaposes it to the modes of the imaginary (echo, shadow, mirror) and the mirror structure, and defines the corpus of primary texts – eighteen works from the sixteenth, seventeenth, and eighteenth centuries. The second part explores the echo motif in the works of M. Vetranović Čavčić, N. Nalješković, S. Bobaljević Mišetić, F. Lukarević Burina, and M. Gazarović. The third part reveals the relationship between the seventeenth-cenutry Croatian authors and the echo motif, analyzing the works of I. Gundulić, Dž. Bunić Vučić, J. Palmotić, V. Skvadrović, P. Zrinski, P. Ritter Vitezović, F. Krsto Frankopan, and J. Habdelić. The fourth part examines the work of eighteenthcentury Croatian authors, A. Gleđević, J. Kavanjin, A. Kanižlić, M.P. Katančić, V. Došen, and the comedy Gospodarica od Elide [The Mistress of d'Elide] by an anonymous author. The paper argues that the echo motif occurs frequently in a more serious context, and less frequently in a comedic context, and that it is connected with romantic, reflexive, tragic, and quotidian topics. In addition, the echo motif offers an auditive expansion of space and, in terms of a mirror structure, functions as an imaginary double that contributes to a specific character’s awareness of self and the world around them.
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The article is devoted to understanding the phenomenon of contamination in the artistic culture of Europe XVI – early. XVII century. Based on the definition of "contamination" played a gradual "erosion" aesthetic and artistic principles of a particular artistic movement.
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Analysis of the principles of spiritual culture as the basic structural components in the formation of Baroque art in the PreDnipro region.
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In the article the variety of Ukrainian dances of the mentioned period, their peculiarities and significance is revealed. Traditional ritual and wedding dances, city dance culture, theatrical, Cossack and court dances are discussed in the following research.
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The article is dedicated to feature of succession from Cyril’s tradition of the Jagello's renaissance in Poland and their influence on «sarmatizm» in the art of XVII-XIX., to some phenomenon of the music world of Poland of the XX century.
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In the article it is analysed two songs to passions of Jesus Christ end of XVII – to beginning of XVIII ages. The questions source study, textual criticism and religious-educate essence are considered. Musical-poetic texts of songs are analysed on the basis of their chosen records in handwritten collections and Bohohlasnyk (Pochaiv, 1790–1791).
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In the article come into a notice to the questions of researches of religious-educate and catechismus orientation of spiritual poetry and song. Come into the special notice to creation of Kyrylo Trankvilion-Stavrovec’kyj, Yoanykyj Galyatovs’kyj. The spiritual poetic and song texts are considered in the context of becoming of Ukrainian edition practice of middle – the second half of the XVII century. Parallels are conducted with vertex achievement of the Ukrainian spiritually song book-printing of Pochaїv Bohohlasnyk.
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Вихід у світ цього дослідження є результатом багаторічної наукової праці вже достатньо відомої в Україні та поза її межами дослідниці – Ольги Зосім. Нею зазначено, що її “робота має інтердисциплінарний характер”, до того ж підготовка та написання потребувала особливої увагу до різноманітних аспектів джерелозначо-текстологічної проблематики. З цією метою було досліджено de visu близько 150 рукописних співаників XVII–XIX ст. (переважно українських; перелік збірників міститься у Додатку № 1) з архівних інституцій України та Росії. До аналізу залучено також друковані тексти “Богогласника” (Почаїв, 1790–1791), співаника ксьондза Міхала Мьодушевського (Краків, 1834), публікації давніх пісень, здійснені упродовж ХХ–ХХІ ст. науковцями з України, Польщі, Чехії, Словаччини, Німеччини. Водночас, О. Зосім джерелознавче спрямування не ставила собі за основу дослідження, на чому й наголосила: “воно не передбачає встановлення повного обсягу запозичених пісенних творів, що функціонували у східнослов’янському репертуарі, оскільки говорити про повноту можна лише після створення джерельної бази як українського (східнослов’янського), так і польського, словацького, чеського, німецького, угорського духовнопісенного репертуару” [1, 5]. Справедливе зауваження, хоча джерельна база дослідження і так вельми ґрутновна.
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