The article investigates the history of the medieval interior design and furnishings of the former Franciscan Church of the Assumption of the Blessed Virgin Mary in Toruń during the Reformation ...period. The Franciscan Friars were brought to the Old Town of Toruń in 1239; they used the conventual complex until 1557, when it was taken over by the Protestant congregation of the City of Toruń, the former Franciscan Church becoming the major Protestant church both in Toruń and the surrounding region. In 1724, the former Franciscan complex was returned to the Observant Order, who added a number of serious alterations to the church’s interior (including the provision of eighteenth-century furnishings and altars with their retables, and the removal of an old rood screen, etc.). The article elucidates the way medieval interior design and furnishings—mural paintings, tomb slabs, the pulpit, the organ casing, and matronea—functioned in the lay area of the church when used by the Lutheran congregation. In addition, the following furnishings of the former monastic ecclesia interioris are discussed: the high altar and its retable, the medieval choir stalls, the rood screen, and the late medieval sculpture of the Crucified Christ. The analysis of the alterations added to the church’s interior demonstrates that measures undertaken when converting the church for the needs of the Protestant congregation were of a pragmatic rather than iconoclastic nature. The former Catholic and Franciscan medieval furnishings of the Church of the Assumption of the Blessed Virgin Mary were neither destroyed nor removed. What is more, whenever possible, they were used in a new interior design, and were either modernised or provided with inserts for the purpose.
The Evangelical Church C. A. in Romania has an impressive treasure trove of churches of cultural and art-historical value in Transylvania. One of the most important sacred buildings is the Church on ...the Hill in Schäßburg/Sighisoara. But although it is a liturgically important space, it has served other purposes over and over again in the course of history. The fact that the Evangelical community became very small after 1989 brought with it the challenge of using this place of worship adequately. In the last few decades – i with the inclusion of the old town of Schäßburg on the list of UNESCO as a World Heritage Site – the Church on the Hill has become a tourist magnet. Culture lovers can listen to contemplative organ concerts. Due to the epidemiological situation, it now serves more and more liturgical purposes.
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Liturgical space represents the embodiment of Christian theology in church buildings, encompassing both physical and metaphysical aspects. This space carries holiness and sacredness through a set of ...architectural elements that create sacred and profane zones within the church architecture. For centuries, design elements have shaped the form of Eastern churches in Iraq. This research aimed to answer the following question: what does a participant see at first glance in the liturgical space of a church building? This paper revisits the impact of design elements on the liturgical space of Eastern churches. The research methodology involved analyzing qualitative data using visual attention software (VAS) 3M, version 2024, to examine eye-tracking data and identify what visitors first noticed when entering these church interiors in Mosul, Iraq. The results highlight the variations and dominance of specific design elements in their impact on Eastern churches. The conclusions emphasize the importance of scientifically based restoration for the perception of design elements in these churches.
In this contribution we analyze the compositional singularity of one of the places of Dante's journey least influenced by medieval theological thought: The Antipurgatory. It reveals a freedom of ...invention and writing that converts the first nine cantos of Purgatorio into one of the most fruitful grounds of critical experimentation in contemporary Dante criticism. Inside the purgatorial vestibule we will analyze the last place visited by Dante’s character before arriving at the threshold of St. Peter’s door: the «Valletta fiorita». Of this pre-Edenic place -almost independent within the antipurgatorial geography - we will analyze how sound and musical messages help construct a liturgical space which turns out to be much more elaborate than those previously crossed by the protagonist of the poem.
In questo contributo si analizza la singolarità compositiva di uno dei luoghi del viaggio dantesco meno condizionati dal pensiero teologico medievale: L’Antipurgatorio. In esso si manifesta una libertà di invenzione e scrittura che convertono i primi nove canti del Purgatorio in un terreno di sperimentazine critica tra i più fruttiferi della critica dantesca contemporanea. All’interno del vestibolo purgatoriale analizzeremo l’ultimo dei luoghi visitati dal personaggio prima di arrivare alle soglie della porta di san Pietro: la Valletta fiorita. Di questo luogo pre-edenico -quasi a se stante all’interno della geografía antipurgatoriale- analizzeremo la confuenza di messaggi sonori e musicali che conducono alla costruzione di uno spazio liturgico molto più elaborato di quelli finora attraversati dal protagonista del poema.
Czechoslovak Church has not yet been a subject of a detailed study. Recent research has dealt mostly with particular churches built by important Czech modernist architects (Gočár, Janák, Víšek) or ...with periods of development of church architecture in the Czechoslovak Church. This study presents concepts of the church community house and liturgical space in the work of Miroslav Kouřil, who was an important Czech avantgarde scenographer and church architect in the 1930s and 1940s. These concepts are interpreted within the context of continual church discussions on various issues related to church architecture in the Czechoslovak church. Particular attention is paid to the leading principles proposed by Kouřil as guidelines for building a liturgical space, namely the liturgical hall as a fundamental, unified and undivided space within the church community house; the centrality of the liturgical table; and the installation of the baptistery with living water.
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•Acoustical measurements were made in the cathedral, according to its liturgical uses.•The various parts of the cathedral have different acoustic characteristics.•Relationship between architectural, ...liturgical and aural spaces has been studied.•Acoustics of the spaces meet the aural needs of the participants in the liturgy.•The choir in Toledo Cathedral has excellent acoustic characteristics.
Throughout their history, cathedrals have been called on to host a vast number of different types of rites with varied and specific liturgical needs, each of which takes place in a specific architectural space. The acoustic study of this type of building cannot therefore be limited to the analysis of a single space, but requires an individualized analysis of the different areas used in each liturgical act. An extensive campaign of acoustic measurement has been made based on the relationship between architectural space and liturgical–functional aspects in Toledo Cathedral (Spain). The values of the main room acoustic parameters allow the delimitation, within the overall architectural space of the church, of acoustic spaces with clearly different acoustical characteristics which are generally particularly suited to their function.
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7.
Heritage conservation and tourism Lopes, Eunice R; Rego, Carla
International journal of scientific management and tourism,
2017, Volume:
3, Issue:
3
Journal Article
Open access
Much of the mobile heritage, and not only, found in religious space have different values, mainly religious and heritage value, which leads them to serve different audiences. But what distinguishes ...works of art exhibited in liturgical space and with cultic function, compared to those exhibited in a museum? For a better understanding, the preservation and conservation needs of the works exposed in religious spaces, the tourist enjoyment and the experiences of the public, who are obviously believers and, above all, tourists motivated by the cultural enjoyment of the works of art found there. As is well known, churches, places of worship, in particular hold a vast artistic, historical and cultural heritage which must be taken care of in the same way as the heritage of museums. The awareness of the need to preserve this heritage does not always exist, and the fact that they are goods with a worship function becomes an obstacle that distances the actions to be performed in a church of those that are practiced in museums. It is intended to explore the question of church collections, in the cultuous but also cultural sense in a register of tourist fruition, from the museological versus ecclesiastical contexts. Based on this premise, it is also the intention of this article to present cases where decision making has always been based on consideration, ethics and reflection, but above all on the needs of preservation and conservation of works of art in their relationship with audiences, in the context of visitation and tourist fruition. As a case study, we present the painting 16th century collection, from the church of S. João Baptista de Tomar - Portugal.
Muito do património móvel, e não só, que se encontra em espaço religioso possuem diferentes valências, principalmente, valor religioso e patrimonial, o que as leva a servir distintos públicos. Mas o que distingue as obras de arte expostas em espaço litúrgico e com função cultual, em relação às expostas num museu? Para melhor entendimento, tentar-se-á comparar e adequar, as necessidades de preservação e conservação das obras expostas em espaços religiosos, à fruição turística e às experiências dos públicos, que são obviamente os crentes e, principalmente, turistas motivados pela fruição cultural das obras de arte que aí se encontram. Como se sabe, as igrejas, locais de culto, em particular são detentoras de um vasto património artístico, histórico e cultural que deve ser cuidado à semelhança do património dos museus. A consciência da necessidade de preservação desse património nem sempre existe, e o facto de serem bens com uma função de culto torna-se um obstáculo que distancia as ações a realizar numa igreja daquelas que se praticam nos museus. Pretende-se explorar a questão das coleções das igrejas, no sentido cultual, mas também cultural num registo de fruição turística, a partir dos contextos museológicos versus eclesiástico. Partindo desta premissa, é ainda intuito deste artigo, apresentar casos onde a tomada de decisão se pautou sempre pela ponderação, ética e reflexão, mas sobretudo pelas necessidades de preservação e conservação das obras de arte na sua relação com os públicos, no contexto de visitação e fruição turística. Como caso de estudo apresenta-se a coleção de pintura Quinhentista, da igreja de S. João Baptista de Tomar – Portugal.
L'activité liturgique et commémorative dont l'abbatiale de Saint-Denis est le cadre a des effets sur sa configuration spatiale bien après l'achèvement de sa construction en 1281. L'adjonction de ...chapelles latérales au flanc nord de la nef, en 1320-1324, ou les créations et transferts d'autels recensés à la fin du Moyen Âge mettent en évidence le phénomène de pression liturgique qui s'exerce sur l'édifice en marge de ses fonctions principales, c'est-à-dire le culte de saint Denis et l'entretien de la mémoire royale. L’étude des chapellenies et services anniversaires fondés à ses autels entre 1108 et le début du XVIe siècle éclaire le réseau mémoriel qui se forme autour de l'abbaye au cours de cette période, mais aussi l'évolution de la politique des moines vis-à-vis des laïcs. À partir du deuxième quart du XIVe siècle, l'abbé et le chapitre cherchent à canaliser le flux dévotionnel des fondations, y compris royales, tandis que les prêtres de la collégiale Saint-Paul voisine et des paroisses de l'exemption dionysienne sont progressivement associés à leur desserte, formant avec les moines une même communauté. La lecture de la répartition des tâches au sein de l’abbatiale et de ses dépendances, qui vise à reconstituer une géographie de la mémoire à Saint-Denis, révèle l'existence d'espaces réservés et un contrôle strict de la destination des autels, notamment de ceux du chevet. Ainsi, la plupart des officiers claustraux de l'abbaye sont associés spécifiquement à l'un des autels à reliques des chapelles rayonnantes depuis, semble-t-il, l'abbatiat de Suger. Cette exclusivité d'usage ne semble pas repérable dans d'autres établissements comparables, apportant un nouvel exemple de l'unicité dionysienne.
The commemorative and liturgical functions of Saint-Denis influenced the abbey’s spatial configuration for centuries after construction of the core of the church ended in 1281. The addition of lateral chapels on the north side of the nave in 1320-1324, like the creation and movement of altars during the next two hundred years, resulted from the expansion of the abbey’s liturgical engagement beyond its primary responsibilities for the cult of Saint Denis and the commemoration of the kings of France. This study of the chaplaincies and anniversary services established between 1108 and the early sixteenth century casts light on the memory network that develops around the abbey during this period, but also the evolution of the abbey’s policies toward the laymen. From the second quarter of the 14th century onwards, the abbots and chapter try to control the foundations flow (including royal ones). Furthermore, the priests of the collegiate church of Saint-Paul located near the abbey as well as parishes enjoying Dyonisian immunity were gradually associated with services at the abbey’s chapels and thereby incorporated into the Dyonisian community. Focused on the services performed within the abbey church and the establishments immediately dependent on it, this study aims to reconstitute a geography of memory at Saint-Denis. It reveals that the services performed at the different altars were strictly controlled, particularly in the restricted area of the chevet. Therefore, apparently from the time of Abbot Suger, each claustral official of the abbey was generally associated with a specific altar in the radiating chapels. This exclusivity thus distinguished Saint-Denis from other similar establishments, providing yet another example of the uniqueness of the royal abbey.
Pitanje inkulturacije liturgije prisutno je u Crkvi od njezinih početaka. Tijekom povijesti odgovor na ovo pitanje bio je različit u raznim vremenskim razdobljima. Drugi vatikanski sabor ponovno je, ...potaknut osobito potrebama misijskih zemalja, otvorio mogućnost liturgijskoga prilagođavanja različitim krajevima i različitim kulturama (SC 37-40). Koncilski poticaj snažno se ostvaruje postkoncilskim djelovanjem i usmjeravanjem inkulturacijskih procesa dokumentima i izdanjima novih liturgijskih knjiga bilo tipskih bilo nacionalnih izdanja. Stoga se u prvom dijelu rad bavi iznošenjem stava Crkve jer se iz ovih dokumenata i izdanja može razumjeti što Crkva misli pod pojmom inkulturacije te koji su zahtjevi i prethodni uvjeti za liturgijsku inkulturaciju, potom koja su načela i pravila primjene za inkulturaciju u rimskom obredu te gdje su granice prilagodbi rimskog obreda.
U drugome dijelu rad pokušava odrediti doseg inkulturacije u Crkvi kod nas na nacionalnoj i riječkoj metropolitanskoj razini. Liturgijska inkulturacija na nacionalnom planu najviše je ostvarena prijevodom liturgijskih knjiga i vlastitim liturgijskim kalendarom te na području sakramentala. Na području sakramenata još postoje široke mogućnosti prilagođavanja. Biskupije na području metropolije svoje su posebnosti ograničile uglavnom na biskupijske kalendare, ali liturgijskih tekstova za ta posebna liturgijska slavlja jedva da ima.
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