Članak govori o izgradnji i opremanju župne crkve Duha Svetoga u Lonji, mjestu smještenom uz rijeku Savu, između Siska i Jasenovca. Crkva je sagrađena 1878. – 1880. i primjer je takozvanog ...Rundbogenstila u arhitekturi. U nju su 1883. godine postavljeni dijelovi drvenih oltara svetog Ladislava i Blažene Djevice Marije iz zagrebačke katedrale. Novu reprezentativnu kasnohistoricističku opremu i oslik crkva je dobila između 1908. i 1921. godine.
The parish church of the Holy Spirit in Lonja, a municipality located along the Sava River, between Sisak and Jasenovac, is a valuable monument of historicism and a generally important piece of the Croatian art of the nineteenth and early twentieth centuries. Its architecture is an example of the high-quality sacral construction of Vojna Krajina (Croatian Military Border) in the 1870s. At the same time, its well-preserved furnishing, which was mostly made by various Croatian companies, is an example of the historicistic tendency towards rich colors and decoration. The church was built in the period between 1878 and 1880, primarily due to the efforts of the local Gradiška Border Regiment, so it can be assumed that the project for it was created within one of the institutions of the Military Border. With its architectural and stylistic design (it is an example of the so-called Rundbogen style), it is related to numerous sacral buildings erected in Croatia during the 1860s and 1870s. Due to the circumstances after the completion of the construction, there were not enough funds for completely new furnishing, this building was partly furnished with objects from the old wooden parish church. In addition, in 1883, some parts of the wooden altars of St. Ladislaus and the Blessed Virgin Mary originally from the Zagreb Cathedral were placed in it. These altars were built at the end of the seventeenth century. At the beginning of the 1880s, the Zagreb Cathedral was being restored, so a large part of its baroque equipment was thrown out to highlight the Gothic architecture of its renovation to a greater extent. The new lavish late historicist interior of the church in Lonja was finally completed between 1908 and 1921 when, among other things, a new pulpit, new confessionals, and stained-glass windows were acquired. Furthermore, the painting of the church walls was entrusted to the painter Rikard Rojnik in 1910-1911, while the new altars were completed by the Zagreb craftsman Josip Kaplan. The side altars of St. Anne and St. Anthony of Padua were installed in 1917, and the main altar was probably installed in 1921. At that time, parts of the old altars, from the Zagreb Cathedral, were returned to Zagreb and then placed in various Zagreb museums, where they are still today. The church in Lonja was heavily damaged in the Croatian War of Independence - during shelling in the fall of 1991: the cap of the tower was set on fire, the fire spread to the interior, and destroyed the wooden chancel with the organ as well as the paintings in the entrance area of the church. After the shelling, the roof leaked for some time, which led to the appearance of moisture and other damage to the vaults and walls. It was repaired at the end of the 1990s. Due to the great depopulation of the settlement, the church is being used less and less, which contributes to its further neglect. The building was additionally damaged in the earthquake that hit central Croatia on December 29, 2020, and it is currently in the process of renovation. Despite these damages, the parish church in Lonja represents a small historicistic Gesamtkunstwerk.
Perhaps paradoxically, of all medieval churches in Europe, those that became Lutheran during the sixteenth-century Protestant Reformation possess the greatest wealth of medieval interior elements. ...Compared to Puritan Britain and the Calvinist Low Countries, Lutheran churches were not as thoroughly stripped of their medieval furnishings, while on the other hand Baroque renewals were much less far-reaching here than in Catholic regions. Although Lutheranism in general exerted a preserving effect on medieval church interiors, there are important differences between regions, both within Germany and between Germany and Scandinavia (here to be understood as “the Nordic countries”, i.e. including Finland and Iceland). This article makes a first attempt towards a comparison of the survival rates of medieval church furnishings in Lutheran Germany and the European North. Both regions are more or less on a par with regard to several specific elements including high altars and their decorations, triumphal arch crosses and baptismal fonts. However, other elements, such as tabernacles, choir stalls, chancel screens, pulpits and side altars are much more often preserved in Germany than in Scandinavia. It may be concluded, therefore, that the Reformation generally had further-reaching implications on the material culture of Nordic church buildings than on German ones.
The study includes picture sources and written records to fully discuss the history of ecclesiastical interiors as well as the stylistic development of the furnishings in the early modern period. In ...addition, the study explores aspects relating to the social and economic history.
Ausgehend von Bildquellen und schriftlichen Überlieferungen erörtert das Werk die Geschichte sakraler Interieurs und die stilistische Entwicklung des Mobiliars in der Frühen Neuzeit. Darüber hinaus werden wirtschafts- und sozialgeschichtliche Aspekte beleuchtet.
The study includes picture sources and written records to fully discuss the history of ecclesiastical interiors as well as the stylistic development of the furnishings in the early modern period. In ...addition, the study explores aspects relating to the social and economic history.
The study includes picture sources and written records to fully discuss the history of ecclesiastical interiors as well as the stylistic development of the furnishings in the early modern period. In ...addition, the study explores aspects relating to the social and economic history.
Ausgehend von Bildquellen und schriftlichen Überlieferungen erörtert das Werk die Geschichte sakraler Interieurs und die stilistische Entwicklung des Mobiliars in der Frühen Neuzeit. Darüber hinaus werden wirtschafts- und sozialgeschichtliche Aspekte beleuchtet.
The study includes picture sources and written records to fully discuss the history of ecclesiastical interiors as well as the stylistic development of the furnishings in the early modern period. In ...addition, the study explores aspects relating to the social and economic history.
Ausgehend von Bildquellen und schriftlichen Überlieferungen erörtert das Werk die Geschichte sakraler Interieurs und die stilistische Entwicklung des Mobiliars in der Frühen Neuzeit. Darüber hinaus werden wirtschafts- und sozialgeschichtliche Aspekte beleuchtet.
Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic ...enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.
A hassock is not only a cushion for kneeling on in church, but also a tuft of sedge or brushwood. The relationship between the two senses is explored. Further similarly ambiguous expressions leave us ...in little doubt that church hassocks, well designed and decorative though they now tend to be, were at one time more or less rudely fashioned from whatever suitable local vegetation came to hand.
L’apparition d’un mouvement Haute-Église dans l’Église d’Angleterre dans la seconde décennie du XVIIe siècle eut pour résultat la confrontation entre l’ancien établissement calviniste et les tenants ...d’une théologie plus libérale, qui introduisaient aussi une liturgie plus élaborée dans les cérémonies de l’Église. Ce nouveau mouvement (parfois appelé Laudien parce que dans la décennie 1630 l’archevêque William Laud fut à sa tête) encouragea le retour vers l’Église des arts religieux après maintes décennies d’hostilité aux images et à la décoration. Dans cet article est étudiée la manière dont les arts furent utilisés par les hommes associés au mouvement laudien pour imposer leur idéal de culte dans leurs églises et chapelles. De nouvelles formes d’architecture, de peinture, de vitraux, de sculpture, de sculpture sur bois et de broderie furent introduites dans l’Église d’Angleterre pour la première fois depuis la Réforme. Une musique nouvelle fut composée pour les cérémonies plus compliquées qui avaient alors lieu.
La renaissance des arts religieux et la restauration des églises furent bien accueillies par ceux qui désiraient une forme de culte plus riche, plus anglo-catholique en Angleterre, mais elles furent détestées par ceux qui voyaient en ces innovations l’œuvre d’un régime d’oppression et d’autorité qui minait la Réforme et corrompait la religion simple que tant d’Anglaises et d’Anglais aimaient. Cet article donnera un court aperçu de la manière dont les arts religieux furent utilisés pour essayer d’imposer une idéologie nouvelle à l’Église d’Angleterre, et de modifier le caractère du culte. Sont indiqués quelques-uns des moyens par lesquels les opposants résistèrent à cette affirmation d’une nouvelle sorte d’autorité et finalement la rejetèrent.
Parry Graham. Art and Authority in the Time of Archbishop Laud. In: Anglophonia/Caliban, n°17, 2005. Protestantisme(s) et autorité / Protestantism and authority. pp. 217-221.
PDF
