San Jacopo in Campo Corbolini a Firenze. Percorsi storici dai Templari all’Ordine di Malta all’era moderna (original) (raw)
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A great theological and translational work of a Franciscan friar Fr. Klemen Velikonja (1752-1830) includes perhaps the oldest substantial patristic translation in the Slovenian language: Duhounu resloshenje tih psalmov v duhovni sastopnosti is Svetiga Avgushtina usetu v leitu MDCCXCVIII ukup spisanu. His work is very little known until nowadays, when we are starting to discover his translational approach and his own theological trace. There exist only his manuscripts and few copies (117, I d 75). The research examines his entire corpus, but concentrates on the philologically and theologically most interesting parts, especially from his translation of Enarrationes in Psalmos of Augustine. Apart of him, the work of Fr. Velikonja includes also translations of various other Latin patristic authors, such as: Gregory the Great, Jerome and Ambrose. Through the analysis of his translational approach, in comparison to the original texts, we can grasp some of his genuine philological and theological contribution to the tradition of Slovenian patristic translations.
The early medieval legend Translatio beati Grisogoni narrates how martyr Chrysogonus from Aquileia revealed himself to the citizens of Zadar as being put to rest in the old cemetery situated in the close vicinity of the city. Although it is historically hard to imagine that the relics, which were possibly translated to Zadar in the 7th century, would have been deposed outside the city walls at the time, the legend enriched the local hagiography with the narrative which played an important role in the subsequent centuries (to be almost forgotten in the Early Modern period). Translatio beati Grisogoni not only contains valuable “historical” material datable to early medieval centuries, but it is a relevant source for the research in the ‘memory making’ conducted by the Benedictine community of St Chrysogonus. Preserved through its liturgical usage in the powerful Iadertine abbey, Translatio beati Grisogoni had an important place in the life of both the monastery and the city during the Middle Ages. The paper addresses the problem of the location of the inventio of St Chrysogonus and its importance for the ‘making’ of the local memory of St Chrysogonus in medieval Zadar. Textual hints about its possible location (place Iadera Vetula understood to be in the vicinity of Zadar at the spot of the antique graveyard), are thus compared with the descriptions of the particular land-plots donated to the monastery during the 11th century. Building on author's previous research of the topic, the paper focuses on the relation between the local hagiography of St Chrysogonus and the set of documents attesting possible continuous interest of the Benedictine community in acquiring particular land-plots around the important sacred lieu de mémoire.
Ars Adriatica, 2021
This paper focuses on the representation of St Jerome in the Zadar Polyptych, painted by Vittore Carpaccio around 1496 and commissioned by Martin Mladošić. Approaching it as a commission and offering made by a pious canon of Zadar’s cathedral church, the scene has been analyzed in the context of spiritual changes that occurred during this period, through the prism of personal and Christocentric piety. This paper brings new interpretations of the depiction, seeing it as an expression of the commissioner’s meditative vision, to whom the saint served as a model of pious Chris- tian life and the embodiment of the imitatio Christi ideal. Even though St Jerome was already venerated as a patron saint of Dalmatia, this paper underlines the self-identification of the Zadar canon with the saint, expressed through moral and spiritual virtues, as the main motivation behind the commission. Interpreting the work as an expression of the popular Renaissance cult of St Jerome during the Late Middle Ages and the beginning of the Early Modern Period, it emphasizes the involvement of Zadar’s cultural circle in the pan-European spiritual, artistic, intellectual, and cultural currents of the era. Ovaj rad se bavi poznatim djelom renesansnog slikarstva, Zadarskim poliptihom kojeg je venecijanski slikar Vittore Carpaccio naslikao oko 1496. godine za kanonika zadarske katedrale, Martina Mladošića. U dosadašnjoj literaturi, poliptih je razmatran uveliko, pretežno u kontekstu razvoja Carpacciovog slikarstva. Ovaj rad djelu pristupa iz druge perspektive, stavljajući naglasak na samog naručitelja, kojeg je Carpaccio i ovjekovječio portretirajući ga na središnjem panelu gornjeg registra, u društvu sv. Jeronima. Upravo je ovaj prikaz u fokusu ove rasprave. Pristupajući mu kao narudžbi i zavjetu pobožnog kanonika, prikaz se analizira u kontekstu duhovnih promjena tog vremena, kroz prizmu osobne, ali i popularne kristocentrične pobožnosti. Prikaz se tumači kao likovni izraz naručiteljeve meditativne vizije, kojem je svetac služio kao uzor pobožnog kršćanskog života i utjelovljenje ideala imitatio Christi, te se poistovjećivanje sa svecem kroz moralne i duhovne vrline ističe kao glavni razlog narudžbe. Tumačenjem djela kao izraza popularnog renesansnog kulta sv. Jeronima tijekom kasnog srednjeg i početkom ranog novog vijeka, naglašava se uključenost zadarskog kulturnog kruga u paneuropska duhovna, umjetnička, intelektualna i kulturna strujanja onog vremena.
Confraternities in the Slovenian Lands and their Significance for Baroque Slovenian Literature
Acta historiae artis Slovenica
Throughout her career, our esteemed and now retired colleague Dr. Lavrič published fundamental studies about the role of religious confraternities as patrons of art. 1 Based on her own distinguished scholarship and the large amount of archival material that still requires examination, she realized that it would be prudent to open up her investigation to a group of scholars, whom she included in the project. She also invited the Faculty of Theology at the University of Ljubljana to participate, understanding from the outset the necessity of interdisciplinary collaboration and the seamless integration of art history with history and theology. Ana Lavrič's many years of meticulous archival work introduced to Slovenia an almost unexamined field to which she contributed groundbreaking studies. 2 Furthermore, she encouraged
Colloquia Maruliana, 2010
The paper offers an introduction to Marcus Marulus and his Latin Bible from his library – in the cultural-historical context of contemporary libraries. Marulus always remained a man of books and was very much part of the European »book culture« of the Renaissance and of the Devotio Moderna. The books of his library reveal part of his soul. The paper is guided by the question: What do we know about Marulus’ library; especially about the Bibles and the books on theology broadly defined which Marulus himself classified as books of »church writers« (Ecclesiastici)? One may call them books of »theology for piety« (Frommigkeitstheologie). Of equal interest is what Marulus library did not contain. The second part of the paper focuses primarily on the four volumes of his Biblia Latina of 1489. Thirty pages show illustrations, mostly in the three Old Testament volumes. The paper concentrates on his marginalia in the form of his drawings of Eucharistic symbols, »crosses on socles«, »little ha...
SCRIPTA JUDAICA CRACOVIENSIA * Vol. 8
2016
The present article deals with the problem of the presumably Hebrew inscription on the coronation sword of Polish kings, known as the “Szczerbiec”. Our objective is not to recall or reconstruct the complexity of its history. It is rather to expose some elements of the sword’s bizarre haps and mishaps, as far as they may cast some light on the emer-gence of the inscription and its meaning. The main purpose of our attempt is to present one possible consistent reading of the inscription, taking into account some historical and linguistic data. Our proposal draws from some previous reconstructions, both past and current. Finally, however, we hope to offer an original interpretation of the inscrip-tion. Traditionally it is argued that the sword, the very same one that is displayed in the Wawel Museum, was used in the Middle Ages as a ceremonial sword. Its history is exceptionally complex, and scholars differ considerably, and some extremely in their opinions about it. Different aspects o...