Site of a Christian city and pilgrimage centre in the Maryūt Desert, c. 45 km south-west of Alexandria, Egypt. It grew up around the shrine of St Menas, who was martyred during the persecution of the Christians instigated by Diocletian (reg 285–305). The ancient name of the site is not known, and the position of the saint’s grave had been long forgotten until, according to legend, several miracle cures led to its rediscovery. The place then quickly developed into an increasingly major centre of pilgrimage where, among other things, the so-called Menas ampules were manufactured as pilgrim flasks and achieved particular renown. The first excavations of the site were undertaken by Kaufmann in 1905–7. Further excavations have been directed successively by the Coptic Museum in Cairo (1951), Schläger (1963 and 1964), Wolfgang Müller-Wiener (1965–7) and Peter Grossmann (since 1969).
The earliest archaeological remains date to the late 4th century, although the grave itself was in an older hypogeum. The first martyrium basilica erected over the grave dates to the first half of the 5th century and was rapidly enlarged by various reconstructions and extensions. Around the turn of the 5th and 6th centuries, the Great Basilica was added to the east in the form of a transept-basilica, making it the largest church in Egypt (...
Benedictine abbey on the River Enns in Styria, Austria. It was founded in the mid-11th century by Bishop Gebhard from Salzburg, endowed by St Henna von Gurk, Gräfin von Friessach (d 1045), and settled by Benedictine monks from St Peter’s, Salzburg under Abbot Isingrin. The Romanesque minster (consecrated 1074), which was dedicated to St Blaise, was famous for its marble columns and was rebuilt after a fire in 1152; a Gothic choir was added in 1276–86. The present church incorporates Romanesque side doors as well as other fragments. The abbey became an important cultural centre with a renowned scriptorium. Amongst the many famous scholars there was Abbot Engelbert of Admont (reg 1297–1327). From 1121 to the 16th century a convent was attached to the abbey. Under the abbots Mathias Preininger (reg 1615–28) and Urban Weber (reg 1628–59) the whole establishment was transformed in the Baroque style, and the church was rebuilt (...
(b Winchester, c.
Aethelwold’s career began at the court of King Athelstan (reg 924–39). After ordination he joined Dunstan’s reformed monastic community at Glastonbury. About 954 he established his own monastic house at Abingdon. According to later tradition, he was a skilled worker in metals and personally contributed to the embellishment of the abbey church. Appointed Bishop of Winchester in 963, he introduced reformed communities into both Old and New Minsters and established a regular monastic life in several other centres, notably Ely, Peterborough and Thorney. He was an enthusiastic patron: the masterpiece of the Winchester School of illumination, the ...
Lucy Der Manuelian
Island on Lake Van in south-eastern Turkey. It is the site of the church of the Holy Cross (Sourb Khatch), which was built in
According to information in a text of the late 18th century or early 19th and an inscription on the building’s façade now hidden by a gavit’ or assembly hall (1793; see Armenia, Republic of, §II), the church was built by the King’s Armenian architect Manuel (Lalayan, 1910). An anonymous continuator of the 10th-century ...
Site of an obscure Early Christian settlement formerly known as Kilclispeen (St Crispin’s Church) in Co. Tipperary, Ireland. The only remains are two outstanding stone crosses and the base of a third (c. 750–900), which are situated in a graveyard below the village. The crosses belong to a well-defined regional group and were constructed of three characteristic elements: a square base with sloping sides, a shaft with an unusually wide ring and a peculiar, rather ill-fitting, conical cap (the latter missing on the south cross). With its capstone, the north cross measures 3.7 m in height. The form of the Ahenny crosses is emphasized by a bold cable ornament along the outer contours. Projecting from the main faces are sculpted bosses, the most prominent feature of the ‘Ahenny school’. The ring and shaft of the crosses are covered with dense patterns of carved ornament, including interlace, spirals, frets, entangled beasts and interlocking men. Much of this decoration can be compared with the metalwork and manuscript illumination of the period, and it appears that the sculptors were in effect transposing altar or processional crosses into stone. With the addition of pigment, the analogy with metalwork would have been complete. In contrast to the shafts and rings, the bases bear figure sculpture in low relief. That on the north cross is best preserved and represents Adam and Eve with the animals in the Garden of Eden, a chariot procession (a theme repeated on other Irish crosses), seven ecclesiastics (possibly symbolizing Christ’s mission to the Apostles) and an enigmatic funeral procession with a headless corpse....
Early Christian monastery on the southern slopes of the Taurus Mountains in Isauria, part of the Roman province of Cilicia in south-western Turkey. It is some 300 m above the main road between Silifke (anc. Seleucia) and Konya (anc. Iconium), 21 km north of Mut (anc. Claudiopolis). From two funerary inscriptions, pottery and coins, the monastery may be securely dated to the reigns of two Isaurian emperors, Leo (reg
The monastery was originally founded in a series of caves in a limestone outcrop at the west end of a narrow mountain ledge. The largest of these caves contained two rock-cut churches. The ledge was later enlarged by quarrying to the north and by the construction of a retaining wall to the south. The earliest building, immediately to the east of the caves, was the three-aisled Basilica. It was originally lavishly decorated, both inside and out, with architectural sculpture in a flowing naturalistic style, including plant forms, birds and fishes; figures occur only on the jambs and lintel of the main doorway between the narthex and the central aisle. On the west side of the lintel is a head of Christ set in a circle supported by angels, and at each end of the lintel and on the doorposts are four busts in high relief, possibly of the Evangelists. On the inner faces of the jambs are full-length figures of the archangels Michael and Gabriel in flat relief, while on the underside of the lintel is a remarkable relief of the four ...
(b Dec 12, 1479; d ?Bologna, c. April 1552).
Italian historian, topographer, writer and patron. He was a friar and first entered the Dominican Order at Forlì but was in Bologna from 1495 and was officially transferred to the monastery there in 1500. Alberti received an extensive grounding in humanist studies under the Bolognese rhetorician Giovanni Garzoni. After acting as companion to the head of the order, Tomaso de Vio Cajetan, Alberti was made Provinciale di Terra Santa in Rome in 1520. This included the role of travelling companion to Tomaso’s successor, Fra Silvestri da Ferrara (‘il Ferrariense’). His travels with Silvestri throughout Italy, including the islands, laid the foundations for his most important work, the Descrittione di tutta l’Italia (1550), modelled on the Italia illustrata of Flavio Biondo. It was reprinted many times: the Venice edition of 1561 was the first to include Alberti’s sections on the islands of Italy, which were not covered by Biondo; the Venice edition of ...
Lucília Verdelho da Costa
Cistercian abbey in Portugal. The abbey, dedicated to S Maria, was founded as part of the policy of repopulation and territorial improvement of the first king of Portugal, Alfonso I (reg 1139–85), who in 1152 granted a large area of land to St Bernard of Clairvaux by a charter known as the Carta dos Coutos (Lisbon, Arquiv. N.). Work on the monastery started in 1158 and adhered to the rigid precepts of the Order. Although the exterior was extended and altered in the 17th and 18th centuries, especially the Baroque façade of the church, the interior essentially preserves its original Early Gothic appearance.W. Beckford: Recollections of an Excursion to the Monasteries of Alcobaça and Batalha (London, 1835/R 1972) M. V. Natividade: Ignez de Castro e Pedro o Cru perante a iconografia dos seus túmulos (Lisbon, 1910) E. Korrodi: Alcobaça: Estudo histórico, arqueológico e artístico da Real Abadia de Alcobaça...
[Fr. postautel, retable; Ger. Altar, Altaraufsatz, Altarbild, Altarretabel, Altarrückwand, Retabel; It. ancona, dossale, pala (d’altare); Sp. retablo]
An image-bearing structure set on the rear part of the altar (see Altar, §II), abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. It is also sometimes called a retable, following the medieval term retrotabulum [retabulum, retrotabularium].
The altarpiece was never officially prescribed by the Church, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the altar was dedicated. In fact, the altarpiece did more than merely identify the altar; its form and content evoked the mystery or personage whose cult was celebrated at the altar. This original and lasting function influenced the many forms taken by the altarpiece throughout its history. Since the altarpiece was not prescribed by the Church, its form varied enormously. For this reason, it is often impossible, and historically inaccurate, to draw neat distinctions between the altarpiece and other elements occasionally associated with the altar apparatus. For example, movable statues, often of the Virgin and Child, were occasionally placed on altars according to ritual needs, and at those times fulfilled the function of the altarpiece....
Term applied to medieval ecclesiastical architecture and referring to the deliberate use of differing pier forms in an arcade. Alternation is found in aisled churches throughout western Europe from the 11th to the 14th century. Its purpose is to articulate internal elevations through the subdivision of the main arcades and in some instances to emphasize certain liturgically important areas. In its simplest form the alternating system consists of the use of both the column (cylindrical) and the pier (square or rectangular in section). In antiquity these two types of support had specific functions that were almost always observed: the column supported the horizontal entablature and the pier supported the arch. By the Middle Ages this rule had been abandoned, and both types of support were used for arcades.
The earliest examples of alternation occur in the eastern Roman Empire during the 5th and 6th centuries
Marchita Bradford Mauck
A raised platform for reading and preaching. The term first appears in the Canons of Laodicea (late 4th century
The extension of the aisles around the sanctuary of a major aisled church to form a passage or walkway. The ambulatory is found throughout western Europe, especially in France, and was particularly popular between the 11th and 13th centuries. It is often provided with radiating chapels that project from its exterior face. Its function was to provide separate access to the radiating chapels and perhaps originally to facilitate the circulation of pilgrims past relics. The ambulatory with radiating chapels was an important innovation of the Romanesque period and is a particularly potent illustration of the style’s preoccupation with the articulation of structure (see Romanesque, §II).
The origins of the ambulatory are found in Carolingian outer crypts (see Crypt). A good example from England is the simple, barrel-vaulted corridor that runs around the apse at All Saints’, Brixworth (Northants), probably built during the 9th century (for illustration ...
(b Florence, before March 12, 1446; d Lucca, 1496).
Italian painter and illuminator. He was a Camaldolite monk; his appointment, from 1470, as Abbot of Agnano, Arezzo, and Val di Castro, Fabriano, was disputed, since he never resided at either abbey. His work is known from a signed triptych of the Virgin and Child Enthroned with Saints (1460–67) in SS Martino e Bartolomeo at Tifi, Arezzo (in situ). It shows the influence of the most fashionable Florentine artists of the time, such as Neri di Bicci, and such artists from the Marches as Giovanni Boccati and Gerolamo di Giovanni da Camerino. The most noteworthy aspect of the altarpiece, however, is its chromatic quality. This undoubtedly derives from the work of Piero della Francesca and has made it possible to identify Amedei as the collaborator to whom Piero entrusted the small predella scenes and pilaster figures of the polyptych of the Misericordia (Sansepolcro, Pin.), a work that can be dated by the final payments made in ...
(b 1843; d 1901).
Norwegian silversmith. Founder of the Oslo company of silversmiths now known as David-Andersen. In 1876 Andersen established a workshop and retail shop in Christiania (Oslo). His early work, mostly in 830 silver, uses traditional Nordic motifs. David’s son Arthur (1875–1970), who became the principal designer for the firm and inherited it in ...
Former Benedictine convent of nuns, dedicated to St Saviour, in Alsace, France. Founded in the 9th century, it was suppressed at the Revolution in 1789. The west tower and the nave with tribunes were rebuilt in the 17th century, but the crypt and western block survive and contain important Romanesque remains. The sculptural decoration, executed in sandstone from the Vosges, is concentrated on the façade block.
The finest work is found on the portal, which is abundantly decorated with low-relief sculpture. The door-frame belongs to the 11th-century church, but the sculptures are contemporary with the construction of the westwork in 1140. Their iconography is linked to the theme of paradise, a term used in medieval times to denote both the parvis in front of a church and the entrance porch. Standing out in the centre of the tympanum, Christ confers a key on St Peter and a book on St Paul. The scene takes place in a celestial garden, reminiscent of Early Christian decorative backgrounds, but here the trees are emphasized and the traditional scheme is combined with other allegorical subjects: the climbing of a heavenly tree and bird-hunting. On the lintel is the story of Adam and Eve, from the Creation of Eve to the Expulsion. The Lamentation of Adam and Eve, represented on the extreme right, is exceptional in the region and is derived from Byzantine iconography. Each of the pilasters flanking the jambs bears five superimposed niches, sheltering Abbey benefactors and their spouses, designated by name. The lowest niches are supported by atlas figures. Over the porch arch are three groups in high relief: the keystone bears Christ treading a dragon under his feet, flanked by Samson opening the lion’s mouth (right) and David victorious over Goliath (left)....
Carl D. Sheppard
Town in Elis, Greece, 55 km south-west of Patras. As Andreville it was the unfortified capital of the Frankish principality of the Morea from the 13th to the 15th century. Andravida, the strongly fortified port of Clarence (modern Killini), and Chlemoutsi Castle formed a triangle at the north-western tip of the Peloponnese designed to control the hinterland and the sea lanes. The only physical evidence of the Franks at Andravida are the remains of the Roman Catholic Cathedral of Hagia Sophia, in which Prince Geoffrey Villehardouin I and his barons met to determine policy and justice.
The cathedral is the only surviving example of a rib-vaulted Gothic church in Greece. The extant remains consist of three square-ended eastern chapels and the foundations of a nave of at least ten bays. There was no transept. The building was of sandstone, with re-used ancient granite columns in the nave. The first building campaign started during the reign of Prince Geoffrey Villehardouin I (...
(b Paris, 1662; d Paris, April 14, 1753).
French ecclesiastic and painter. He entered the Dominican Order at the age of 17. He may have begun his artistic training only in 1687, when he was given leave to travel to Rome; he seems to have spent several years there. According to tradition, it was Carlo Maratti’s painting that most influenced him; however, the classical stylistic elements in André’s paintings would seem to reflect the general influence of contemporary Roman and French art, rather than that of any particular artist. Apart from a few portraits, such as his Self-portrait with Rosary (after 1731; Paris, Louvre), André painted works with an exclusively religious content. Many of his surviving monumental paintings may be seen in churches in Lyon and Bordeaux, as well as in several in Paris, for instance the Supper at Emmaus (1741) in St Nicolas du Chardonnet, St Dominic Expounding the Rules of the Order (1738...