This article is from a series by the invaluable William Brumfield, (Wikipedia), Professor of Slavic Studies at Tulane University, New Orleans, USA.
Brumfield is the world’s leading historian of Russian architecture. He makes frequent trips to Russia, often to her remote regions, and records the most unusual examples of surviving architecture with detailed, professional photography.
His most recent book is a real treasure, Architecture At The End Of The Earth, Photographing The Russian North (2015). (Amazon). This truly beautiful book was made possible by the support of a US philanthropist, and its true cost is 3 times its retail price, and we can’t recommend it highly enough. Here is our 2015 review of it.
Bravo to RBTH for making Brumfield’s work possible, and providing such a great platform for his beautiful photography. We recommend visiting the RBTH page, which has a slide show for each article with many more pictures than we can fit in here.
Don’t believe in miracles? Well, we can assure you, Brumfield’s work is undoubtedly just that. You can find a complete list of his articles on RI here.
The original title of this article was: Divine Wisdom in Novgorod the Great
The city of Novgorod, officially referred to since 1999 as “Novgorod the Great” (Veliky Novgorod), is a magnificent repository of medieval Russian art, with more than 50 churches and monasteries extending from the 11th through the 17th centuries. In 1992, this wealth of historic monuments — centered on the Novgorod kremlin — was honored with inclusion in the UNESCO World Heritage list.
Medieval chronicles first mention Novgorod between 860 and 862, when the eastern Slavs summoned the Varangian leader Rurik to assume control of their affairs. Although the Rurikovich rulers transferred power to Kiev at the end of the 9th century, Novgorod continued to exercise control over a vast area of northern Rus.
In 989, following the official acceptance of Christianity in the domains of Grand Prince Vladimir of Kiev, Novgorod was visited by Vladimir’s ecclesiastical emissary, Bishop Joachim of Kherson. The bishop overturned pagan idols into the Volkhov River and commissioned the first stone church, dedicated to Sts. Joachim and Anna, as well as a wooden Church of St. Sophia, with 13 “tops,” or domes.
The political history of Novgorod was far from calm. The city not only frequently challenged its leaders, including Rurik, but also participated in the princely feuds that wracked the Kievan state. Nevertheless, Novgorod prospered during the 11th and 12th centuries as part of the Dnieper trade route from the Baltic to the Black Sea. With its mercantile wealth, the city had the means to create a citadel and an imposing architectural ensemble of churches.snimok_ekrana_2016-08-24_v_18.18.27.png
The Volkhov River, which separated the city into the Trading Side and the Sophia Side (after the Cathedral of St. Sophia), provided an essential link for trade and exploration within a network of waterways that led in every direction. The extent of this commercial activity produced literate citizens independent of Kiev and its representative in Novgorod, who was usually the brother or son of the Kievan grand prince.
The oldest surviving and most imposing monument in the city is the Cathedral of St. Sophia (Divine Wisdom), built between 1045 and 1050 and located in the kremlin, on the west bank of the Volkhov River. The cathedral was commissioned by the prince of Novgorod, Vladimir Yaroslavich, as well as by his father, Grand Prince Yaroslav the Wise, and by Archbishop Luke of Novgorod.
It is fitting that Yaroslav, whose own Sophia Cathedral in Kiev was entering its final construction phase at this time, should have played a role in the creation of the Novgorod St. Sophia. Novgorod that had been the base of his power during the reign of his father, Grand Prince Vladimir of Kiev.
With the building of large masonry cathedrals dedicated to the Divine Wisdom in both Kiev and Novgorod, Yaroslav rendered homage to one of the most sacred mysteries of the Orthodox Church, and established a symbolic link between the two major cities of his realm and Constantinople.
In addition Yaroslav’s participation would have been essential from a practical point of view. Masonry construction was rare in Novgorod before the middle of the 11th century, and a cathedral of such size and complexity could only have been constructed under the supervision of experienced builders.
The builders applied a method of placing blocks of local rough gray limestone within a mortar of crushed brick and lime that imparted a pink hue to the coarsely textured façades. Narrow plinthos brick was used for the interior arches and vaulting, as well as for other segments that required structural precision. Stucco was first applied only in the interior, which was then covered with frescoes painted by local and foreign masters from Greece and the Balkans.
On the exterior the cathedral walls presented a highly textured appearance, even after cladding with mortar to reduce the unevenness of the surface. The earliest reference to the application of whitewash to the walls appears in the Novgorod chronicle under the year 1151.
The Novgorod cathedral included enclosed galleries attached to the north, west, and south facades. Originally intended to be only one story, the galleries evolved during the building of the cathedral into an integral part of the structure on both levels. The north and south galleries contain chapels on the ground level, and the west gallery includes a round stair tower that leads to the upper gallery levels, including the choir gallery in the main structure.
The facade above the west portal displays fragments of a medieval fresco depicting the Old Testament Trinity. The portal itself contains the bronze Magdeburg Doors, produced in Magdeburg in the 1050s and taken as loot from the Varangian fortress of Sigtuna by Novgorod raiders in 1117.
The culminating point of the Novgorod St. Sophia Cathedral is its ensemble of cupolas, whose original form would have had a lower pitch than the helmet-shaped domes now in place. The design is one of the most impressive moments in medieval Russian architecture. The dome over the central crossing predominates in height and diameter, yet the four subsidiary domes are so closely placed as to appear part of one perfectly devised whole. The structure itself provides an admirable base for the domes, with its lack of surface decoration and only the simplest of architectural details.
The emphasis on height is maintained in the interior, where the piers of the main aisles soar directly to the barrel ceiling vaults. Novgorod chronicles indicate that the interior was painted with frescoes over a period of several decades. According to the Third Novgorod chronicle, soon after the completion of construction, “icon painters from Tsargrad (Constantinople)” painted Christ with his hand raised in blessing (probably an image of the Pantocrator in the central dome) and other representations of the Savior. Fragments of the 11th-century work, including full-length paintings of Emperor Constantine and Elena, have been uncovered, as well as early 12th-century frescoes.
Most of the original painting of the interior has vanished under centuries of renovations. (The current frescoes date primarily from the 19th century.) The Novgorod cathedral lacked the elaborate mosaics characteristic of major churches in Kiev before the mid-12th century, yet there was decorative mosaic work on the floor and in the altar space.
The St. Sophia Cathedral is surrounded by an array of historic monuments that include the massive Cathedral Bell Gable (15th-18th centuries), the Clock Tower (now dated to the 1670s) and the Archbishop’s Chambers — also known as the Faceted Chambers, originally built in the 1430s and substantially rebuilt in the 19th century. The fortress walls and towers have been maintained and restored to a 15th-century appearance, although some of the towers date to the late 13th century.
Facing the St. Sophia Cathedral to the south is the gargantuan bell monument known as the “Millennium of Russia.” Designed by the sculptor Mikhail Mikeshin and others, the monument was unveiled in 1862 to honor the millennium of the founding of dynastic authority among the ancient Rus.
At the top of the monument is a massive bronze globe surmounted by an angel holding a cross. Around the sphere are six statuary groups signifying defining moments in the history of Russian statehood, from Riurik, founder of the first dynasty, to Peter the Great, founder of the Russian Empire. At the bottom of the bell are scenes with exemplary figures from spiritual, cultural, state and military service. A notable omission is Tsar Ivan the Terrible, who sacked Novgorod and killed many of its inhabitants in 1570.
Census 2022 – what difference does it make?
Next Sunday, April 3rd, is Census night. Millions of people in homes countrywide will fill in page after page of questions, some of which are deeply personal and many of which might be unfamiliar.
But what it is it all about?
At a basic level, Census 2022 will be used to inform planning of public policy and services in the years ahead, according to the Central Statistics Office.
The questions will cover a range of environmental, employment and lifestyle issues, including the use of renewable energy sources in homes.
The questions will help inform policy development in the areas of energy and climate action, and the prevalence of internet access, to understand the availability of and need for internet connections and range of devices used to access the internet.
Questions also focus on changes in work patterns and will include the trend of working from home and childcare issues, while questions are also asked about the times individuals usually leave work, education or childcare, to help identify and plan for transport pattern needs locally and nationally.
Other topics covered include volunteering and the type of organisations volunteers choose to support, tobacco usage and the prevalence of smoke alarms in the home.
And of course there is a time capsule – the chance to write something which will be sealed for the next 100 years.
Oscars 2022: Will Smith makes Oscar history after slapping Chris Rock over joke about wife Jada Pinkett Smith | Culture
Will Smith took the Oscar for Best Actor at last night’s 94th Academy Awards, but he also became the protagonist of the ceremony for other reasons. The night was following the script, until Smith slapped comedian Chris Rock on the stage after the latter made a joke about the shaved head of the former’s wife, Jada Pinkett Smith. Rock had quipped that he was “looking forward to GI Jane 2,” in reference to her look. Pinkett Smith has revealed publicly that she has alopecia. It looked as if the moment had been planned, until Smith went back to his seat and shouted: “Get my wife’s name out of your fucking mouth.”
The moment, which immediately became Oscar history but for all the wrong reasons, left the attendees with frozen smiles, and asking themselves whether it was possible that a veteran such as Smith could have lost his cool in front of tens of millions of people. After taking the prize for Best Actor, the superstar actor made a tearful apology, saying that he hoped the Academy “will invite me back.” Later on, actor Anthony Hopkins called for “peace and love,” but it was already too late. The incident overshadowed the success of CODA, which took the Oscar for Best Picture. Just like the time when Warren Beatty mistakenly named La La Land as the big winner of the night, no one will speak about anything else from last night’s awards.
At first sight, Smith’s actions looked as if they were scripted. When he first heard Rock’s joke, he laughed. But his wife was seen on camera rolling her eyes, and it was then that the actor got up onto the stage and hit Rock. When he returned to his seat he raised his voice twice to shout “Get my wife’s name out of your fucking mouth,” sending a wave of unease and shock through the attending audience. The fact that he used the f-word, which is prohibited on US television, set alarm bells ringing that this was real and not a planned moment. In fact, the curse word was censored by the broadcaster, ABC, in the United States.
During a break, Smith’s PR manager approached him to speak. In the press room, which the actor skipped after collecting his prize, instructions were given to the journalists not to ask questions about the incident, Luis Pablo Beauregard reports. The next presenter, Sean “Diddy” Combs, tried to calm the situation. “Will and Chris, we’re going to solve this – but right now we’re moving on with love,” the rapper said.
When Smith took to the stage to collect his Best Actor award for his role as Richard Williams – the father of tennis stars Venus and Serena – in King Richard, he referred to the character as “a fierce defender of his family.” He continued: “I’m being called on in my life to love people and to protect people and to be a river to my people. I know to do what we do you’ve got to be able to take abuse, and have people talk crazy about you and have people disrespecting you and you’ve got to smile and pretend it’s OK.”
He explained that fellow actor Denzel Washington, who also spoke to Smith during a break, had told him: “At your highest moment, be careful, that’s when the devil comes for you.”
“I want to be a vessel for love,” Smith continued. “I want to be an ambassador of that kind of love and care and concern. I want to apologize to the Academy and all my fellow nominees. […] I look like the crazy father just like they said about Richard Williams, but love will make you do crazy things,” he said. He then joked about his mother, who had not wanted to come to the ceremony because she had a date with her crochet group.
During the commercial break, Will Smith is pulled aside and comforted by Denzel Washington and Tyler Perry, who motion for him to brush it off. Will appears to wipe tears from his eyes as he sits back down with Jada, with Denzel comforting Jada and Will’s rep by his side. pic.twitter.com/uDGVnWrSS2
— Scott Feinberg (@ScottFeinberg) March 28, 2022
The Los Angeles Police Department released a statement last night saying that Chris Rock would not be filing any charges for assault against Smith. “LAPD investigative entities are aware of an incident between two individuals during the Academy Awards program,” the statement read. “The incident involved one individual slapping another. The individual involved has declined to file a police report. If the involved party desires a police report at a later date, LAPD will be available to complete an investigative report.”
On December 28, Pinkett Smith spoke on social media about her problems with alopecia. She stated that she would be keeping her head shaved and would be dealing with the condition with humor. “Me and this alopecia are going to be friends… Period!” she wrote on Instagram.
House-price inflation set to stay double digit for much of 2022
House-price inflation is expected to remain at double-digit levels for much of 2022 as the mismatch between what is for sale and what buyers want continues.
Two new reports on the housing market paint a picture of a sector under strain due to a lack of supply and increased demand driven by Covid-related factors such as remote working.
The two quarterly reports, one each from rival property websites myhome.ie and daft.ie, suggest asking prices accelerated again in the first quarter of 2022 as the stock of homes available for sale slumped to a new record low.
Myhome, which is owned by The Irish Times, said annual asking-price inflation was now running at 12.3 per cent.
This put the median or typical asking price for a home nationally at €295,000, and at €385,000 in Dublin.
MyHome said the number of available properties for sale on its website fell to a record low of 11,200 in March, down from a pre-pandemic level of 19,000. The squeeze on supply, it said, was most acute outside Dublin, with the number of properties listed for sale down almost 50 per cent compared with pre-pandemic levels.
It said impaired supply and robust demand meant double-digit inflation is likely until at least mid-2022.
“Housing market conditions have continued to tighten,” said author of the myhome report, Davy chief economist Conall Mac Coille.
“The broad picture of the market in early 2022 remains similar to last year: impaired supply coupled with robust demand due to Ireland’s strong labour market,” he said.
“One chink of light is that new instructions to sell of 7,500 in the first 11 weeks of 2022 are well up from 4,800 in 2021, albeit still below the 9,250 in 2019. The flow of new properties therefore remains impaired,” said Mr Mac Coille.
“Whatever new supply is emerging is being met by more than ample demand. Hence, transaction volumes in January and February were up 13 per cent on the year but pushed the market into ever tighter territory,” he said.
He said Davy was now predicting property-price inflation to average 7 per cent this year, up from a previous forecast of 4.5 per cent, buoyed strong employment growth.
Daft, meanwhile, said house asking prices indicated the average listed price nationwide in the first quarter of 2022 was €299,093, up 8.4 per cent on the same period in 2021 and and just 19 per cent below the Celtic Tiger peak, while noting increases remain smaller in urban areas, compared to rural.
Just 10,000 homes were listed for sale on its website as of March 1st, an all-time low. In Dublin, Cork and Galway cities, prices in the first quarter of 2022 were roughly 4 per cent higher on average than a year previously, while in Limerick and Waterford cities the increases were 7.6 per cent and 9.3 per cent respectively.
The report’s author, Trinity College Dublin economist Ronan Lyons, said: “Inflation in housing prices remains stubbornly high – with Covid-19 disturbing an equilibrium of sorts that had emerged, with prices largely stable in 2019 but increasing since.
“As has been the case consistently over the last decade, increasing prices – initially in Dublin and then elsewhere – reflect a combination of strong demand and very weak supply.”
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