Dating Neerland Woman.

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However, the research works in the years and brought to light new data that substantially enrich the information and contribute to a better understanding of the evolution of the monument.

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Inthe investigations showed, among others, that except the frescoes on the north, there are no other painted zones inside the nave, while in the restorers have revealed the existence of the register VI of paintings on the pillars, which mostly are under the lime.

The art historian's research contributes with the identification of several scenes and details unknown so The obvious difference of the architectonic and spatial expression between the basilica and the Gothic choir decorated in the elaborated forms of " international style " was highlighted by Dating Neerland Woman researchers and Vasile Drăguț's theory concerning the rebuilding of the sanctuary in the late fourteenth century remains relevant, being sustained by our observation on the different heights of the dados, lower in the choir than in the church, as well as the compaction of masonry on the north, hidden by the first buttress.

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In this context, only a number of chapels preserve coherent ensembles: Hărman, Mediaş and Biertan. The program from Hărman stands as a mark for the iconography with the themes: Jesus in the midst of His Church with Apostles and Prophets bearing verses from the Creed to the eastthe Last Judgement to the westthe Glorification of the Virgin Mary in the center.

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The Last Judgment, the most spread theme of the time is completed inside the chapel in Hărman with the Works of charity and the Parable of the poor Lazarus. Fragments are also preserved on the triumphal arch of St. Nicholas church of the same architectural ensemble above the later vault, in Mediaș St.

Margaret church, exteriorApold, Chimindia, Bâra, Cetatea de Baltă,Sighișoara with the personifications of the capital sins and the Limbo of the Children ,Băgaciu with a Purgatory prison.

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The Parable of the Ten Virgins, painted in the inner splay of the entrance from Hărman, is a further argument for the iconography of the chapels reproduced, in general terms, the iconography of the sanctuary of the churches, as in Sânvăsii, Suseni known from the watercolour copies and old photos and, in the earlier ensembles from Apold or Nemşa.

The association of the Last Judgment, as «the end of time» with the «beginning of time», illustrated by scenes from the life of Virgin Mary, is represented in Biertan Annunciation, the Adoration of the Magi and Hărman Annunciation, Defensorium Mariae, Crowning, Dormition. In Braşov and Bratei, the scene of the Annunciation was depicted too. Scenes of the Christological Cycle appear in Sighişoara and Râşnov, Ioneşti and Curciu fragments Dating Neerland Woman, Suseni and Mărtiniş both only known from older reproductions.

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The main themes of the late Transylvania murals show that beyond the changes of the artistic means of expression contamined by the Renaissance, the art of the voivodate remains even after faithful to the traditional iconography, reflecting the medieval thinking and mentality. Research Interests:.

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