Some fees may apply. Again, these civil records for Mantova will include such things as birth, marriage, and death records and in some cases, marriage banns and year indexes. Italian birth record online at FamilySearch. These records will again cover birth, marriages, and deaths in the Grosseto locale. These records, like the others, are written in Italian. In this case, you are able to view many of the digital images online at FamilySearch without having to use the Portale Antenati.
The records held in this collection will largely be the same as the others, but there is something special that these Rieti records hold.
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For more details about the contents of all these record sets, their history, and help using them, see the wiki article: Italy, Civil Registration FamilySearch Historical Records. These records cover events like birth, marriage, death, burial, emigration and immigration, military enrollment, and more. Church records from the county of Norrbotten contains indexes to births, marriages, deaths and images to clerical surveys, registers of birth, marriage, death, move-in and move-out lists, confirmations, and church accounts.
Notice that this collection has some index-only items and there are some other items that offer a digital image of the record. Covering such a lengthy period of time, records will vary given the time frame. Each record result contains a transcript of the original record. Further details can be found on the marriage certificate itself, which can be obtained online from the Office of Regulatory Services.
Due to the sensitivity of the information found on marriage certificates, the marriage must have occurred more than 75 years ago to obtain a certificate. Wills and other probate records are a fantastic resource for genealogists. They often contain names of heirs and prove relationships. In this collection of mostly indexed records, some search results will also include an image of the original probate documents. Records cover the years to and may include the following information:.
If you are interested in more recent divorce cases, you will need to contact the Supreme Court of Victoria. The rule of the Goths lasted for sixty-three years and gave rise to a splendid development of the life and of the monu- ments of the town. However, on the death of Theodoric, the power of the Goths declined, and before long was finally annihilated by Belisarius and Narses ; administered by these generals under Justinian, the city attained to yet greater magnificence.
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None the less, the fact that it had maintained its position as a capital for several centuries sufficed to retain for Ravenna a dominant position in art and letters throughout the darkness of the Middle Ages, as well as a certain political pride, thanks to which the city was able to hold its own against the claims, first of the Roman Curia and then of the rising republic of Venice. Each of these periods has bequeathed to Ravenna monuments of supreme importance ; so much so, that in the history of art, the city, as regards the Byzantine and proto-Romanesque periods, maintains its place as a capital.
Every artistic form is richly dis- played here : churches both with the central square space and of the basilican type, baptisteries, mauso- leums rich in sculpture and mosaics, towers, crypts ; carvings in ivory, goldsmith's work and textiles. As to the origin of the art of Ravenna, or rather as to its imme- diate sources, various opinions have been held, opinions essentially dis- cordant and m no case final.
We may fairly conclude that each theory is partly true and partly false, and that the truth, as is nearly always the case, lies between them. For my own part, though I recognise a strong Oriental influence, none the less as far as regards the fourth and fifth centuries the continuity of certain classical types and designs — a continuity which, I venture to say, was inevitable — seems to me obvious. It is much to be regretted that in the eighteenth century a foolish architect was permitted to rob the town of the Ecclesia Ursiana, founded at the close of the fourth century, and to destroy nearly all the ornamental details of the building.
The solemn church with its double aisles would have served as a useful example of the de- cline of the Roman methods of design, and of the merging of these into Byzantine forms. In any case, the rare fragments and the drawings that have survived, though indeed little studied as yet, in the case of certain characteristic forms of the art of Ravenna, attest 2 FIG. In the original church, which stood east and west, dosseret or impost blocks were to be found above the capitals ; these must have been nearly half a century older than those in the votive church of Galla Placidia, which have hitherto been regarded as the oldest known.
The earliest drawings of the monuments of Ravenna date from the sixteenth century, and their number increases gradually in the following centuries, at a time when the rude bareness of the exteriors must have been peculiarly distasteful. The architects of the day accordingly confined their drawings to the interiors.
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The sentiment of the early Christian church was forgotten : — " Thou shalt not behold beauty unless thou enterest within me ; thou shalt not enjoy felicity un- less thou enterest within me I The wall - strips had, however, a great develop- ment in the fifth century, and many beautiful exam- ples of them remain in Ravenna, in the first place those of S. Giovanni Evan- gelista, the votive church promised to the saint by Galla Placidia in during a furious storm at sea.
In spite of its ruthless treatment in 1 , some original work of the greatest importance is still to be 3 B 2 FIG. On the other hand the sepulchral chapel of the above mentioned Galla Placidia Fig. As in some other cases, this baptist- ery had its origin in a Roman buildmg. It is in fact the calidarium that formed part of a nymphceum built in the second or third century. In early days the point of importance in the bap- tismal office was the ceremony itself, not the place : the convert might receive the initial sacrament either upon the bank of a river or in the public baths.
It was the Arch- bishop Neone who about the middle of the fifth century transformed the building and decorated it with sub- jects bearing upon its new purpose ; the plan was ahered, and of the original Roman decoration only the capitals and the veneering of marble were preserved. But the mosaics also, although of the fifth century, have an unmistakable Roman gran- deur and simplicity ; the figures, too, are Roman in character ; they are calm and correct, and have the small heads of antique statues.
That the early mosaicists at Ravenna worked under Roman influence is to me a matter of absolute certainty. It is revealed in 4 FIG. Apollinare Nuovo Figs.
Thus it may be unhesitatingly affirmed that for the long period during which Ravenna was the capital, first of the Roman Empire of the West, then of Odoacer and of the Gothic kingdom , the Oriental influence was kept within narrow limits, while on the other hand the force of Roman tradition was predommant. The plan of the chapel of Galla Placidia was a Latin cross ; close by was a church dedicated to the Holy Cross similarly planned, which led to the general adoption of this arrangement in churches with transepts.
In the mosaics of the sepulchral chapel there are many singular points of resemblance both to those in the church of S. Giovanni in Fonte at Naples and to those at Casaranello : Roman motives recur in them, such as the vase with doves of the Villa Adriana, and the poly- chrome Greek key pattern in perspective of the Baths of Otricoli.
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Similarly, in S. Apollinare Nuovo, the aulic church of Theodoric Figs. The figures of the prophets, seen full face, wrapped in their mantles, with a book or a scroll in their hands, look like exact reproductions of statues Fig. The monochrome is scarcely interrupted by the rosy tints of the flesh or the red 5 FIG. After the reconquest of Ravenna by the generals of Justinian, the mosaic decoration of buildings reveals an absolutely different sentiment and technique : and in the marble work new forms, such as the cubic or the basket-shaped capital, make their appearance.
The buildings at Ravenna which might have given evidence of the change were legion, but, unhappily, the ravages of time and of man have sadly reduced their number. Some few still remain, but as we do not propose to give a de- tailed list here, it will suffice to mention that the most important and the best examples of this artistic revo- lution at Ravenna are the churches of S.
Vitale Figs. ApoUinare in Classe Fig. II , that of S. ApoUinare Nuovo.
In the mosaics of these churches all desire for the expres- sion of form appears to be subordi- nated to the decorative effect. The figures succeed one another with little variety ; the feeling for relief has almost disappeared ; the folds of the drapery have become narrower, longer, and more angular, without any fusion of the tints, so that they do not appear to surround the limbs they cover. On the other hand there is increased splendour in the draperies which are rich with gold and flowered designs, the diadems, the necklaces and the girdles, embroidered with gold and with jewels ; in the representation of these objects the brilliant colours of the enamels alternate with applications of mother-of-pearl, which last finds its way even into the marble.
It may be said that just as the Italian artists were influenced by the severe classical school in the treatment of their figures, so the Byzantines were influenced by the glittering textiles of the East Fig. While, for the flesh tints, 6 FIG.
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It must, however, be acknowledged that if, in matter of design, and of substance, so to speak, the mosaic work of the Roman tradition is more solid and beautiful, that of Byzantine origin, with its unbridled luxury, is more sumptuous and therefore more decorative. As regards the architecture, if we except the church of S. Vitale, which is octagonal in plan, with chapels surroundmg a central space Figs.
Croce already mentioned, all the others, both those "which survive and those that have been destroyed, are basilican in plan with three aisles, the Cathedral alone having five. A form that differs somewhat from the other sixth century buildings of Ravenna is represented by the mausoleum of Theodoric Fig. The lower storey is decagonal, and has on each side a deep niche, over which is carried an arch formed of eleven stepped voussoirs, and supported by massive pilasters.