The Apostolic Constitutions or Constitutions of the Holy Apostles is a Christian collection of eight treatises which belongs to the Church Orders, a genre of early Christian literature, that offered authoritative "apostolic" prescriptions on moral conduct and Church organization. The work can be dated from 375 to 380 AD; the provenance is regarded as Syria Antioch. The author is unknown if since James Ussher it was considered to be the same author of the letters of Pseudo-Ignatius the 4th-century Eunomian bishop Julian of Cilicia; the Apostolic Constitutions contains eight treatises on Early Christian discipline and doctrine, intended to serve as a manual of guidance for the clergy, to some extent for the laity. It purports to be the work of the Twelve Apostles, whose instructions, whether given by them as individuals or as a body; the structure of the Apostolic Constitutions can be summarized: Books 1 to 6 are a free re-wording of the Didascalia Apostolorum Book 7 is based on the Didache. Chapters 33-45 of book 7 contain prayers similar to Jewish prayers used in synagogues.
Book 8 is composed as follows: chapters 1-2 contain an extract of a lost treatise on the charismata chapters 3-46 are based on the Apostolic Tradition expanded, along with other material chapter 47 is known as the Canons of the Apostles and it had a wider circulation than the rest of the book. The best manuscript has Arian leanings, which are not found in other manuscripts because this material would have been censured as heretical; the Apostolic Constitutions is an important source for the history of the liturgy in the Antiochene rite. It contains an outline of an anaphora in book two, a full anaphora in book seven, the complete Liturgy of the eighth book of the Apostolic Constitutions, the oldest known form that can be described as a complete divine liturgy. In antiquity, the Apostolic Constitutions were mistakenly supposed to be gathered and handed down by Clement of Rome, the authority of whose name gave weight to more than one such piece of early Christian literature; the Church seems never to have regarded this work as of undoubted Apostolic authority.
The Apostolic Constitutions were rejected as canonical by the Decretum Gelasianum. The Quinisext Council in 692 rejected most part of the work on account of the interpolations of heretics. Only that portion of it to, given the name Canons of the Apostles was received in the Eastern Christianity. If not regarded as of certain Apostolic origin, however, in antiquity the Apostolic Constitutions were held in high esteem and served as the basis for much ecclesiastical legislation; the Apostolic Constitutions were accepted as canonical by John of Damascus and, in a modified form, included in the 81 book canon of the Ethiopian Orthodox Church. If the text of the Apostolic Constitutions was extant in many libraries during the Middle Age, it was unknown. In 1546 a Latin version of a text was published; the first complete edition of the Greek text was printed in 1563 by Turrianus. William Whiston in the 18th century devoted the third volume of his Primitive Christianity Revived to prove that "they are the most sacred of the canonical books of the New Testament.
Today the Apostolic Constitutions are of the highest value as a historical document, as they reveal the moral and religious conditions, as well as the liturgical observances of 3rd and 4th centuries. They are part of the Ante-Nicene Fathers collection; the forty-seventh and last chapter of the eighth book of the Apostolic Constitutions contains the eighty-five Canons of the Apostles, which present themselves as being from an apostolic Council at Antioch. These canons were approved by the Eastern Council in Trullo in 692 but rejected by Pope Constantine. In the Western Church only fifty of these canons circulated, translated to Latin by Dionysius Exiguus on about 500 AD, included in the Western collections and afterwards in the Corpus Juris Canonici. Canon n. 85 is a list of canonical books: a 46-book Old Testament canon which corresponds to that of the Septuagint, 26 books of what is now the New Testament, two Epistles of Clement, the Apostolic Constitutions themselves here attributed to Clement, at least as compiler.
It is known as the Epitome, named Epitome of the eighth Book of the Apostolic Constitutions containing a re-wording of chapters 1-2, 4-5, 16-28, 30-34, 45-46 of the eighth book. The text was first published by Paul de Lagarde in 1856 and by Franz Xaver von Funk in 1905; this epitome could be a extract if in parts it looks nearer to the Greek original of the Apostolic Tradition, from which the 8th book is derived, than the Apostolic Constitutions themselves. Apostolic Church-Ordinance Alexandrine Sinodos Jus antiquum Verona Palimpsest Apostolic Constitutions: online English text from the Ante-Nicene Fathers Jewish Encyclopedia: Didascalia Collins, William Edward. "Apostolical Constitutions". In Chisholm, Hugh. Encyclopædia Britannica. 2. Cambridge University Press. Pp. 199–201. This contains a more detailed exegesis of their possible authorship. Schaff-Herzog Encyclopedia of Religious Knowledge: Apostolic Constitutions and Canons
The Warren White House is a historic house at 192 Warren Street in Waltham, Massachusetts. The 2-1/2 story wood frame house was built c. 1850-54, is the oldest surviving house on Warren Street, once an important thoroughfare between Waltham and Belmont. The house has classic Italianate styling, with a symmetrical three-bay facade, wide cornerboards and entablature, round-arched gable windows, it was built by Warren White, a wheelwright, on land owned by David White, a farmer, who sold Warren White the property in 1855. The house was listed on the National Register of Historic Places in 1989. National Register of Historic Places listings in Waltham, Massachusetts
The Our Lady of the Snows Parish Church called as the Blood Chapel called Krisztina Church, is a Catholic Church located in the Krisztina Square, Krisztinaváros, Várkerület District, Budapest. It is a protected monument. During the late-17th century and early-18th century, the population of Buda was destroyed by plague epidemics. In 1694 Péter Pál Franczin, an Italian-born chimney sweeper, a modest citizen living in the Buda Castle District vowed that if he and his family escaped, he would travel to northern Italy to the shrine of Mary, to Re, Piedmont for the Blessed Virgin Mary's image there, he returned from the pilgrimage with a copy of the grace image to Buda and erected a wooden chapel in his Buda vineyard. He placed the grace in what was called the Blood Chapel. In a 1723 fire the chapel was burnt; the stone chapel, now rebuilt, became a place of pilgrimage. In 1751 Queen Maria Theresa visited the grace. In 1757 the Pope Benedict XIV contributed to the Feast of the Our Lady of the Snows in the Blood Chapel on 5 August.
The pastoral duties were performed from 1791 to 1821 by the Franciscans from the Buda Castle Parish. Due to the construction of Krisztinaváros, a larger church was needed, the foundation stone of which in 1795, it was laid down on September 13 and built over two years under the control of Franciscans father Groll Fábián and the plan of Kristóf Hikisch. Due to Hikisch's plans, the swirling shape of the façade could not be built without money. Instead, it has a planed, relaxed façade, he had a seat in the new church.. The side altars were completed between 1811 and 1815. In 1821 the Our Lady of the Snows Parish Church became independent. During the Siege of the Buda Castle in 1849, the roof of the church was badly damaged; the errors were corrected by József Hild. On 4 February 1836 the Count István Széchenyi held his wedding with Crescence Seilern in the Our Lady of the Snows Parish Church, and gave birth to their first child, Bela Széchenyi, he was baptized here on the first anniversary of their marriage in 3 February 1837.
Loránd Eötvös was baptized here in 5 August 1848 10 days of birth, became the "prince of physicists". The wedding of Dr. Ignaz Semmelweis and Mária Weidenhoffer was held here, on 1 June 1857, by the "savior of the mothers". Between 1877 and 1978, the young János Csernoch cardinal, archbishop of the Kingdom of Hungary, assisted here for a year. On 22 June 1919 József Cserny attacked a 50 red soldiers at the feast of Corpus Christi of the church, fired more shots at them. From 1956 György Czigány performed in the church. In 1993 the parish founded the Szent Gellért Catholic Elementary School, which in 1997 expanded to become a 12 grade school. In the space between the church and the gymnasium there is a copy of the oldest statue of the Immaculate Conception in Budapest. Official site of Our Lady of the Snows Parish Church
The Tees Valley Combined Authority is the combined authority for the Tees Valley urban area in England consisting of the following five unitary authorities: Darlington, Middlesbrough and Cleveland and Stockton-on-Tees, covering a population of 700,000 people. It was proposed that a combined authority be established by statutory instrument under the Local Democracy, Economic Development and Construction Act 2009, it will be a strategic authority with powers over economic development and regeneration. The Combined Authority was established on 1 April 2016, after Local Government Minister James Wharton MP signed the necessary Order, it was announced in October 2015 that voters in the region covered by the Authority would directly elect a Mayor in 2017. The abolition of the non-metropolitan county of Cleveland in 1996 left the Tees Valley without a single authority covering the whole area, although some council functions continued to be provided jointly through Cleveland Police and the Cleveland Fire Service.
A combined authority was proposed in 2014 and sixty-five per cent of more than 1,900 responses received during a seven-week long public consultation were in favour of a combined authority. A shadow combined authority was formed and chaired by Sue Jeffrey, Leader of Redcar and Cleveland Borough Council; the authority consists of the five local authorities of Tees Valley as constituent members, the directly elected Mayor of Tees Valley as the Chair, the Chairman of the Tees Valley local enterprise partnership as an associate member. The membership of the combined authority is as follows: Tees Valley Cleveland, England Tees Valley Combined Authority Tees Valley Unlimited LEP
In film production, a negative pickup is a contract entered into by an independent producer and a movie studio conglomerate wherein the studio agrees to purchase the movie from the producer at a given date and for a fixed sum. Depending on whether the studio pays part or all of the cost of the film, the studio will receive the rights domestic and/or international to the film, with net profits split between the producer and the studio; the word "negative" in this context can be confusing because it does not relate to a numerical value, but instead comes from the pre-digital era in which a motion picture was embodied in physical film negatives. By selling the rights to distribute the film in territories not covered in the negative pickup or making other deals collateral to the production, a producer will cover all their costs and make a small profit before production has begun, but financing of the production up to its completion date is the responsibility of the producer—if the film goes over budget, the producer must pay the difference themselves or go back to the studio and renegotiate the deal.
This happened on the films Superman, The Empire Strikes Back, Never Say Never Again, The Thief and the Cobbler, Lone Survivor. Most negative pickup contracts, either from motion picture studios or television networks, are bankable at pretty much dollar for dollar. So, while the studio technically does not pay the producer until the film negative is delivered, the producer can nonetheless get a bank loan against a negative pickup contract, which helps them to pay for production of the film. Studios, on the other hand do not like their contracts being factored at banks or shopped around to independent investors and financiers, as this gives the producer significant creative latitude over the production. With the money assured, a producer has a free hand to make the film however they please, they are only answerable to their investors, which in this scenario are unknown to the studio at the time of the contract. If creative disagreements arise between the studio and the producer, the studio has little contractual recourse as long as the film meets certain general contractual requirements, such as duration and technical quality.
An example of this is a Terry Gilliam's Brazil, a negative pickup for Universal Pictures produced by Arnon Milchan. In this particular case, the studio had creative disagreements with the director over choice of star and duration, failed to resolve these issues to its satisfaction, because the negative pickup had granted Milchan final cut; the studios and distributors will contain this risk by offering the negative pickup contract only to a production that has financiers, a script, key creative personnel the director and stars attached. Thus the conundrum: unless a film has U. S. distribution, a lot of investors and foreign buyers will not pre-buy a film, unless the film is financed, the studios do not want to guarantee distribution. This catch-22 is resolved by attaching a major actor to the film. Film finance Film rights Matthews, Jack; the Battle of Brazil: Terry Gilliam v. Universal Pictures in the Fight to the Final Cut. New York: Applause Theatre & Cinema Books. ISBN 0-517-56538-2. OCLC 14818432
The Real McCoy is the seventh album by jazz pianist McCoy Tyner and his first released on the Blue Note label. It was recorded on April 21, 1967 following Tyner's departure from the John Coltrane Quartet and features performances by Tyner with Joe Henderson, Ron Carter and Elvin Jones. Producer Alfred Lion recalls the recording session as a "pure jazz session. There is no concession to commercialism, there's a deep, passionate love for the music embedded in each of the selections"; the Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "A key album in Tyner's discography... Recommended." The Allmusic review by Scott Yanow states that "Tyner was entering a period of struggle, although artistically his playing grew quite a bit in the late'60s... recommended". In the liner notes, Tyner talks about the pieces selected for this album; the titles for "Passion Dance" and "Contemplation" came to the pianist only after he'd written the pieces. Whilst the former sounds like "a kind of American Indian dance, evoking trance-like states", the latter has "the sound of a man alone.
A man reflecting on what religion means to him, reflecting on the meaning of life." Tyner titled the fourth piece "Search for Peace" because of its tranquil feeling. The album closes with an upbeat, merry piece called "Blues on the Corner", a reminiscent musical portrait of Tyner's childhood: "When I was growing up in Philadelphia, some of the kids I knew liked to hang out on the corner youngsters talking, kidding around, jiving." All compositions by McCoy Tyner "Passion Dance" – 8:47 "Contemplation" – 9:12 "Four by Five" – 6:37 "Search for Peace" – 6:32 "Blues on the Corner" – 5:58 McCoy Tyner - piano Joe Henderson - tenor saxophone Ron Carter - bass Elvin Jones - drums