1.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
2.
Barberini Ivory
–
The Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor and it is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, Brunhilda ordered the list to be inscribed and offered it to the church as a votive image. Although it is not a consular diptych, it shares features of their decorative schemes. Although the barbarian is partly hidden by the emperors huge spear, this does not pierce him, and he seems more astonished and over-awed than combative. Above, Christ, with a fashionable curled hair-style, is flanked by two angels in the style of pagan victory figures, he reigns above, while the emperor represents him below on earth. In the bottom panel barbarians from West and East bring tribute, the figure in the left panel, representing a soldier, carries a statuette of Victory, his counterpart on the right is lost. It was originally made up of five rectangular plaques, although that on the right has been replaced by a board bearing the inscription CONSTANT, the plaques are fitted together by tongue and groove joints, around a larger central plaque. Overall, the piece is the only such object to survive in such good condition. Often grouped under the title of imperial diptychs and it measures 34.2 cm high by 26.8 cm wide overall, with the central panel 19 cm high by 12.5 cm wide by 2.5 cm deep. It is made from elephant ivory, sculpted and mounted with precious stones and it carries no traces of polychromy, contrary to what certain historians have supposed. The reverse of the object is flat and smooth, without the depression for wax which would be found on a consular diptych, which would be used as a writing tablet. Nevertheless, it is streaked with lines engraved later over older ink inscriptions – it includes a list of names, among whom can be seen the kings of Austrasia and other names, mostly Latin ones. Onomastics shows that the list comes from Auvergne and not from Provence as has been thought from the location of the object in the modern era, the inscriptions also date to the 7th century and show that the work was brought to Gaul early in its life. Peiresc mentions it specifically in a letter to his friend Palamède de Vallavez, I gave it to him as he left he had several similar pieces in the same manner in ivory, with which would go well. It was acquired by the Louvre in 1899 and has then been in the département des objets dart. It introduces a new cosmic hierarchy into the representation of the triumph of the Roman Empire and is thus a political work designed to serve as imperial propaganda. The quality of the workmanship allows it to be attributed to a workshop in Constantinople
Barberini Ivory
–
Barberini Ivory on display at the
Louvre.
Barberini Ivory
–
The triumphant emperor on the central panel
Barberini Ivory
–
Solidus of Constantine II, minted in Heraclea between 326 and 330.
Barberini Ivory
–
3/4 view, underlining the different depths of relief on the Barberini ivory.
3.
Constantinople
–
Constantinople was the capital city of the Roman/Byzantine Empire, and also of the brief Latin, and the later Ottoman empires. It was reinaugurated in 324 AD from ancient Byzantium as the new capital of the Roman Empire by Emperor Constantine the Great, after whom it was named, Constantinople was famed for its massive and complex defences. The first wall of the city was erected by Constantine I, Constantinople never truly recovered from the devastation of the Fourth Crusade and the decades of misrule by the Latins. The origins of the name of Byzantion, more known by the later Latin Byzantium, are not entirely clear. The founding myth of the city has it told that the settlement was named after the leader of the Megarian colonists, Byzas. The later Byzantines of Constantinople themselves would maintain that the city was named in honour of two men, Byzas and Antes, though this was likely just a play on the word Byzantion. During this time, the city was also called Second Rome, Eastern Rome, and Roma Constantinopolitana. As the city became the remaining capital of the Roman Empire after the fall of the West, and its wealth, population, and influence grew. In the language of other peoples, Constantinople was referred to just as reverently, the medieval Vikings, who had contacts with the empire through their expansion in eastern Europe used the Old Norse name Miklagarðr, and later Miklagard and Miklagarth. In Arabic, the city was sometimes called Rūmiyyat al-kubra and in Persian as Takht-e Rum, in East and South Slavic languages, including in medieval Russia, Constantinople was referred to as Tsargrad or Carigrad, City of the Caesar, from the Slavonic words tsar and grad. This was presumably a calque on a Greek phrase such as Βασιλέως Πόλις, the modern Turkish name for the city, İstanbul, derives from the Greek phrase eis tin polin, meaning into the city or to the city. In 1928, the Turkish alphabet was changed from Arabic script to Latin script, in time the city came to be known as Istanbul and its variations in most world languages. In Greece today, the city is still called Konstantinoúpolis/Konstantinoúpoli or simply just the City, apart from this, little is known about this initial settlement, except that it was abandoned by the time the Megarian colonists settled the site anew. A farsighted treaty with the emergent power of Rome in c.150 BC which stipulated tribute in exchange for independent status allowed it to enter Roman rule unscathed. The site lay astride the land route from Europe to Asia and the seaway from the Black Sea to the Mediterranean, and had in the Golden Horn an excellent and spacious harbour. He would later rebuild Byzantium towards the end of his reign, in which it would be briefly renamed Augusta Antonina, fortifying it with a new city wall in his name, Constantine had altogether more colourful plans. Rome was too far from the frontiers, and hence from the armies and the imperial courts, yet it had been the capital of the state for over a thousand years, and it might have seemed unthinkable to suggest that the capital be moved to a different location. Constantinople was built over 6 years, and consecrated on 11 May 330, Constantine divided the expanded city, like Rome, into 14 regions, and ornamented it with public works worthy of an imperial metropolis
Constantinople
–
Constantinople in the Byzantine era
Constantinople
–
Map of Byzantine Constantinople
Constantinople
–
Emperor
Constantine I presents a representation of the city of Constantinople as tribute to an enthroned Mary and Christ Child in this church mosaic.
Hagia Sophia, c. 1000
Constantinople
–
Coin struck by Constantine I to commemorate the founding of Constantinople
4.
Greek language
–
Greek is an independent branch of the Indo-European family of languages, native to Greece and other parts of the Eastern Mediterranean. It has the longest documented history of any living language, spanning 34 centuries of written records and its writing system has been the Greek alphabet for the major part of its history, other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic and many other writing systems. Together with the Latin texts and traditions of the Roman world, during antiquity, Greek was a widely spoken lingua franca in the Mediterranean world and many places beyond. It would eventually become the official parlance of the Byzantine Empire, the language is spoken by at least 13.2 million people today in Greece, Cyprus, Italy, Albania, Turkey, and the Greek diaspora. Greek roots are used to coin new words for other languages, Greek. Greek has been spoken in the Balkan peninsula since around the 3rd millennium BC, the earliest written evidence is a Linear B clay tablet found in Messenia that dates to between 1450 and 1350 BC, making Greek the worlds oldest recorded living language. Among the Indo-European languages, its date of earliest written attestation is matched only by the now extinct Anatolian languages, the Greek language is conventionally divided into the following periods, Proto-Greek, the unrecorded but assumed last ancestor of all known varieties of Greek. The unity of Proto-Greek would have ended as Hellenic migrants entered the Greek peninsula sometime in the Neolithic era or the Bronze Age, Mycenaean Greek, the language of the Mycenaean civilisation. It is recorded in the Linear B script on tablets dating from the 15th century BC onwards, Ancient Greek, in its various dialects, the language of the Archaic and Classical periods of the ancient Greek civilisation. It was widely known throughout the Roman Empire, after the Roman conquest of Greece, an unofficial bilingualism of Greek and Latin was established in the city of Rome and Koine Greek became a first or second language in the Roman Empire. The origin of Christianity can also be traced through Koine Greek, Medieval Greek, also known as Byzantine Greek, the continuation of Koine Greek in Byzantine Greece, up to the demise of the Byzantine Empire in the 15th century. Much of the written Greek that was used as the language of the Byzantine Empire was an eclectic middle-ground variety based on the tradition of written Koine. Modern Greek, Stemming from Medieval Greek, Modern Greek usages can be traced in the Byzantine period and it is the language used by the modern Greeks, and, apart from Standard Modern Greek, there are several dialects of it. In the modern era, the Greek language entered a state of diglossia, the historical unity and continuing identity between the various stages of the Greek language is often emphasised. Greek speakers today still tend to regard literary works of ancient Greek as part of their own rather than a foreign language and it is also often stated that the historical changes have been relatively slight compared with some other languages. According to one estimation, Homeric Greek is probably closer to demotic than 12-century Middle English is to modern spoken English, Greek is spoken by about 13 million people, mainly in Greece, Albania and Cyprus, but also worldwide by the large Greek diaspora. Greek is the language of Greece, where it is spoken by almost the entire population
Greek language
–
Idealized portrayal of
Homer
Greek language
–
regions where Greek is the official language
Greek language
–
Greek language road sign, A27 Motorway, Greece
5.
Hinge
–
A hinge is a mechanical bearing that connects two solid objects, typically allowing only a limited angle of rotation between them. Two objects connected by an ideal hinge rotate relative to each other about an axis of rotation. Hinges may be made of material or of moving components. In biology, many joints function as hinges like the elbow joint, there are many types of door hinges. The main types include, Spring hinge which is a hinge made to provide assistance in the closing or the opening of the hinge leaves. A spring is a component of a hinge, that force to secure a hinge closed or keep a hinge opened. Barrel hinge which is a sectional barrel secured by a pivot, pivot hinges which pivot in openings in the floor and the top of the door frame. Also referred to as a double-acting floor hinge and this type is found in ancient dry stone buildings and rarely in old wooden buildings. These are also called haar-hung doors and they are a low cost alternative for use light weight doors. Butt/Mortise hinges usually in threes or fours, which are inset into the door, most residential hinges found in the U. S. are made of steel, although mortise hinges for exterior doors are often made of brass or stainless steel to prevent corrosion. Case hinges Case hinges are similar to a butt hinge however usually more of a nature most commonly used in suitcases, briefcases. Continuous hinges, or piano hinges This type of hinge is also known as a piano hinge and it runs the entire length of the door, panel, or box. Continuous hinges are manufactured with or without holes and these hinges also come in various thicknesses, pin diameters, and knuckle lengths. Concealed hinges Used for furniture doors and they are made of two parts, One part is the hinge cup and the arm, the other part is the mounting plate. Also called cup hinge, or Euro hinge, as they were developed in Europe, most such concealed hinges offer the advantage of full in situ adjustability for standoff distance from the cabinet face as well as pitch and roll by means of two screws on each hinge. Butterfly hinges, or Parliament Hinges These were known as dovetail hinges from the 17th century onwards and can be found on old desks and cabinets from about 1670 until the 18th century. The form of these hinges varied slightly between manufacturers, and their size ranged from the large for heavy doors to the tiniest decorative hinge for use on jewellery boxes. Many hinges of this type were exported to America to support the home trades limited supply and they are still found to be both fairly cheap and decorative, especially on small items
Hinge
–
A barrel hinge
Hinge
–
Old construction of hinges in the dry stone wall near
Bignasco.
Hinge
–
A flushed door hinge.
Hinge
–
A barrel hinge made of wrought iron.
6.
Wax
–
Waxes are a diverse class of organic compounds that are hydrophobic, malleable solids near ambient temperatures. They include higher alkanes and lipids, typically with melting points above about 40 °C, waxes are insoluble in water but soluble in organic, nonpolar solvents. Natural waxes of different types are produced by plants and animals, waxes are organic compounds that characteristically consist of long alkyl chains. They may also include various groups such as fatty acids, primary and secondary long chain alcohols, unsaturated bonds, aromatics, amides, ketones. They frequently contain fatty acid esters as well, synthetic waxes are often long-chain hydrocarbons that lack functional groups. Waxes are synthesized by plants and animals. Those of animal origin typically consist of wax esters derived from a variety of carboxylic acids, in waxes of plant origin characteristic mixtures of unesterified hydrocarbons may predominate over esters. The composition depends not only on species, but also on location of the organism. The most commonly known animal wax is beeswax, but other insects secrete waxes, a major component of the beeswax used in constructing honeycombs is the ester myricyl palmitate which is an ester of triacontanol and palmitic acid. Its melting point is 62-65 °C, spermaceti occurs in large amounts in the head oil of the sperm whale. One of its constituents is cetyl palmitate, another ester of a fatty acid. Lanolin is a wax obtained from wool, consisting of esters of sterols, plants secrete waxes into and on the surface of their cuticles as a way to control evaporation, wettability and hydration. From the commercial perspective, the most important plant wax is carnauba wax, containing the ester myricyl cerotate, it has many applications, such as confectionery and other food coatings, car and furniture polish, floss coating, and surfboard wax. Other more specialized vegetable waxes include candelilla wax and ouricury wax, plant and animal based waxes or oils can undergo selective chemical modifications to produce waxes with more desirable properties than are available in the unmodified starting material. This approach has relied on green chemistry approaches including olefin metathesis and enzymatic reactions, although many natural waxes contain esters, paraffin waxes are hydrocarbons, mixtures of alkanes usually in a homologous series of chain lengths. These materials represent a significant fraction of petroleum and they are refined by vacuum distillation. Paraffin waxes are mixtures of saturated n- and iso- alkanes, naphthenes, a typical alkane paraffin wax chemical composition comprises hydrocarbons with the general formula CnH2n+2, such as Hentriacontane, C31H64. The degree of branching has an important influence on the properties, millions of tons of paraffin waxes are produced annually
Wax
–
Commercial
honeycomb foundation, made by pressing beeswax between patterned metal rollers.
Wax
–
Ceroline brand wax for floors and furniture, first half of 20th century. From the
Museo del Objeto del Objeto collection
Wax
–
Wax candle.
Wax
–
A typical modern
wax sculpture of
Cecilia Cheung at
Madame Tussauds Hong Kong.
7.
Wax tablet
–
A wax tablet is a tablet made of wood and covered with a layer of wax, often linked loosely to a cover tablet, as a double-leaved diptych. It was used as a reusable and portable writing surface in Antiquity, ciceros letters make passing reference to the use of cerae, and some examples of wax-tablets have been preserved in waterlogged deposits in the Roman fort at Vindolanda on Hadrians Wall. Medieval wax tablet books are on display in several European museums, writing on the wax surface was performed with a pointed instrument, a stylus. Therefore, the stylus could not be applied with the degree of dexterity as a pen. A straight-edged, spatula-like implement would be used in a fashion to serve as an eraser. The entire tablet could be erased for reuse by warming it to about 50 °C, the modern expression of a clean slate equates to the Latin expression tabula rasa. Wax tablets were used for a variety of purposes, from taking down students or secretaries notes to recording business accounts, early forms of shorthand were used too. The earliest surviving exemplar of a writing tablet with an ivory hinge was among the finds recovered from the 14th-century BCE Uluburun Shipwreck near Kaş in modern Turkey in 1986. This find further confirmed that the reference to writing tablets in Homer was far from anachronistic, an archaeological discovery in 1979 in Durrës, Albania found two wax tablets made of ivory in a grave believed to belong to a money lender from the 2nd century CE. The Greeks probably started using the pair of wax tablets. An alternative theory holds that it has retained its Semitic designation, daltu, in Hebrew the term evolved into daleth. In the first millennium BCE writing tablets were in use in Mesopotamia as well as Syria, writing tablets of ivory were found in the ruins of Sargons palace in Nimrud. Hériman of Tournai, a monk at the abbey of St Martin of Tournai, a remarkable example of a wax tablet book are the servitude records which the hospital of Austrias oldest city, Enns, established in 1500. Ten wooden plates, sized 375 x 207 mm and arranged in a 90 mm stack, are divided into two halves along their long axis. The annual payables due are written on parchment or paper glued to the left sides, payables received were recorded for deduction on the respective right sides, which are covered with brownish-black writing wax. The material is based on beeswax, and contains 5-10% plant oils and this volume is the continuation of an earlier one, which was begun in 1447. Wax tablets were used for high-volume business records of transient importance until the 19th century, for instance, the salt mining authority at Schwäbisch Hall employed wax records until 1812. The fish market in Rouen used them even until the 1860s, tafel, Buch und Blatt in Near Eastern Studies in Honour of W. F
Wax tablet
–
Wax tablet and a Roman stylus
Wax tablet
–
Reproduction of a Roman-style wax tablet with three
styluses or styli
Wax tablet
–
Inscription of
Mycenaean Greek written in
Linear B. Archaeological Museum of Mycenae.
Wax tablet
–
Writing with stylus and folding wax tablet.
painter, Douris, ca 500 BC (Berlin)
8.
Stylus
–
A stylus, plural styli or styluses, is a writing utensil, or a small tool for some other form of marking or shaping, for example in pottery. It can also be an accessory that is used to assist in navigating or providing more precision when using touchscreens. It usually refers to a narrow elongated staff, similar to a ballpoint pen. Many styluses are heavily curved to be more easily. Another widely used writing tool is the used by blind users in conjunction with the slate for punching out the dots in Braille. Styluses were first used by the ancient Mesopotamians in order to write in cuneiform, cuneiform was entirely based on the wedge-shaped mark that the end of a cut reed made when pushed into a clay tablet, from Latin cuneus = wedge. The linear nature of the writing was also dictated by the use of the stylus, in Western Europe styluses were widely used until the late Middle Ages. For learning purposes the stylus was gradually replaced by a writing slate, from the mid-14th century improved water-powered paper mills produced large and cheap quantities of paper and the wax tablet and stylus disappeared completely from daily life. A different suggestion is that the word does not derive from the Greek word στῦλος and it signifies, An iron instrument, resembling a pencil in size and shape, used for writing upon waxed tablets. Thus, vertere stilum means to erase, and hence to correct, there exists minor controversy about the correct pluralization of stylus. Some assert that stylus is a loanword from Latin and should be pluralised as styli. However, stylus is an English word based on the Latin word stilus, occasionally the pluralisation stylii is seen. Styluses are still used in arts and crafts. Example situations, rubbing off dry transfer letters, tracing designs onto a new surface with carbon paper, styluses are also used to engrave into materials like metal or clay. Styluses are used to make dots as found in folk art, oaxaca dot art is created using styluses. In the sound recording industry, a stylus is a phonograph or gramophone needle used to play back sound on gramophone records, several technologies were used to record the sounds, beginning with wax cylinders, almost half a century before the invention of the magnetic cartridge. Nowadays mostly vinyl records are used, when playing the record, the stylus is placed in the grooves of the record. By then spinning the record, the start to vibrate caused by the shape of the grooves
Stylus
–
Wax tablet and a Roman stylus
Stylus
–
Examples of 4 Medieval styluses for writing on
wax tablets. Two are made of iron, one brass and one bone stylus.
Stylus
–
A
gramophone cartridge with stylus for use on
vinyl records, a late use of the stylus in audio
Stylus
–
Styluses for different
PDAs
9.
Late Antiquity
–
Late antiquity is a periodization used by historians to describe the time of transition from classical antiquity to the Middle Ages in mainland Europe, the Mediterranean world, and the Near East. The development of the periodization has generally been accredited to historian Peter Brown, precise boundaries for the period are a continuing matter of debate, but Brown proposes a period between the 3rd and 8th centuries AD. Generally, it can be thought of as from the end of the Roman Empires Crisis of the Third Century to, in the East, the early Islamic period, following the Muslim conquests in the mid–7th century. In the West the end was earlier, with the start of the Early Medieval period typically placed in the 6th century, beginning with Constantine the Great, Christianity was made legal in the Empire, and a new capital was founded at Constantinople. The resultant cultural fusion of Greco-Roman, Germanic and Christian traditions formed the foundations of the subsequent culture of Europe, the term Spätantike, literally late antiquity, has been used by German-speaking historians since its popularization by Alois Riegl in the early 20th century. Concurrently, some migrating Germanic tribes such as the Ostrogoths and Visigoths saw themselves as perpetuating the Roman tradition, Constantine confirmed the legalization of the religion through the so-called Edict of Milan in 313, jointly issued with his rival in the East, Licinius. Monasticism was not the only new Christian movement to appear in Late Antiquity, notable in this regard is the topic of the Fifty Bibles of Constantine. Within the recently legitimized Christian community of the 4th century, a division could be distinctly seen between the laity and an increasingly celibate male leadership. Celibate and detached, the clergy became an elite equal in prestige to urban notables. The Late Antique period also saw a transformation of the political and social basis of life in. The later Roman Empire was in a sense a network of cities, archaeology now supplements literary sources to document the transformation followed by collapse of cities in the Mediterranean basin. Burials within the urban precincts mark another stage in dissolution of traditional urbanistic discipline, overpowered by the attraction of saintly shrines, in Roman Britain, the typical 4th- and 5th-century layer of black earth within cities seems to be a result of increased gardening in formerly urban spaces. A similar though less marked decline in population occurred later in Constantinople. In Europe there was also a decline in urban populations. As a whole, the period of antiquity was accompanied by an overall population decline in almost all Europe. Long-distance markets disappeared, and there was a reversion to a degree of local production and consumption, rather than webs of commerce. The degree and extent of discontinuity in the cities of the Greek East is a moot subject among historians. In the western Mediterranean, the new cities known to be founded in Europe between the 5th and 8th centuries were the four or five Visigothic victory cities
Late Antiquity
–
The
Barberini ivory, a late
Leonid /
Justinian Byzantine ivory leaf from an imperial
diptych, from an imperial workshop in
Constantinople in the first half of the sixth century (
Louvre Museum)
Late Antiquity
–
Modern statue of
Constantine I at
York, where he was proclaimed
Augustus in 306.
Late Antiquity
–
The Favourites of the Emperor Honorius, 1883:
John William Waterhouse expresses the sense of moral decadence that coloured the 19th-century historical view of the 5th century.
Late Antiquity
–
View west along the Harbour Street towards the Library of Celsus in
Ephesus. The pillars on the left side of the street were part of the
colonnaded walkway apparent in cities of Late Antique
Asia Minor.
10.
Consular diptych
–
In Late Antiquity, a consular diptych was a type of diptych intended as a de-luxe commemorative object. The diptychs were generally in ivory, wood or metal and decorated with relief sculpture. Later, the letter might be written on papyrus and presented within the covers and these diptychs were made of ivory, with relief carvings on the outside chosen by the donor, looking superficially similar to codicils but containing no writing and with no official status. The routine distribution of such diptychs in the East is marked by a decision by Theodosius I in 384 to limit expenditure on the games of Constantinople by reserving ivory diptychs to consuls alone. In the western empire, they became a part of the public displays given by great aristocrats. Quintus Aurelius Symmachus, for example, distributed some to commemorate his sons quaestorian games in 393, almost all depict the games, and on three separate occasions Symmachus links the presentation of these diptychs with the completion of the games. Their end is marked by the consulships disappearance under the reign of Justinian in 541, the simpler examples were probably produced as a series from models prepared in advance, with the more sophisticated diptychs reserved for the inner circle of the Roman aristocracy. The most common motif on 6th century consular diptychs from Constantinople shows the consul, by their very nature, consular diptychs are a valuable tool for the prosopography of the late Roman Empire as well as for the study of the art of this period. Large numbers of them have survived to the present day, in many due to their re-use as book covers for medieval ecclesiastical manuscripts. Some were also used in churches as grand bindings for lists of bishops, the Barberini Ivory is a much rarer Imperial diptych, probably of Justinian. In chronological order of production, Alexander Kazhdan, The Oxford Dictionary of Byzantium,3 vols, Oxford University Press,1991, s. v. Diptych, vol. Bente Kiilerich, Late Fourth Century Classicism in the plastic Arts, studies in the so-called Theodosian Renaissance, Odense University Classical Studies 18, Odense University Press,1993. Danièle Gaborit-Chopin, Les ivoires du Ve au VIIIe siècle in J. Durant, Byzance, lart byzantin dans les collections publiques françaises, Paris,1993, richard Delbrück, Die Consulardiptychen, und verwandte Denkmäler, Berlin,1929
Consular diptych
–
One of the consular diptychs of
Areobindus Dagalaiphus Areobindus,
consul in 506, showing him in an
imago clipeata (
Louvre)
Consular diptych
–
Consular diptych of Magnus, who was consul of
Constantinople in 518. He sits between figures representing Rome and Constantinople.
Louvre
Consular diptych
–
Diptych of Anastasius, consul in 517
Consular diptych
–
Diptych of Theodore Philoxenus, consul in 525
11.
Roman consul
–
A consul was the highest elected political office of the Roman Republic, and the consulship was considered the highest level of the cursus honorum. Each year, two consuls were elected together, to serve for a one-year term, the consuls alternated in holding imperium each month, and a consuls imperium extended over Rome, Italy, and the provinces. Originally, consuls were called praetors, referring to their duties as the military commanders. By at least 300 BC the title of Consul was being used, in Greek, the title was originally rendered as στρατηγός ὕπατος, strategos hypatos, and later simply as ὕπατος. The consul was believed by the Romans to date back to the establishment of the Republic in 509 BC. These remained in place until the office was abolished in 367/366 BC, consuls had extensive powers in peacetime, and in wartime often held the highest military command. Additional religious duties included certain rites which, as a sign of their formal importance, consuls also read auguries, an essential step before leading armies into the field. Two consuls were elected each year, serving together, each with power over the others actions. It is thought that only patricians were eligible for the consulship. Consuls were elected by the Comitia Centuriata, which had a bias in its voting structure which only increased over the years from its foundation. If a consul died during his term or was removed from office, a consul elected to start the year - called a consul ordinarius - held more prestige than a suffect consul, partly because the year would be named for ordinary consuls. The first plebeian consul, Lucius Sextius, was elected the following year and it is possible that only the chronology has been distorted, but it seems that one of the first consuls, Lucius Junius Brutus, came from a plebeian family. Another possible explanation is that during the 5th century social struggles, during times of war, the primary qualification for consul was military skill and reputation, but at all times the selection was politically charged. With the passage of time, the became the normal endpoint of the cursus honorum. When Lucius Cornelius Sulla regulated the cursus by law, the age of election to consul became. Beginning in the late Republic, after finishing a year, a former consul would usually serve a lucrative term as a proconsul. The most commonly chosen province for the proconsulship was Cisalpine Gaul, throughout the early years of the Principate although the consuls were still formally elected by the Comitia Centuriata, they were in fact nominated by the princeps. It was a post that would be occupied by a man halfway through his career, in his early thirties for a patrician, emperors frequently appointed themselves, or their protégés or relatives, consuls, even without regard to the age requirements
Roman consul
–
Flavius Anastasius Paulus Probus Sabinianus Pompeius Anastasius (consul 517 AD) in consular garb, holding a sceptre and the mappa, a piece of cloth used to signal the start of
chariot races at the
Hippodrome. Ivory panel from his
consular diptych.
Roman consul
–
Ancient Rome
12.
Monza
–
Monza listen is a city and comune on the River Lambro, a tributary of the Po in the Lombardy region of Italy, about 15 kilometres north-northeast of Milan. It is the capital of the Province of Monza and Brianza, Monza is best known for its Grand Prix motor racing circuit, the Autodromo Nazionale Monza, which hosts the Formula One Italian Grand Prix. On 11 June 2004 Monza was designated the capital of the new province of Monza and Brianza, the new administrative arrangement came fully into effect in summer 2009, previously, Monza was a comune within the province of Milan. Monza is the third-largest city of Lombardy and is the most important economic, industrial and administrative centre of the Brianza area, supporting a textile industry, Monza also hosts a Department of the University of Milan Bicocca, a Court of Justice and several offices of regional administration. Monza Park is one of the largest urban parks in Europe, Monza is located in the high plains of Lombardy, between Brianza and Milan, at an altitude of 162 metres above sea level. It is 15 kilometres from the centre of the capital, although when considering the cities borders. Monza is about 40 km from Lecco and Como, Monza shares its position with Milan in the same metro area, and is a big part of its new province. Monza is crossed north to south by the River Lambro. The river enters Monza from the north, between Via Aliprandi and Via Zanzi streets and this is an artificial fork of the river, created for defensive purposes in the early decades of the 14th century. The fork is known as Lambretto and it rejoins the main course of the Lambro as it exits to the south, another artificial stream is the Canale Villoresi, which was constructed in the late 19th century. Precipitation is abundant, with most occurring in the autumn and the least in winter and summer, despite this, during the Roman Empire, Monza was known as Modicia. During the 3rd century BCE, the Romans subdued the Insubres, a Gallo-Celtic tribe, perhaps the Insubres themselves, founded a village on the Lambro. The ruins of a Roman bridge named Ponte dArena can be seen near todays Ponte dei Leoni, Theodelinda, daughter of Garibald I of Bavaria and wife of the Lombard king Authari, chose Monza as her summer residence. Here in 595 she founded an oraculum dedicated to St. John the Baptist, according to this legend, the medieval name of Monza, Modoetia, is derived from these two words. She also had a palace built here, berengar I of Italy located his headquarters in Monza. A fortified castrum was constructed to resist the incursions of the Hungarians, under Berengars reign, Monza enjoyed a certain degree of independence, it had its own system of weights and measures, and could also seize property and mark the deeds with their signatures. Berengar was very evident by the donation of numerous works to the Monza Cathedral, including the famous cross. In 980 Monza hosted Emperor Otto II inside the walled city, the Glossary of Monza, one of the earliest examples of the evolution of Italian language, probably dates to the early 10th century
Monza
–
A collage showing different features of the city of Monza. Top left: Villa Reale Palace, Top middle: Garden in Monza Park, Top right: Monza Cathedral, Centre: Aerial view of Autodromo Nazionale Monza Circuit, Bottom left: Villa Bossi Prata, Bottom right: A shopping area of Via Vittoria Emanuele II
Monza
–
Late Roman
nymphaeum at the House of Decumani.
Monza
–
Monza Park.
Monza
–
The
Iron Crown of Lombardy.
13.
Roman Empire
–
Civil wars and executions continued, culminating in the victory of Octavian, Caesars adopted son, over Mark Antony and Cleopatra at the Battle of Actium in 31 BC and the annexation of Egypt. Octavians power was then unassailable and in 27 BC the Roman Senate formally granted him overarching power, the imperial period of Rome lasted approximately 1,500 years compared to the 500 years of the Republican era. The first two centuries of the empires existence were a period of unprecedented political stability and prosperity known as the Pax Romana, following Octavians victory, the size of the empire was dramatically increased. After the assassination of Caligula in 41, the senate briefly considered restoring the republic, under Claudius, the empire invaded Britannia, its first major expansion since Augustus. Vespasian emerged triumphant in 69, establishing the Flavian dynasty, before being succeeded by his son Titus and his short reign was followed by the long reign of his brother Domitian, who was eventually assassinated. The senate then appointed the first of the Five Good Emperors, the empire reached its greatest extent under Trajan, the second in this line. A period of increasing trouble and decline began with the reign of Commodus, Commodus assassination in 192 triggered the Year of the Five Emperors, of which Septimius Severus emerged victorious. The assassination of Alexander Severus in 235 led to the Crisis of the Third Century in which 26 men were declared emperor by the Roman Senate over a time span. It was not until the reign of Diocletian that the empire was fully stabilized with the introduction of the Tetrarchy, which saw four emperors rule the empire at once. This arrangement was unsuccessful, leading to a civil war that was finally ended by Constantine I. Constantine subsequently shifted the capital to Byzantium, which was renamed Constantinople in his honour and it remained the capital of the east until its demise. Constantine also adopted Christianity which later became the state religion of the empire. However, Augustulus was never recognized by his Eastern colleague, and separate rule in the Western part of the empire ceased to exist upon the death of Julius Nepos. The Eastern Roman Empire endured for another millennium, eventually falling to the Ottoman Turks in 1453, the Roman Empire was among the most powerful economic, cultural, political and military forces in the world of its time. It was one of the largest empires in world history, at its height under Trajan, it covered 5 million square kilometres. It held sway over an estimated 70 million people, at that time 21% of the entire population. Throughout the European medieval period, attempts were made to establish successors to the Roman Empire, including the Empire of Romania, a Crusader state. Rome had begun expanding shortly after the founding of the republic in the 6th century BC, then, it was an empire long before it had an emperor
Roman Empire
–
The
Augustus of Prima Porta (early 1st century AD)
Roman Empire
–
Aureus of
Augustus, the first
Roman Emperor.
Roman Empire
–
A segment of the ruins of Hadrian's Wall in northern England
Roman Empire
–
A 5th-century
papyrus showing a parallel Latin-Greek text of a speech by
Cicero
14.
Middle Ages
–
In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
Middle Ages
–
The
Cross of Mathilde, a
crux gemmata made for
Mathilde, Abbess of Essen (973–1011), who is shown kneeling before the Virgin and Child in the
enamel plaque. The body of Christ is slightly later. Probably made in
Cologne or
Essen, the cross demonstrates several medieval techniques:
cast figurative sculpture,
filigree, enamelling, gem polishing and setting, and the reuse of Classical
cameos and
engraved gems.
Middle Ages
–
A late Roman statue
depicting the four Tetrarchs, now in
Venice
Middle Ages
–
Coin of
Theodoric
Middle Ages
–
Mosaic showing
Justinian with
the bishop of
Ravenna, bodyguards, and courtiers
15.
Panel painting
–
A panel painting is a painting made on a flat panel made of wood, either a single piece, or a number of pieces joined together. Panel painting is very old, it was a very prestigious medium in Greece and Rome, a series of 6th century BC painted tablets from Pitsa represent the oldest surviving Greek panel paintings. Most classical Greek paintings that were famous in their day seem to have been of a size comparable to modern works - perhaps up to a half-length portrait size. We can only attempt to imagine what these looked like from some detailed literary descriptions, the Severan Tondo, also from Egypt is one of the handful of non-funerary Graeco-Roman specimens to survive. Encaustic and tempera are the two used in antiquity. Encaustic largely ceased to be used after the early Byzantine icons, the earliest forms of panel painting were dossals, altar fronts and crucifixes. All were painted with images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church. Donor portraits including members of the family are also often shown. Painted panels for altars are most numerous in Spain, especially Catalonia, the 13th and 14th centuries in Italy were a great period of panel painting, mostly altarpieces or other religious works. However, it is estimated that of all the paintings produced there,99.9 percent have been lost. The vast majority of Early Netherlandish paintings are on panel, and these include most of the earliest portraits, such as those by Jan van Eyck, and some other secular scenes. However, one of the earliest surviving oils on canvas is a French Madonna with angels of about 1410 in the Gemäldegalerie, Berlin, which is very early indeed for oil painting also. By the 15th century with the wealth of Europe, and later the appearance of humanism. Secular art opened the way to the creation of chests, painted beds, birth trays, many such works are now detached and hung framed on walls in museums. Many double-sided wings of altarpieces have also been sawn into two one-sided panels, canvas took over from panel in Italy by the first half of the 16th century, a change led by Mantegna and the artists of Venice. His panels are of notoriously complicated construction, containing as many as seventeen pieces of wood, for smaller cabinet paintings, copper sheets were another rival support, from the end of the 16th century, used by many artists including Adam Elsheimer. Many Dutch painters of the Golden Age used panel for their small works, by the 18th century it had become unusual to paint on panel, except for small works to be inset into furniture, and the like. But, for example, The National Gallery in London has two Goya portraits on panel, many other painting traditions also painted, and still paint, on wood, but the term is usually only used to refer to the Western tradition described above
Panel painting
–
The
Ghent Altarpiece by
Jan van Eyck and his brothers, 1432. A large
altarpiece on panel. The outer wings are hinged, and painted on both sides.
Panel painting
–
Boy from
Al-Fayum, 2nd century CE (a
mummy portrait). Encaustic on wood—note the cracks.
Panel painting
–
The
Frankfurt Paradiesgärtlein, a German panel painting from circa 1410
Panel painting
–
Russian
icon by
Andrey Rublev, early 15th century, on a three piece panel. The raised edges are probably gesso rather than wood
16.
Eastern Orthodox
–
The Eastern Orthodox Church teaches that it is the One, Holy, Catholic and Apostolic Church established by Jesus Christ in his Great Commission to the apostles. It practices what it understands to be the original Christian faith, the Eastern Orthodox Church is a communion of autocephalous churches, each typically governed by a Holy Synod. It teaches that all bishops are equal by virtue of their ordination, prior to the Council of Chalcedon in AD451, the Eastern Orthodox had also shared communion with the Oriental Orthodox churches, separating primarily over differences in Christology. Eastern Orthodoxy spread throughout the Roman and later Eastern Roman Empires and beyond, playing a prominent role in European, Near Eastern, Slavic, and some African cultures. As a result, the term Greek Orthodox has sometimes used to describe all of Eastern Orthodoxy in general. However, the appellation Greek was never in use and was gradually abandoned by the non-Greek-speaking Eastern Orthodox churches. Its most prominent episcopal see is Constantinople, there are also many in other parts of the world, formed through immigration, conversion and missionary activity. The official name of the Eastern Orthodox Church is the Orthodox Catholic Church and it is the name by which the church refers to itself in its liturgical or canonical texts, in official publications, and in official contexts or administrative documents. Orthodox teachers refer to the Church as Catholic and this name and longer variants containing Catholic are also recognized and referenced in other books and publications by secular or non-Orthodox writers. The common name of the Church, Eastern Orthodox Church, is a shortened practicality that helps to avoid confusions in casual use, for this reason, the eastern churches were sometimes identified as Greek, even before the great schism. After 1054, Greek Orthodox or Greek Catholic marked a church as being in communion with Constantinople and this identification with Greek, however, became increasingly confusing with time. Missionaries brought Orthodoxy to many regions without ethnic Greeks, where the Greek language was not spoken. Today, many of those same Roman churches remain, while a large number of Orthodox are not of Greek national origin. Eastern, then, indicates the element in the Churchs origin and development, while Orthodox indicates the faith. While the Church continues officially to call itself Catholic, for reasons of universality, the first known use of the phrase the catholic church occurred in a letter written about 110 AD from one Greek church to another. Quote of St Ignatius to the Smyrnaeans, Wheresoever the bishop shall appear, there let the people be, even as where Jesus may be, thus, almost from the very beginning, Christians referred to the Church as the One, Holy, Catholic and Apostolic Church. The Orthodox Church claims that it is today the continuation and preservation of that same Church, a number of other Christian churches also make a similar claim, the Roman Catholic Church, the Anglican Communion, the Assyrian Church and the Oriental Orthodox Churches. The Church of England separated from the Roman Catholic Church, not directly from the Orthodox Church, the depth of this meaning in the Orthodox Church is registered first in its use of the word Orthodox itself, a union of Greek orthos and doxa
Eastern Orthodox
–
Orthodox liturgy
Eastern Orthodox
–
An
icon of
John the Baptist, 14th century, Macedonia
17.
Icon
–
An icon is a religious work of art, most commonly a painting, from Eastern Christianity and certain Eastern Catholic churches. The most common subjects include Christ, Mary, saints and/or angels, icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc. Comparable images from Western Christianity are generally not described as icons, Eastern Orthodox tradition holds that the creation of Christian images dates back to the very early days of Christianity, and there is has been a continuous tradition since then. The icons of later centuries can be linked, often closely, to images from the 5th century onwards, there was enormous destruction of images during the Byzantine Iconoclasm of 726-842, although this did settle for good the question of the appropriateness of images. Since then icons have had a continuity of style and subject. At the same time there has been change and development, Christian tradition dating from the 8th century identifies Luke the Evangelist as the first icon painter. Aside from the legend that Pilate had made an image of Christ and he relates that King Abgar of Edessa sent a letter to Jesus at Jerusalem, asking Jesus to come and heal him of an illness. In this version there is no image, further legends relate that the cloth remained in Edessa until the 10th century, when it was taken to Constantinople. It went missing in 1204 when Crusaders sacked Constantinople, but by then numerous copies had firmly established its iconic type. They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honouring these images, after the manner of the Gentiles. And he called him and said, Lycomedes, what do you mean by this matter of the portrait, can it be one of thy gods that is painted here. For I see that you are living in heathen fashion. Later in the passage John says, But this that you have now done is childish and imperfect, at least some of the hierarchy of the Christian churches still strictly opposed icons in the early 4th century. At the Spanish non-ecumenical Synod of Elvira bishops concluded, Pictures are not to be placed in churches, so that they do not become objects of worship and adoration. to our religion. After the emperor Constantine I extended official toleration of Christianity within the Roman Empire in 313 and this period of Christianization probably saw the use of Christian images became very widespread among the faithful, though with great differences from pagan habits. Robin Lane Fox states By the early century, we know of the ownership of private icons of saints. 480-500, we can be sure that the inside of a saints shrine would be adorned with images and votive portraits, when Constantine himself apparently converted to Christianity, the majority of his subjects remained pagans
Icon
–
The Ladder of Divine Ascent icon showing monks ascending to
Jesus in Heaven, top right. 12th century,
Saint Catherine's Monastery
Icon
–
Russian icon of
Holy Trinity
Icon
–
The icon of
St Nicolas carved in stone. Between the 12 and 15th cc.
Radomysl Castle, Ukraine
Icon
–
Ceramic icons are rare.
Saint Arethas, Byzantine, 10th century.
18.
Relief
–
Relief, formerly known as Panorama, is a public affairs newsmagazine series in Canada, airing nightly in Ontario on TFO, the Franco-Ontarian public television network. The series is hosted by Gisèle Quenneville, reporters associated with the series include Melanie Routhier-Boudreau, Isabelle Brunet, Marie Duchesneau, Luce Gauthier, Frédéric Projean and Chantal Racine. Longtime host Pierre Granger retired from the series in 2009, the series was renamed RelieF in fall 2010. The show airs seven nights a week at 7 p. m, from Monday to Thursday, it airs news and public affairs. On Fridays, the program airs documentary programming, on Saturdays, it airs a week in review edition, and on Sundays it airs an arts and culture magazine
Relief
19.
Byzantine art
–
Byzantine art is the name for the artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. A number of states contemporary with the Byzantine Empire were culturally influenced by it, after the fall of the Byzantine capital of Constantinople in 1453, art produced by Eastern Orthodox Christians living in the Ottoman Empire was often called post-Byzantine. Byzantine art never lost sight of this classical heritage, the Byzantine capital, Constantinople, was adorned with a large number of classical sculptures, although they eventually became an object of some puzzlement for its inhabitants. And indeed, the art produced during the Byzantine Empire, although marked by periodic revivals of an aesthetic, was above all marked by the development of a new aesthetic. The most salient feature of new aesthetic was its abstract. The nature and causes of this transformation, which took place during late antiquity, have been a subject of scholarly debate for centuries. Giorgio Vasari attributed it to a decline in skills and standards. Although this point of view has been revived, most notably by Bernard Berenson. Alois Riegl and Josef Strzygowski, writing in the early 20th century, were all responsible for the revaluation of late antique art. Riegl saw it as a development of pre-existing tendencies in Roman art. In any case, the debate is purely modern, it is clear that most Byzantine viewers did not consider their art to be abstract or unnaturalistic, religious art was not, however, limited to the monumental decoration of church interiors. One of the most important genres of Byzantine art was the icon, an image of Christ, the illumination of manuscripts was another major genre of Byzantine art. The most commonly illustrated texts were religious, both scripture itself and devotional or theological texts, secular texts were also illuminated, important examples include the Alexander Romance and the history of John Skylitzes. Small ivories were also mostly in relief, Byzantine ceramics were relatively crude, as pottery was never used at the tables of the rich, who ate off silver. Two events were of importance to the development of a unique. First, the Edict of Milan, issued by the emperors Constantine I and Licinius in 313, allowed for public Christian worship, second, the dedication of Constantinople in 330 created a great new artistic centre for the eastern half of the Empire, and a specifically Christian one. Major Constantinopolitan churches built under Constantine and his son, Constantius II, included the foundations of Hagia Sophia. The next major building campaign in Constantinople was sponsored by Theodosius I, the most important surviving monument of this period is the obelisk and base erected by Theodosius in the Hippodrome
Byzantine art
–
The most famous of the surviving Byzantine mosaics of the
Hagia Sophia in
Constantinople – the image of
Christ Pantocrator on the walls of the upper southern gallery. Christ is flanked by the Virgin Mary and John the Baptist. The mosaics were made in the 12th century.
Byzantine art
–
Byzantine culture
Byzantine art
–
Miniatures of the 6th-century
Rabula Gospel display the more abstract and symbolic nature of Byzantine art.
Byzantine art
–
Frescoes in Nerezi near
Skopje (1164), with their unique blend of high tragedy, gentle humanity, and homespun realism, anticipate the approach of
Giotto and other proto-Renaissance Italian artists. [
citation needed]
20.
Coat of arms
–
A coat of arms is an heraldic visual design on an escutcheon, surcoat, or tabard. The coat of arms on an escutcheon forms the central element of the heraldic achievement which in its whole consists of shield, supporters, crest. A coat of arms is traditionally unique to a person, family, state. The ancient Romans used similar insignia on their shields, but these identified military units rather than individuals, the first evidence of medieval coats of arms has been attributed to the 11th century Bayeux Tapestry in which some of the combatants carry shields painted with crosses. However, that heraldic interpretation remains controversial, coats of arms came into general use by feudal lords and knights in battle in the 12th century. By the 13th century, arms had spread beyond their initial battlefield use to become a flag or emblem for families in the social classes of Europe. Exactly who had a right to use arms, by law or social convention, in the German-speaking regions both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of spread to the clergy, to towns as civic identifiers. Flags developed from coats of arms, and the arts of vexillology, the coats of arms granted to commercial companies are a major source of the modern logo. Despite no widespread regulation, heraldry has remained consistent across Europe, some nations, like England and Scotland, still maintain the same heraldic authorities which have traditionally granted and regulated arms for centuries and continue to do so in the present day. In England, for example, the granting of arms is and has controlled by the College of Arms. Unlike seals and other emblems, heraldic achievements have a formal description called a blazon. Many societies exist that also aid in the design and registration of personal arms, in the heraldic traditions of England and Scotland, an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son, wives, undifferenced arms are used only by one person at any given time. Other descendants of the bearer could bear the ancestral arms only with some difference. One such charge is the label, which in British usage is now always the mark of an apparent or an heir presumptive. Because of their importance in identification, particularly in seals on legal documents and this has been carried out by heralds and the study of coats of arms is therefore called heraldry. In time, the use of arms spread from military entities to educational institutes, the author Helen Stuart argues that some coats of arms were a form of corporate logo
Coat of arms
–
The German
Hyghalmen Roll, ca. late 15th century, illustrates the German practice of thematic repetition from the arms in the crest
Coat of arms
Coat of arms
–
The
Zechariah Seal coat of arms.
21.
Altarpiece
–
An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation. Large number of altarpieces are now removed from their settings, and often their elaborate sculpted frameworks. Altarpieces seem to have begun to be used during the 11th century, the reasons and forces that led to the development of altarpieces are not generally agreed upon. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, an elaborate example of such an early altarpiece is the Pala dOro in Venice. The appearance and development of these first altarpieces marked an important turning point both in the history of Christian art and Christian religious practice, the autonomous image now assumed a legitimate position at the centre of Christian worship. Painted panel altars emerged in Italy during the 13th century, in the 13th century, it is not uncommon to find frescoed or mural altarpieces in Italy, mural paintings behind the altar function as visual complements for the liturgy. These altarpieces were influenced by Byzantine art, notably icons, which reached Western Europe in greater numbers following the conquest of Constantinople in 1204. During this time, altarpieces began to be decorated with an outer. Vigoroso da Sienas altarpiece from 1291 display such an altarpiece and this treatment of the altarpiece would eventually pave the way for the emergence, in the 14th century, of the polyptych. The sculpted elements in the emerging polyptychs often took inspiration from contemporary Gothic architecture, in Italy, they were still typically executed in wood and painted, while in northern Europe altarpieces were often made of stone. The early 14th century saw the emergence, in Germany, the Netherlands, Scandinavia, the Baltic region, by hinging the outer panels to the central panel and painting them on both sides, the motif could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands, the earliest often displayed sculptures on the inner panels, i. e. displayed when open, and paintings on the back of the wings, displayed when closed. With the advent of winged altarpieces, a shift in imagery also occurred, instead of being centred on a single holy figure, altarpieces began to portray more complex narratives linked to the Christian concept of salvation. As the Middle Ages progressed, altarpieces began to be commissioned more frequently, in Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds, the 15th century saw the birth of Early Netherlandish painting in the Low Countries, henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead generally preferred, while in England alabaster was used to a large extent, in England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with painted panels and often with complex framing in the form of architectural compositions
Altarpiece
–
The
Ghent Altarpiece (1432) by
Hubert and
Jan van Eyck. Considered one of the masterpieces of
Northern Renaissance art, it is an example of a complex polyptych panel painting
Altarpiece
–
Vigoroso da Siena 's altarpiece from 1291, an example of an early painted panel altarpiece, with the individual parts framed by gables and sculptured elements
Altarpiece
–
The Altarpiece of the Holy Blood, by
Tilman Riemenschneider (1501–1505). An example of an altarpiece with a central, sculpted section and relief wings.
22.
Triptych
–
A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme
Triptych
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Master of Frankfurt, Sagrada Familia con ángel músico, Santa Catalina de Alejandría, Santa Bárbara, 1510–1520,
Museo del Prado, Madrid. With the 2008 acquisition of the Holy Family (the central piece, formerly at the convento dominico de Santa Cruz in Segovia) the Prado completed the triptych by the Master of Frankfurt, separated since 1836.
Triptych
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The Verdun Altar in
Klosterneuburg Monastery
Triptych
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Modern photographic triptych
23.
Polyptych
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A polyptych is a painting which is divided into sections, or panels. Polyptychs typically display one central or main panel that is usually the largest of the attachments, while the panels are called side panels. Sometimes, as evident in the Ghent and Isenheim works, the panels can be varied in arrangement to show different views or openings in the piece. Polyptychs were most commonly created by early Renaissance painters, the majority of which designed their works to be altarpieces in churches, the polyptych form of art was also quite popular among ukiyo-e printmakers of Edo period Japan. Some medieval manuscripts are polyptychs, particularly Carolingian works, in which the columns on the page are framed with borders that resemble polyptych paintings, altar displays may also form polyptychs. Dominic Polyptych by Lorenzo Lotto Media related to polyptychs at Wikimedia Commons
Polyptych
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Opened view of the
Ghent Altarpiece:
Jan van Eyck (1432). There is a different view when the wings are closed.
24.
Early Netherlandish painting
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Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, the major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century, the painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is noted for its sculpture, tapestries, illuminated manuscripts, stained glass. Assisted by the system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority were destroyed during waves of iconoclasm in the 16th and 17th centuries, Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, attribution of some of the most significant works is still debated. These artists became a driving force behind the Northern Renaissance. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Germany, Belgium, the Netherlandish artists have been known by a variety of terms. Late Gothic is a designation which emphasises continuity with the art of the Middle Ages. In the early 20th century, the artists were variously referred to in English as the Ghent-Bruges school or the Old Netherlandish school. In this context, primitive does not refer to a lack of sophistication. When the Burgundian dukes established centres of power in the Netherlands, in the 19th century the Early Netherlandish artists were classified by nationality, with Jan van Eyck identified as German and van der Weyden as French. Scholars were at times preoccupied as to whether the schools genesis was in France or Germany, in the 14th century, as Gothic art gave way to the International Gothic era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is tied to the tradition. Modern art historians see the era as beginning with 14th-century manuscript illuminators and this patronage continued in the low countries with the Burgundian dukes, Philip the Good and his son Charles the Bold. The demand for illuminated manuscripts declined towards the end of the century, following van Eycks innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts
Early Netherlandish painting
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Jan van Eyck, The
Arnolfini Portrait, 1434,
National Gallery, London. This work is considered one of the more original and complex paintings in Western art because of its iconography and geometric
orthogonal perspective.
Early Netherlandish painting
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Rogier van der Weyden,
The Descent from the Cross, c. 1435,
Museo del Prado, Madrid
Early Netherlandish painting
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The
Ghent Altarpiece, completed in 1432 by Jan van Eyck. This polyptych and the
Turin-Milan Hours are generally seen as the first major works of the Early Netherlandish period.
Early Netherlandish painting
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Hieronymus Bosch,
The Garden of Earthly Delights, c. 1490–1510.
Museo del Prado, Madrid. Art historians are divided as to whether the central panel was intended as a moral warning or as a panorama of paradise lost
25.
Madonna and Child
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A Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches, the word is from Italian ma donna, meaning my lady. Or descriptive of the posture, as in Hodegetria, Eleusa. The term Madonna in the sense of picture or statue of the Virgin Mary enters English usage in the 17th century, in an Eastern Orthodox context, such images are typically known as Theotokos. Madonna may be used of representations of Mary, with or without the infant Jesus, is the focus and central figure of the image. Other types of Marian imagery have a context, depicting scenes from the Life of the Virgin. The earliest depictions of Mary date still to Early Christianity, found in the Catacombs of Rome and these are in a narrative context. The Theotokos iconography as it developed in the 6th to 8th century rose to importance in the high medieval period both in the Eastern Orthodox and in the Latin spheres. Liturgy depicting Mary as powerful intercessor was brought from Greek into Latin tradition in the 8th century, the Greek title of Δεσποινα was adopted as Latin Domina Lady. The medieval Italian Ma Donna pronounced reflects Mea Domina, while Nostra Domina was adopted in French and these names signal both the increased importance of the cult of the virgin and the prominence of art in service to Marian devotion during the late medieval period. Madonna was meant more to people of the theological concept which is placing such a high value on purity or virginity. This is also represented by the color of her clothing, the color blue symbolized purity, virginity, and royalty. In this sense, a Madonna, or a Madonna with Child is used of works of art. There are several types of representation of the Madonna. One type of Madonna shows Mary alone, and standing, generally glorified and with a gesture of prayer and this type of image occurs in a number of ancient apsidal mosaics. Full-length standing images of the Madonna more frequently include the infant Jesus, the most famous Byzantine image, the Hodegetria was originally of this type, though most copies are at half-length. There are a number of paintings that depict the Madonna in this manner. The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and these representations of the Madonna and Child often take the form of large altarpieces
Madonna and Child
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The Virgin and Child or The Madonna of the Book by
Sandro Botticelli, 1480.
Madonna and Child
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Madonna and Child by
Filippo Lippi
Madonna and Child
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Icon of the enthroned Virgin and Child with saints and angels, and the
Hand of God above, 6th century,
Saint Catherine's Monastery, perhaps the earliest iconic image of the subject to survive.
Madonna and Child
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13th century Madonna with Child in the Italo-Byzantine style.
26.
Jan van Eyck
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Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
Jan van Eyck
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Portrait of a Man in a Turban, possible self-portrait, 1433
Jan van Eyck
–
The Three Marys at the Tomb, painted or begun by Jan's brother
Hubert van Eyck, perhaps between 1410 and 1420, completed by members of Jan's workshop c 1440.
Jan van Eyck
–
Ghent Altarpiece, c. 1432, Saint Bavo Cathedral, Ghent
Jan van Eyck
–
The Arnolfini Portrait, 1434;
National Gallery, London
27.
Rogier van der Weyden
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Rogier van der Weyden or Roger de la Pasture was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity, however his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. There are few facts of van der Weydens life. What else is known of him has come from records and secondary sources. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others, all of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, Van der Weyden used an unusually broad range of colours and varied tones, in his finest work the same tone is not repeated in any other area of the canvas, even the whites are varied. Due to the loss of archives in 1695 and again in 1940, Rogelet de le Pasture was born in Tournai in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos and he married around 1426, to Elisabeth Goffaert, and was made town painter of Brussels in 1436, and changed his name from the French to the Flemish format, becoming van der Weyden. The Pasture family had settled before in the city of Tournai where Rogiers father worked as a maître-coutelier, in 1426 Rogier married Elisabeth, the daughter of a Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two children were born, Pieter in 1437 and Jan in 1438, who would go on to become a painter. On his move to Brussels, Rogier began using the Flemish version of his name, little is known about Rogiers training as a painter. The archival sources from Tournai were completely destroyed during World War II, the sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of Tournai offered eight pitchers of wine in honour of a certain Maistre Rogier de le Pasture on the 17th November 1426. However, on 5 March of the year the records of the painters guild show a Rogelet de le Pasture entered the workshop of Robert Campin together with Jacques Daret. Records show that de le Pasture was already established as a painter, only five years later, on the first of August 1432, de le Pasture obtained the title of a Master painter. His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis, the late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had living and working in Campins household for at least a decade
Rogier van der Weyden
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Rogier van der Weyden, portrait by
Cornelis Cort, 1572
Rogier van der Weyden
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The Descent from the Cross (c. 1435), oil on oak panel, 220 × 262 cm.
Museo del Prado, Madrid
Rogier van der Weyden
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Rogier van der Weyden - Portrait of a Woman with a Winged Bonnet
Rogier van der Weyden
–
The Braque Triptych, c. 1452 (right panel)
28.
Hans Memling
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Hans Memling was a German painter who moved to Flanders and worked in the tradition of Early Netherlandish painting. He then worked at Bruges, County of Flanders by 1465 and he may have been wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges and to show his gratitude he refused payment for a picture he had painted for them. Memling did paint for the Hospitallers in 1479 and 1480, in 1477, when he was believed dead, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. Critical opinion has been unanimous in assigning this altarpiece to Memling. The purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation, the oldest allusions to pictures connected to Memling point to his relations with the Burgundian court, which was held in Brussels. The inventories of Margaret of Austria, drawn up in 1524, allude to a triptych of the God of Pity by Rogier van der Weyden and he may have been apprenticed to van der Weyden in Bruges, where he afterwards dwelt. Yet the whole piece was assigned to the former in the Zambeccari collection at Bologna, Memlings painting of the Baptist in the gallery of Munich is the oldest form in which Memlings style is displayed. The subsequent Last Judgment in Gdańsk shows that Memling preserved the tradition of sacred art used earlier by Rogier van der Weyden in the Beaune Altarpiece, Memlings portraits, in particular, were popular in Italy. Memlings portrait style influenced the work of numerous late-15th-century Italian painters and he was popular with Italian customers as shown in the preference given to them by such purchasers as Cardinal Grimani and Cardinal Bembo at Venice, and the heads of the house of Medici at Florence. Memlings reputation was not confined to Italy or Flanders, the Madonna and Saints, the Virgin and Child, and the four attributed portraits in the Uffizi Gallery of Florence, show that his work was widely appreciated in the 16th century. The masterpiece of Memlings later years, the Shrine of St Ursula in the museum of the hospital of Bruges, is supposed to have been ordered and finished in 1480. The delicacy of finish in its figures, the variety of its landscapes and costume. Near the close of Memlings career he was supported by his workshop. The registers of the guild at Bruges give the names of two apprentices who served their time with Memling and paid dues on admission to the guild in 1480 and 1486. Erwin Panofsky in his 1953 Early Netherlandish Painting, says of Memling and his works give the impression of derivativeness. Old St. Johns Hospital, Bruges Christ Giving His Blessing and they are characterized by guls with hooked lines radiating from a central body, and probably came from Anatolia or Armenia. This article incorporates text from a now in the public domain, Chisholm, Hugh
Hans Memling
–
Virgin with Child between
St. James and
St. Dominic (1488–1490). This painting features a so-called "
Memling carpet ".
Hans Memling
–
Last Judgement, triptych, oil on wood, 1466–1473.
National Museum, Gdańsk
Hans Memling
–
Advent and Triumph of Christ (or Seven Joys of Mary)
Hans Memling
–
Triptych of Earthly Vanity and Divine Salvation (front) (c.1485) Oil on oak panel, 22 x 15 cm (each wing)
Musée des Beaux-Arts de Strasbourg
29.
Hugo van der Goes
–
Hugo van der Goes was one of the most important Flemish painters of the late 15th century. He introduced important innovations such as a new monumentalism, a colour spectrum. The presence of his masterpiece, the Portinari Triptych in Florence, Hugo van der Goes was likely born in Ghent or its environs around 1440. Nothing is known with certainty about the artists life prior to 1467, the sponsors for his membership of the guild were Joos van Wassenhove, master painter in Ghent from 1464, and Daneel Ruthaert. It is likely that he had trained elsewhere before he became a master in Ghent, some historians have suggested that Dieric Bouts was possibly the master of van der Goes but there is no independent evidence for this. In 1468 the artist was commissioned by the city of Ghent to execute works in connection with the grant of the Great Indulgence of the city. In the following years, van der Goes created further decorations such as papal blazons at the behest of the city, in 1468 he was in the town of Bruges making decorations to celebrate the marriage between Charles the Bold and Margaret of York. On 18 October 1468 van der Goes and other members of the painters guild invited painters from Tournai to their assembly in Ghent on the occasion of St. Lukes day, St. Luke was the patron saint of painters. In 1469 Hugo van der Goes and Joos van Wassenhove vouched for Alexander Bening for his entry as a master in the Ghent painters guild, in 1480 Alexander Bening married Catherina van der Goes, a cousin of Hugo van der Goes. Van der Goes and his workshop worked on commissions of the city of Ghent to provide decorations for Charles the Bolds Joyous Entry in Ghent in 1469. When in 1470 Joos van Wassenhove left Ghent for Italy to work in the service of Federico da Montefeltro, in 1473 the Burgundian court paid van der Goes for the paintings and blazons on the occasion of Charles the Goods funeral. The painter was repeatedly elected as deacon of the Ghent painters guild, at the highpoint of his career, van der Goes closed up his studio in Ghent in 1477 to become a frater conversus at the monastic community of the Rood Klooster near Auderghem. The Rood Klooster was part of the wing of the Modern Devotion movement. At the monastery he enjoyed certain privileges and he was allowed to continue working on painting commissions and to drink wine. During his time at the cloister he was appointed in 1482 by the City of Leuven to assess the works of Dieric Bouts for the Leuven city hall. From the city administration he received a jug of Rhine wine for this service, van der Goes probably also completed Bouts unfinished Triptych for Hyppolite Berthoz. On the left panel he painted the portraits of the couple. In 1482 van der Goes was sent on a trip to Cologne together with his half-brother Nicolaes who had taken religious vows
Hugo van der Goes
–
Right wing of Deposition (c. 1480), tempera on canvas, 53.5 x 38.5 cm, Gemäldegalerie Berlin
Hugo van der Goes
–
Plate located on a wall at the former Red Cloister monastery (Auderghem).
Hugo van der Goes
–
Portinari Altarpiece, c. 1475.
Hugo van der Goes
–
External video
30.
Andy Warhol
–
Andy Warhol was an American artist who was a leading figure in the visual art movement known as pop art. Born and raised in Pittsburgh, Warhol initially pursued a career as a commercial illustrator. After exhibiting his work in galleries in the late 1950s. He promoted a collection of known as Warhol superstars, and is credited with coining the widely used expression 15 minutes of fame. In the late 1960s, he managed and produced the rock band The Velvet Underground. He authored numerous books, including The Philosophy of Andy Warhol and Popism and he is also notable as a gay man who lived openly as such before the gay liberation movement. Warhol has been the subject of retrospective exhibitions, books. The Andy Warhol Museum in his city of Pittsburgh, which holds an extensive permanent collection of art. Many of his creations are very collectible and highly valuable, the highest price ever paid for a Warhol painting is US$105 million for a 1963 canvas titled Silver Car Crash, his works include some of the most expensive paintings ever sold. A2009 article in The Economist described Warhol as the bellwether of the art market, Warhol was born on August 6,1928 in Pittsburgh, Pennsylvania. He was the child of Ondrej Warhola and Julia, whose first child was born in their homeland. His parents were working-class Lemko emigrants from Mikó, located in todays northeastern Slovakia, Warhols father emigrated to the United States in 1914, and his mother joined him in 1921, after the death of Warhols grandparents. Warhols father worked in a coal mine, the family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh. The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church, Andy Warhol had two older brothers—Pavol, the oldest, was born before the family emigrated, Ján was born in Pittsburgh. Pavols son, James Warhola, became a childrens book illustrator. He became a hypochondriac, developing a fear of hospitals and doctors, often bedridden as a child, he became an outcast at school and bonded with his mother. At times when he was confined to bed, he drew, listened to the radio, Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident, as a teenager, Warhol graduated from Schenley High School in 1945
Andy Warhol
–
Warhol in 1975
Andy Warhol
–
Warhol's childhood home. 3252 Dawson Street,
South Oakland neighborhood of
Pittsburgh, Pennsylvania
Andy Warhol
–
Warhol (left) and
Tennessee Williams (right) talking on the
SS France, 1967; in the background:
Paul Morrissey.
Andy Warhol
–
Campbell's Soup I (1968)
31.
Marilyn Diptych
–
The Marilyn Diptych is a silkscreen painting by American pop artist Andy Warhol. The piece is one of the artists most noted works, and it has been praised by several critics such as Camille Paglia. The original piece is currently owned by the Tate, the work was completed during the weeks after Marilyn Monroes death in August 1962. It contains fifty images of the actress, which are all based on a publicity photograph from the film Niagara. The twenty-five pictures on the side of the diptych are brightly colored, while the twenty-five on the right are in black. It has been suggested that the relation between the side of the canvas and the right side of the canvas is evocative of the relation between the celebritys life and death. The piece is currently owned by the Tate, in a December 2,2004 article in The Guardian, the painting was named the third most influential piece of modern art in a survey of 500 artists, critics, and others. The piece is currently on display at the Tate Modern, as part of the exhibition, Witty, Sexy, Gimmicky, Pop 1957-67
Marilyn Diptych
–
Marilyn Diptych
32.
Alan Ayckbourn
–
Sir Alan Ayckbourn, CBE is a prolific English playwright and director. His plays have won awards, including seven London Evening Standard Awards. They have been translated into over 35 languages and are performed on stage, ten of his plays have been staged on Broadway, attracting two Tony nominations, and one Tony award. chau Ayckbourn was born in Hampstead, London. His mother Irene Worley was a writer of short stories who published under the name Mary James and his father, Horace Ayckbourn, was an orchestral violinist, at one time deputy leader of the London Symphony Orchestra. His parents, who separated shortly after World War II, never married, Ayckbourn wrote his first play at Wisborough Lodge when he was about 10. Whilst at prep school as a boarder, his mother wrote to him she was marrying Cecil Pye. When he went home for the holidays his new family consisted of his mother, his stepfather and Christopher and this relationship too, reportedly ran into difficulties early on. Ayckbourn attended Haileybury and Imperial Service College, in the village of Hertford Heath and it is said that Joseph became both a mentor and father figure for Ayckbourn until his untimely death in 1967, and he has consistently spoken highly of him. Ayckbourns career was interrupted when he was called for National Service. He was swiftly discharged, officially on medical grounds, but it is suggested that a doctor who noticed his reluctance to join the Armed Forces deliberately failed the medical as a favour. Although Ayckbourn continued to move where his career took him, he settled in Scarborough, eventually buying Longwestgate House, the house formerly owned by Stephen Joseph. In 1957, Ayckbourn married Christine Roland, another member of the Library Theatre company and they had two sons, Steven and Philip. However, the marriage had difficulties which led to their separation in 1971. Alan Ayckbourn said that his relationship with Christine became easy once they agreed their marriage was over, around this time, he started to share a home with Heather Stoney, an actress he had first met ten years earlier. Like his mother, neither he nor Christine sought a divorce for the thirty years and it was only in 1997 that they formally divorced. One side-effect of the timing is that, as Alan was awarded a knighthood a few months before the divorce, both his first and second wife are entitled to take the title of Lady Ayckbourn. In February 2006, he suffered a stroke in Scarborough, and stated, I hope to be back on my feet, or should I say my left leg, as soon as possible, in the meantime I am in excellent hands and so is the Stephen Joseph Theatre. He left hospital after eight weeks and returned to directing after six months, Ayckbourn, however, continues to write and direct his own work at the theatre
Alan Ayckbourn
–
Sir Alan Ayckbourn at the National Theatre, April 2010
33.
Archangel Michael
–
Michael is an archangel in Judaism, Christianity, and Islam. In Roman Catholic, Eastern Orthodox, Anglican, and Lutheran traditions, he is called Saint Michael the Archangel, in the Oriental Orthodox and Eastern Orthodox traditions, he is called Taxiarch Archangel Michael or simply Archangel Michael. Michael is mentioned three times in the Book of Daniel, in the New Testament Michael leads Gods armies against Satans forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as the archangel Michael, by the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations, Michael is mentioned three times in the Hebrew Scriptures, all in the book of Daniel. The prophet Daniel experiences a vision after having undergone a period of fasting, Daniel 10, 13-21 describes Daniels vision of an angel who identifies Michael as the protector of Israel. At Daniel 12,1, Daniel is informed that Michael will arise during the time of the end, the Book of Revelation describes a war in heaven in which Michael, being stronger, defeats Satan. After the conflict, Satan is thrown to earth along with the fallen angels, in the Epistle of Jude 1,9, Michael is referred to as an archangel when he again confronts Satan. A reference to an archangel also appears in the First Epistle to the Thessalonians 4,16 and this archangel who heralds the second coming of Christ is not named, but is often associated with Michael. Michael, is one of the two mentioned in the Quran, alongside Jibreel. In the Quran, Michael is mentioned only, in Sura 2,98, Whoever is an enemy to God, and His angels and His messengers. Then, God is an enemy to the disbelievers, some Muslims believe that the reference in Sura 11,69 is Michael, one of the three angels who visited Abraham. Michaels enmity with Samael dates from the time when the latter was thrown down from heaven, Samael took hold of the wings of Michael, whom he wished to bring down with him in his fall, but Michael was saved by God. But appeal to Michael seems to have more common in ancient times. Thus Jeremiah is said to have addressed a prayer to him, the rabbis declare that Michael entered upon his role of defender at the time of the biblical patriarchs. Thus, according to Rabbi Eliezer ben Jacob, it was Michael who rescued Abraham from the furnace into which he had been thrown by Nimrod. It was Michael, the one that had escaped, who told Abraham that Lot had been taken captive, and he announced to Sarah that she would bear a son and he rescued Lot at the destruction of Sodom. It is said that Michael prevented Isaac from being sacrificed by his father by substituting a ram in his place, later Michael prevented Laban from harming Jacob
Archangel Michael
–
A 13th-century Byzantine icon from
Saint Catherine's Monastery
Archangel Michael
–
Guido Reni 's Michael (in
Santa Maria della Concezione church, Rome, 1636) tramples Satan. A mosaic of the same painting decorates St. Michael's Altar in
St. Peter's Basilica.
Archangel Michael
–
Michael archangel by anonymous painter
Archangel Michael
–
Michael in
Hebrew
34.
Theotokos
–
Theotokos is a title of Mary, mother of Jesus, used especially in Eastern Christianity. The usual Latin translations, Dei Genetrix or Deipara, are translated as Mother of God or God-bearer, the Council of Ephesus decreed in 431 that Mary is the Theotokos because her son Jesus is both God and man, one divine person with two natures intimately and hypostatically united. Similar to this is the title of Mother of God, Mother of God is most often used in English, largely due to the lack of a satisfactory equivalent of Greek τόκος / Latin genetrix. The title has been in use since the 3rd century, in the Syriac tradition in the Liturgy of Mari and Addai, Theotokos is an adjectival compound of two the Greek words Θεός God and τόκος childbirth, parturition, offspring. A close paraphrase would be whose offspring is God or who gave birth to one who was God, the usual English translation is simply Mother of God, Latin uses Deipara or Dei Genetrix. The Church Slavonic translation is Bogoroditsa, in an abbreviated form, ΜΡ ΘΥ, it often is found on Eastern icons, where it is used to identify Mary. The Russian term is Матерь Божия, variant forms are the compounds Θεομήτωρ and Μητρόθεος, which are found in patristic and liturgical texts. The theological dispute over the term concerned the term Θεός God vs. Χριστός Christ, and not τόκος vs. μήτηρ, to make it explicit, it is sometimes translated Mother of God Incarnate. This decree created the Nestorian Schism, Cyril of Alexandria wrote, I am amazed that there are some who are entirely in doubt as to whether the holy Virgin should be called Theotokos or not. For if our Lord Jesus Christ is God, how is the holy Virgin who gave birth, not. But the argument of Nestorius was that divine and human natures of Christ were distinct, at issue is the interpretation of the Incarnation, and the nature of the hypostatic union of Christs human and divine natures between Christs conception and birth. Within the Orthodox doctrinal teaching on the economy of salvation, Marys identity, role, for this reason, it is formally defined as official dogma. The only other Mariological teaching so defined is that of her virginity, both of these teachings have a bearing on the identity of Jesus Christ. The term was certainly in use by the 3rd century, athanasius of Alexandria in 330, Gregory the Theologian in 370, John Chrysostom in 400, and Augustine all used theotokos. Origen is often cited as the earliest author to use theotokos for Mary, although this testimony is uncertain, the term was used c.250 by Dionysius of Alexandria, in an epistle to Paul of Samosata. The Greek version of the hymn Sub tuum praesidium contains the term, in the vocative, the oldest record of this hymn is a papyrus found in Egypt, mostly dated to after 450. But according to a suggestion by de Villiers possibly older, dating to the mid-3rd century, the use of Theotokos was formally affirmed at the Third Ecumenical Council held at Ephesus in 431. Nestorius opponents, led by Cyril of Alexandria, viewed this as dividing Jesus into two persons, the human who was Son of Mary, and the divine who was not
Theotokos
–
An 18th-century Russian icon depicting various types of the Theotokos icons
Theotokos
–
Theotokos of Kazan
Theotokos
–
A series of articles on
Theotokos
–
Theotokos of Vladimir
35.
John the Baptist
–
John the Baptist, also known as John the Baptizer, was a Jewish itinerant preacher in the early first century AD. John is revered as a religious figure in Christianity, Islam, the Baháí Faith. He is called a prophet by all of these traditions, and is honoured as a saint in many Christian traditions, John used baptism as the central symbol or sacrament of his messianic movement. Most scholars agree that John baptized Jesus, scholars generally believe Jesus was a follower or disciple of John and several New Testament accounts report that some of Jesus early followers had previously been followers of John. John the Baptist is also mentioned by the Jewish historian Josephus, according to the New Testament, John anticipated a messianic figure greater than himself. Christians commonly refer to John as the precursor or forerunner of Jesus, John is also identified with the prophet Elijah. John the Baptist is mentioned in all four canonical Gospels and the non-canonical Gospel of the Nazarenes, the Synoptic Gospels describe John baptising Jesus, in the Gospel of John it is implied in John 1, 32-34. The Gospel of Mark introduces John as a fulfilment of a prophecy from the Book of Isaiah about a messenger being sent ahead, John is described as wearing clothes of camels hair, living on locusts and wild honey. John proclaims baptism of repentance for the forgiveness of sin, and says another will come after him who will not baptize with water, Jesus comes to John, and is baptized by him in the river Jordan. The account describes how, as he emerges from the water, the heavens open, a voice from heaven then says, You are my Son, the Beloved, with you I am well pleased. Later in the gospel there is an account of Johns death and it is introduced by an incident where the Tetrarch Herod Antipas, hearing stories about Jesus, imagines that this is John the Baptist raised from the dead. It then explains that John had rebuked Herod for marrying Herodias, Herodias demands his execution, but Herod, who liked to listen to John, is reluctant to do so because he fears him, knowing he is a righteous and holy man. The account then describes how Herods daughter Herodias dances before Herod, when the girl asks her mother what she should request, she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and his head is delivered to her, at her request, Johns disciples take the body away and bury it in a tomb. There are a number of difficulties with this passage, the Gospel wrongly identifies Antipas as King and the ex-husband of Herodias is named as Philip, but he is known to have been called Herod. Although the wording clearly implies the girl was the daughter of Herodias, many texts describe her as Herods daughter, Herodias. Since these texts are early and significant and the reading is difficult, many see this as the original version, corrected in later versions and in Matthew. Josephus says that Herodias had a daughter by the name of Salome, scholars have speculated about the origins of the story
John the Baptist
–
John the Baptist Preaching in the Wilderness by
Anton Raphael Mengs, 1760
John the Baptist
–
The Preaching of St. John the Baptist by
Pieter Bruegel the Elder
John the Baptist
–
St. John the Baptist Preaching, c. 1665, by
Mattia Preti
John the Baptist
–
John the Baptist (right) with
child Jesus, painting by
Bartolomé Esteban Perez Murillo
36.
Archangel Gabriel
–
In the Abrahamic religions, Gabriel is an angel who typically serves as Gods messenger. Gabriel is mentioned in both the Old and New Testaments of the Bible, in the Old Testament, he appears to the prophet Daniel, explaining Daniels visions. In the Gospel of Luke, Gabriel appeared to Zechariah and the Virgin Mary, foretelling the births of John the Baptist and Jesus, respectively. In the Book of Daniel, he is referred to as the man Gabriel, while in the Gospel of Luke, Gabriel is not called an archangel in the Bible, but is so called in Intertestamental period sources like the Book of Enoch. In the Roman Catholic, Eastern Orthodox, and Anglican churches, the archangels Michael, Raphael, in Islam, Gabriel is considered an archangel whom God is believed to have sent with revelation to various prophets, including Muhammad. The 96th chapter of the Quran, The Clot, is believed by Muslims to have been the first chapter revealed by Gabriel to Muhammad, in the LDS Faith, The Angel Gabriel was The Prophet Noah, and Michael the Archangel was the Prophet Adam in their Mortal Ministries. Jewish rabbis interpreted the man in linen as Gabriel in the Book of Daniel, in the Book of Daniel, Gabriel is responsible for interpreting Daniels visions. Gabriels main function in Daniel is that of revealer, a role he continues in later literature, in the Book of Ezekiel, Gabriel is understood to be the angel that was sent to destroy Jerusalem. According to the Jewish Encyclopedia, Gabriel takes the form of a man, shimon ben Lakish concluded that the angelic names of Michael, Raphael, and Gabriel came out of the Babylonian exile. In Kabbalah, Gabriel is identified with the sephirot of Yesod, Gabriel also has a prominent role as one of Gods archangels in the Kabbalah literature. There, Gabriel is portrayed as working in concert with Michael as part of Gods court, Gabriel is not to be prayed to because only God can answer prayers and sends Gabriel as his agent. According to Jewish mythology, in the Garden of Eden there is a tree of life or the tree of souls that blossoms and produces new souls, which fall into the Guf, Gabriel reaches into the treasury and takes out the first soul that comes into his hand. Then Lailah, the Angel of Conception, watches over the embryo until it is born, the intertestamental period produced a wealth of literature, much of it having an apocalyptic orientation. The names and ranks of angels and devils were greatly expanded, and each had particular duties and status before God. In 1 Enoch 9, 1–3, Gabriel, along with Michael, Uriel and Suriel, saw much blood being shed upon the earth and heard the souls of men cry, Bring our cause before the Most High. —1 Enoch 10,9 Gabriel is the fifth of the five angels who watch, Gabriel, one of the holy angels, who is over Paradise and the serpents. And these are the four angels of the Lord of Spirits, the angel Gabriel is mentioned in Daniel 8, 16-26 and 9, 20-27. Gabriel, one who looked like a man, interprets Daniels visions, Gabriel speaks to Daniel while he is in a deep sleep, and Daniel is tired and sick for days after being with Gabriel
Archangel Gabriel
–
12th-century depiction,
Georgian National Museum
Archangel Gabriel
–
Archangel Gabriel. A fresco from the
Tsalenjikha Cathedral by Cyrus Emanuel Eugenicus. 14th century
Archangel Gabriel
–
Gabriel on the southern deacons' door of the
iconostasis in the
Cathedral of Hajdúdorog, Hungary.
Archangel Gabriel
–
Icon of Gabriel,
Byzantine, ca. 1387–1395 (
Tretyakov Gallery)
37.
Sanok
–
Sanok is a town in south-eastern Poland with 39,110 inhabitants, as of 2 June 2009. It is the capital of Sanok County in the Subcarpathian Voivodeship, previously, it was in the Krosno Voivodeship and in the Ruthenian Voivodeship, which was part of the Lesser Poland province. Historically it was part of the Land of Sanok and the Ruthenian Voivodeship and this historic city is situated on the San River at the foot of Castle Hill in the Lesser Poland region. It lies in a wooded, hilly area near the road number 28. It is located in the heartland of the Pogórze Bukowskie part of Doły, Sanok is located on the bank of the river San. The area surrounding mountain range stretching between the Wisłok, Osława and San Rivers in the Salt Mountains, in the inland with temperateness climate, the hills of the Bieszczady mountain range are typical for this countryside. Sanok County is bordered by Krosno County to the west, Brzozów County to the north, Przemyśl County to the north-east and it also borders Slovakia to the south. Before World War II, the Oslawa and San Rivers line was designated the wild frontier between Poles and Lemkos, in 981 the gord, then inhabited by the Slavic tribe of Lendians, was made a part of Land of Czerwień. This area was mentioned for the first time in 981, when Vladimir I of Kiev took the area over on the way into Poland, in 1018 it returned to Poland,1031 back to Rus, in 1340 Casimir III of Poland recovered it. The gord of Sanok in mentioned for the first time in Hypatian Codex in 1150 and it was given the Magdeburg law by Boleslaw-Yuri II of Galicia in 1339. After 1339 Galicia–Volhynia was seized by King Casimir III of Poland, at that time Sanok became the centre of a new administrative district called Sanok Land, a part of the Ruthenian Voivodeship. Several courts of justice operated in the town, including the municipal and rural courts of lower instance and also the higher court for the entire Sanok Land. Marcin Bielski states that Bolesław I Chrobry had settled some Germans in the region to defend the borders against Hungary and Kievan Rus, maciej Stryjkowski mentions German peasants near Przeworsk, Przemyśl, Sanok, and Jarosław, describing them as good farmers. The region was traditionally inhabited by subgroups of the Rusyn people. As early at the 17th century, an important trade route went across Sanok connecting the interior of Hungary with Poland through the Łupków Pass. As a result of the first of Partitions of Poland Sanok castle and Icon collection - one of the largest collections of this in Central, town square/Rynek Parish Church dating to the 19th century Franciscan Church dating to the 14th century. Near the central square and the previous Jewish ghetto, there is a valley where much of the Jewish population was murdered en masse by the Nazis during the Holocaust. Stomil is next to the train station in Sanok and Autosan is a 10-minute walk from the station
Sanok
–
Town view, Top: Areal view of the San River and Wojtostwo town center area, including the Old Market Square, and Franciscan Monastery. Middle left:Teseusza Kosciuszki Street, Middle right:Three Maja Street, Bottom left:Przemienienia Panskiego Cathedral, Bottom middle:Franciscan Cathedral, Bottom right: Autosan headquarters in Sanok.
Sanok
–
Top: Market Square in Sanok; Bottom: 3 May Street in Sanok.
Sanok
Sanok
–
Top: Kayaking on the
San river; Bottom:
KH Sanok celebrating their 2012 PLH final victory.
38.
Poland
–
Poland, officially the Republic of Poland, is a country in Central Europe, situated between the Baltic Sea in the north and two mountain ranges in the south. Bordered by Germany to the west, the Czech Republic and Slovakia to the south, Ukraine and Belarus to the east, the total area of Poland is 312,679 square kilometres, making it the 69th largest country in the world and the 9th largest in Europe. With a population of over 38.5 million people, Poland is the 34th most populous country in the world, the 8th most populous country in Europe, Poland is a unitary state divided into 16 administrative subdivisions, and its capital and largest city is Warsaw. Other metropolises include Kraków, Wrocław, Poznań, Gdańsk and Szczecin, the establishment of a Polish state can be traced back to 966, when Mieszko I, ruler of a territory roughly coextensive with that of present-day Poland, converted to Christianity. The Kingdom of Poland was founded in 1025, and in 1569 it cemented a political association with the Grand Duchy of Lithuania by signing the Union of Lublin. This union formed the Polish–Lithuanian Commonwealth, one of the largest and most populous countries of 16th and 17th century Europe, Poland regained its independence in 1918 at the end of World War I, reconstituting much of its historical territory as the Second Polish Republic. In September 1939, World War II started with the invasion of Poland by Nazi Germany, followed thereafter by invasion by the Soviet Union. More than six million Polish citizens died in the war, after the war, Polands borders were shifted westwards under the terms of the Potsdam Conference. With the backing of the Soviet Union, a communist puppet government was formed, and after a referendum in 1946. During the Revolutions of 1989 Polands Communist government was overthrown and Poland adopted a new constitution establishing itself as a democracy, informally called the Third Polish Republic. Since the early 1990s, when the transition to a primarily market-based economy began, Poland has achieved a high ranking on the Human Development Index. Poland is a country, which was categorised by the World Bank as having a high-income economy. Furthermore, it is visited by approximately 16 million tourists every year, Poland is the eighth largest economy in the European Union and was the 6th fastest growing economy on the continent between 2010 and 2015. According to the Global Peace Index for 2014, Poland is ranked 19th in the list of the safest countries in the world to live in. The origin of the name Poland derives from a West Slavic tribe of Polans that inhabited the Warta River basin of the historic Greater Poland region in the 8th century, the origin of the name Polanie itself derives from the western Slavic word pole. In some foreign languages such as Hungarian, Lithuanian, Persian and Turkish the exonym for Poland is Lechites, historians have postulated that throughout Late Antiquity, many distinct ethnic groups populated the regions of what is now Poland. The most famous archaeological find from the prehistory and protohistory of Poland is the Biskupin fortified settlement, dating from the Lusatian culture of the early Iron Age, the Slavic groups who would form Poland migrated to these areas in the second half of the 5th century AD. With the Baptism of Poland the Polish rulers accepted Christianity and the authority of the Roman Church
Poland
–
Reconstruction of a
Bronze Age,
Lusatian culture settlement in
Biskupin, c. 700 BC
Poland
–
Flag
Poland
–
Earliest known contemporary depiction of a Polish ruler; King
Mieszko II Lambert of Poland being presented with a
Liturgical book by
Matilda of Swabia, 1025–1031
Poland
–
Drawing of the
Battle of Grunwald, which was fought against the
German Order of Teutonic Knights, 15 July 1410
39.
Christian
–
A Christian is a person who follows or adheres to Christianity, an Abrahamic, monotheistic religion based on the life and teachings of Jesus Christ. Christian derives from the Koine Greek word Christós, a translation of the Biblical Hebrew term mashiach, while there are diverse interpretations of Christianity which sometimes conflict, they are united in believing that Jesus has a unique significance. The term Christian is also used as an adjective to describe anything associated with Christianity, or in a sense all that is noble, and good. According to a 2011 Pew Research Center survey, there were 2.2 billion Christians around the world in 2010, by 2050, the Christian population is expected to exceed 3 billion. According to a 2012 Pew Research Center survey Christianity will remain the worlds largest religion in 2050, about half of all Christians worldwide are Catholic, while more than a third are Protestant. Orthodox communions comprise 12% of the worlds Christians, other Christian groups make up the remainder. Christians make up the majority of the population in 158 countries and territories,280 million Christian live as a minority. In the Greek Septuagint, christos was used to translate the Hebrew מָשִׁיחַ, in other European languages, equivalent words to Christian are likewise derived from the Greek, such as Chrétien in French and Cristiano in Spanish. The second mention of the term follows in Acts 26,28, where Herod Agrippa II replied to Paul the Apostle, Then Agrippa said unto Paul, Almost thou persuadest me to be a Christian. The third and final New Testament reference to the term is in 1 Peter 4,16, which believers, Yet if as a Christian, let him not be ashamed. The city of Antioch, where someone gave them the name Christians, had a reputation for coming up with such nicknames, in the Annals he relates that by vulgar appellation commonly called Christians and identifies Christians as Neros scapegoats for the Great Fire of Rome. Another term for Christians which appears in the New Testament is Nazarenes which is used by the Jewish lawyer Tertullus in Acts 24, the Hebrew equivalent of Nazarenes, Notzrim, occurs in the Babylonian Talmud, and is still the modern Israeli Hebrew term for Christian. A wide range of beliefs and practices is found across the world among those who call themselves Christian, denominations and sects disagree on a common definition of Christianity. Most Baptists and fundamentalists, for example, would not acknowledge Mormonism or Christian Science as Christian, in fact, the nearly 77 percent of Americans who self-identify as Christian are a diverse pluribus of Christianities that are far from any collective unity. The identification of Jesus as the Messiah is not accepted by Judaism, the term for a Christian in Hebrew is נוּצְרי, a Talmudic term originally derived from the fact that Jesus came from the Galilean village of Nazareth, today in northern Israel. Adherents of Messianic Judaism are referred to in modern Hebrew as יְהוּדִים מָשִׁיחַיים, the term Nasara rose to prominence in July 2014, after the Fall of Mosul to the terrorist organization Islamic State of Iraq and the Levant. The nun or ن— the first letter of Nasara—was spray-painted on the property of Christians ejected from the city, where there is a distinction, Nasrani refers to people from a Christian culture and Masihi is used by Christians themselves for those with a religious faith in Jesus. In some countries Nasrani tends to be used generically for non-Muslim Western foreigners, another Arabic word sometimes used for Christians, particularly in a political context, is Ṣalībī from ṣalīb which refers to Crusaders and has negative connotations
Christian
–
Set of pictures for a number of famous Christians from various fields.
Christian
–
The
Church of St Peter near
Antakya, Turkey, in
Antioch the disciples were called Christians.
Christian
–
Nazareth the city is described as the childhood home of
Jesus, in many languages employ the word Nazarene as a general designation for those of the Christian faith.
Christian
–
Japanese Christians ("Kurisuchan") in Portuguese costume, 16–17th century.
40.
Local church
–
A local church is a Christian religious organization or community that meets in a particular location. Many are formally organized, with constitutions and by-laws, maintain offices, are served by clergy or lay leaders, Local churches often relate with, affiliate with, or consider themselves to be constitutive parts of denominations, which are also called churches in many traditions. Non-denominational churches are not part of denominations, but may consider themselves part of larger church movements without institutional expression and it may be united with other congregations under the oversight of a council of pastors as are Presbyterian churches. It may be united with other parishes under the oversight of bishops, as are Anglican, finally, the local church may function as the lowest subdivision in a large, global hierarchy under the leadership of one priest, such as the Pope of the Roman Catholic Church. Such association or unity is a churchs ecclesiastical polity, among congregational churches, since each local church is autonomous, there are no formal lines of responsibility to organizational levels of higher authority. Deacons of each church are elected by the congregation, in many such local churches, the role of deacons includes pastoral and nurturing responsibilities. Typically, congregational churches have informal worship styles, less structured services, Local churches united with others under the oversight of a bishop are normally called parishes, by Roman Catholic, Eastern Orthodox, Anglican, and Lutheran communions. Each parish usually has one parish church, though seldom. The parish church has always been fundamental to the life of every parish community, for example, in the Church of England, parish churches are the oldest churches to be found in England. A number are substantially of Anglo-Saxon date and all subsequent periods of architecture are represented in the country, most parishes have churches that date back to the Middle Ages. Thus, such local churches tend to favor traditional, formal styles, liturgy. Local parishes of the Roman Catholic Church, like episcopal parishes, favor formal worship styles, likewise, vestments are valued to inculcate the solemnity of the Holy Eucharist and are typically more elaborate than in other churches. A local church may also be a mission, that is a church under the sponsorship of a larger congregation. Often congregational churches prefer to call such local mission churches church plants, a local church may also work in association with parachurch organizations. While ParaChurch Organizations/Ministries are vital to accomplishing specific missions on behalf of the church they do not normally take the place of the local church, the word denomination is sometimes used as a synonym of local church. Sometimes, however, denomination is used to mean the whole tradition to which the church belongs. So, for example, some refer to the United Methodist Church as a denomination. The Local Churches Ecclesia Ecclesiastical polity Congregational church Parish Particular church Simple church Early centers of Christianity
Local church
–
Saint-Hippolyte church in
Rivière-au-Tonnerre
41.
Schism (religion)
–
A schism is a division between people, usually belonging to an organization, movement, or religious denomination. The word is most frequently applied to a split in what had previously been a religious body. It is also used of a split within an organization or movement or, more broadly. A schismatic is a person who creates or incites schism in an organization or who is a member of a splinter group. Schismatic as an adjective pertaining to a schism or schisms, or to those ideas, policies. In religion, the charge of schism is distinguished from that of heresy, since the offence of schism concerns not differences of belief or doctrine but promotion of, or the state of, however, schisms frequently involve mutual accusations of heresy. In Roman Catholic teaching, every heresy is a schism, while there may be some free of the added guilt of heresy. Liberal Protestantism, however, has often preferred heresy over schism, mcCord drew a distinction between them, teaching, If you must make a choice between heresy and schism, always choose heresy. As a schismatic, you have torn and divided the body of Christ, in Buddhism, the first schism was set up by Devadatta, during Buddhas life. This schism lasted only a short time, later, the early Buddhist schools came into being, but were not schismatic, only focusing on different interpretations for the same monastic community. In the old texts,18 or 20 early schools are mentioned, later, there were the Mahayana and Vajrayana movements, which can be regarded as being schismatic in origin. Each school has various subgroups, which often are schismatic in origin, for example, in Thai Theravadin Buddhism there are two groups, of which the Dhammayut has its origin partly in the Mahanikaya, and is the new and schismatic group. Both Mahanikaya and Dhammayut have many subgroups, which usually do not have schismatic origins, Tibetan Buddhism has seen schisms in the past, of which most were healed, although the Drukpa school centred in Bhutan perhaps remains in a state of schism from the other Tibetan schools. The words schism and schismatic have found their heaviest usage in the history of Christianity, to denote splits within a church and these words have been used to denote both the phenomenon of Christian group splintering in general, and certain significant historical splits in particular. A distinction is made between heresy and schism, heresy is rejection of a doctrine that a Church considered to be essential. But, when for any reason people withdraw from communion, two distinct ecclesiastical entities may result, each of which then, or at least some of its members, may accuse the other of heresy. In Roman Catholic Church canon law, an act of schism, like an act of apostasy or heresy, as stated in canon 1312 §1 1° of the Code of Canon Law, this penalty is intended to be medicinal, so as to lead to restoration of unity. This nuanced view applies especially to the Churches of Eastern Christianity, the First Council of Nicaea distinguished between schism and heresy
Schism (religion)
–
The historical development of major church branches from their roots.
42.
Deacon
–
Deacon is a ministry in Christian Churches that is generally associated with service of some kind, but which varies among theological and denominational traditions. In many traditions the diaconate, the term for an office, is a clerical office. The word deacon is derived from the Greek word diákonos, which is a standard ancient Greek word meaning servant, waiting-man, minister, or messenger. One commonly promulgated speculation as to its etymology is that it literally means through the dust, female deacons are mentioned by Pliny the Younger in a letter to the emperor Trajan dated c. The title deaconess is not found in the Bible, however, a woman, Phoebe, is mentioned at Romans 16, 1–2 as a deacon of the church in Cenchreae. Nothing more specific is said about her duties or authority, the exact relationship between male and female deacons varies. A biblical description of the qualities required of a deacon, and of his household, can be found in 1 Timothy 3, prominent historical figures who played major roles as deacons and went on to higher office include Saint Athanasius of Alexandria, Thomas Becket and Reginald Pole. On June 8, A. D.536 a serving Roman deacon was raised to Pope and his father, Pope Agapetus, had died and the office had been vacant for over a month. The title is used for the president, chairperson, or head of a trades guild in Scotland. The diaconate is one of the orders in the Catholic, Anglican, Eastern Orthodox. The other major orders are those of bishop and presbyter, the diaconate continued in a vestigial form as a temporary, final step along the course toward ordination to priesthood. In Catholic, Orthodox, and Anglican churches, deacons assist priests in their pastoral and administrative duties and they have a distinctive role in the liturgy of the Eastern and Western Churches. In the Eastern Church, deacons have a profound presence in the Divine Liturgy. In the Western Church, Pope St. Today, deacons are also granted permission to preach, beginning around the fifth century, there was a gradual decline in the permanent diaconate in the Latin church. It has however remained a part of the Eastern Catholic Churches. These men are known as permanent deacons in contrast to those continuing their formation, there is no sacramental or canonical difference between the two, however, as there is only one order of deacons. The permanent diaconate formation period in the Roman Catholic Church varies from diocese to diocese as it is determined by the local ordinary, although they are assigned to work in a parish by the diocesan bishop, once assigned, deacons are under the supervision of the parish pastor. Unlike most clerics, permanent deacons who also have a profession have no right to receive a salary for their ministry
Deacon
–
Saint Stephen, one of the first seven deacons in the Christian Church, holding a
Gospel Book. Painting by
Giacomo Cavedone in 1601.
Deacon
–
Saint Peter
Deacon
–
In Poland, a
Catholic deacon chants the
Exsultet at the
Easter Vigil.
Deacon
–
Ornately embroidered dalmatic, the proper vestment of the deacon (shown from the back with an appareled
amice)
43.
Divine Liturgy
–
Divine Liturgy is the Eucharistic service of the Byzantine Rite which is the Rite of the The Great Church of Christ and was developed from the Antiochene Rite of Christian liturgy. As such, it is used in the Eastern Orthodox and Eastern Catholic Churches, Armenian Christians, both of the Armenian Apostolic Church and of the Armenian Catholic Church, use the same term. Some Oriental Orthodox employ the term holy offering for their Eucharistic liturgies instead, the term is sometimes applied also to Roman Rite Eucharistic liturgies, though the term Mass is more commonly used there. In Eastern traditions, those of the Eastern Catholic and Orthodox Churches, the Divine Liturgy is seen as transcending time, all believers are believed to be united in worship in the Kingdom of God along with departed Saints and the celestial Angels. To this end, everything in the Liturgy is seen as symbolic, yet also not just merely symbolic, according to Eastern tradition and belief, the Liturgys roots go back to Jewish worship and the adaptation of Jewish worship by Early Christians. This can be seen in the first parts of the Liturgy termed the Liturgy of the Catechumens that includes reading of scriptures and, the latter half was added based on the Last Supper and the first Eucharistic celebrations by Early Christians. Each Liturgy has its differences from others, but most are similar to each other with adaptations based on tradition, purpose, culture. The Divine Liturgy of St. Basil the Great, used on the 5 Sundays of Great Lent, on the eves of the Nativity and Theophany, and on Holy Thursday and Holy Saturday, it is celebrated as a vesperal liturgy. In some traditions, Saint Basils Liturgy is also celebrated on the Exaltation of the Life-giving Cross on September 14, all together, St. Basils liturgy is celebrated 10 times out of the liturgical year. The Divine Liturgy of the Presanctified Gifts, is used during Great Lent on Wednesdays, Fridays, and a handful of other occasions, and also on the first three days of Holy Week. Nowadays it is celebrated as a vesperal liturgy, the Liturgy of the Faithful has no Anaphora. It is traditionally attributed to St. Gregory the Dialogist, although some believe it originated with Patriarch Severus of Antioch. The Liturgy of Saint Mark was also observed in the Orthodox Patriarchate of Alexandria on at least that Saints day until recent times. As numbers in a diocese increased dramatically the bishop as presiding over the Eucharistic assembly appointed presbyters as celebrant in the local community, still, the Church is understood in Eastern Orthodoxy not in terms of the presbyter, but the diocesan bishop. When the latter is present, he is chief celebrant, phrases and hymns are also added. The hierarch commemorates his hierarch demonstrating unity with the greater Orthodox community, note, Psalms are numbered according to the Greek Septuagint. For the Hebrew Masoretic numbering that is familiar in the West. The format of Divine Liturgy is fixed, although the specific readings and hymns vary with season, in modern times, this restriction applies only to Holy Communion — reception of the sacrament of holy communion
Divine Liturgy
–
Icon of Ss.
Basil the Great (left) and
John Chrysostom, ascribed authors of the two most frequently used
Eastern Orthodox Divine Liturgies, c. 1150 (
mosaic in the
Palatine Chapel,
Palermo).
Divine Liturgy
Divine Liturgy
44.
Eucharist
–
The Eucharist /ˈjuːkərɪst/ is a Christian rite that is considered a sacrament in most churches. Through the Eucharistic celebration Christians remember Christs sacrifice of himself on the cross, the elements of the Eucharist, bread and wine, are consecrated on an altar and consumed thereafter. Communicants may speak of receiving the Eucharist, as well as celebrating the Eucharist, Christians generally recognize a special presence of Christ in this rite, though they differ about exactly how, where, and when Christ is present. While all agree there is no perceptible change in the elements, Catholics believe that they actually become the body. Some Protestants view the Eucharist as an ordinance in which the ceremony is not as a specific channel of divine grace. Do this in remembrance of me, the term Eucharist is that by which the rite is referred by the Didache, Ignatius of Antioch and Justin Martyr. Today, the Eucharist is the still used by Eastern Orthodox, Oriental Orthodox, Catholics, Anglicans, Presbyterians. Other Protestant denominations rarely use this term, preferring either Communion, one remains hungry, another gets drunk. Communion or Holy Communion are used by some groups originating in the Protestant Reformation to mean the entire Eucharistic rite. The term Communion is derived from Latin communio, which translates Greek κοινωνία in 1 Corinthians 10,16, the bread which we break, is it not the communion of the body of Christ. The phrase appears five times in the New Testament in contexts which, according to some and it is the term used by the Plymouth Brethren. The Blessed Sacrament and the Blessed Sacrament of the Altar are common terms used by Catholics, Lutherans and some Anglicans for the consecrated elements, Sacrament of the Altar is in common use also among Lutherans. In The Church of Jesus Christ of Latter-day Saints the term The Sacrament is used of the rite. Among the many terms used in the Catholic Church are Holy Mass, the Memorial of the Passion, Death and Resurrection of the Lord, the Holy Sacrifice of the Mass. The term Mass is probably derived from the fact that the Roman rite celebrates the Eucharist with unleavened bread and this explains why the Eastern Catholic Liturgies are never referred to as the Mass. Eastern rite Liturgies are celebrated with leavened bread, although the prevailing theory is that it is derived from the Latin word missa, a word used in the concluding formula of Mass in Latin, Ite, missa est. The reverse is more likely. The word dismissal probably came about because the Mass signaled the time for the Catechumens to leave, thus, the term Misa came to imply a mission, because at the end of the Mass the congregation are sent out to serve Christ
Eucharist
–
The Eucharist has been a key theme in the depictions of the
Last Supper in Christian art, as in this 16th-century
Juan de Juanes painting.
Eucharist
–
A
Kremikovtsi Monastery fresco (15th century) depicting the
Last Supper celebrated by Jesus and his disciples. The early Christians too would have celebrated this meal to commemorate Jesus' death and subsequent resurrection.
Eucharist
–
Christ with the Eucharist,
Vicente Juan Masip, 16th century.
45.
Liturgy of Preparation
–
The Liturgy of Preparation, also Prothesis or Proskomedia, is the name given in the Eastern Orthodox Church to the act of preparing the bread and wine for the Eucharist. The Liturgy of Preparation is done quietly before the part of the Divine Liturgy begins. Only very specific elements may be offered at the Divine Liturgy, a prosphoron is a round loaf of leavened bread baked in two layers to represent the two natures of Christ. It has a seal on the top side which has inscribed on it a cross. The portion of the loaf that is cut out along this seal is the Lamb, from which all are communicated, prosphora must be made using only the finest wheat flour, water, salt, and yeast. It should be baked and without blemish. Those churches which follow Slavic usage use five small loaves, recalling the five loaves from which Christ fed the multitude, normally all are stamped with a small square seal, though special seals for the Theotokos are sometimes used. In all traditions, only the Lamb is actually consecrated, other portions which are removed from the prosphora are memorials, the Wine used must be red grape wine, and it must be fermented. Orthodox tend to favor altar wine that is sweet, though this is not a requirement. These elements are referred to collectively as the Gifts, both before and after the Consecration, the Priests Service Book states that, before celebrating the Divine Liturgy, the priest must be reconciled to all men, keep his heart from evil thoughts, and be fasting since midnight. The same rules apply to the deacon, the beginning of the Liturgy of Preparation should be timed so that it is concluded slightly before the Reader finishes reading the Third Hour and Sixth Hour. The priests and deacons celebrating the liturgy stand together in front of the doors of the iconostasis, venerate the icons. They then venerate the holy table and put on their vestments, before putting on each vestment the priest says a prayer, usually drawn from the Psalms, bless the vestment, and kiss the cross that is sewn onto it. Each subdeacon and server vesting bring his sticharion to the priest for him to bless, if a bishop is present, the clergy bring their vestments for him to bless before putting them on. After vesting, the priest and deacon wash their hands, saying the Prayer of the Washing of Hands They then go to the Prothesis where the Gifts are to be prepared, if there are several priests concelebrating, usually only one—traditionally, the most junior— celebrates the Proskomedia. Others may assist in taking out particles for the living and the dead, the priest takes a prosphoron and blessed it three times, making the sign of the cross over it with the liturgical spear. Then, cutting on all four sides of the seal on the prosphoron, he removes a cube. He then cuts the underside of the Lamb, making a cross, then turns the Lamb right side up and pierces it with the spear, saying the words from the Gospel
Liturgy of Preparation
–
The
Altar of Prothesis, set with the
diskos (left),
chalice (right) and other implements needed for the Liturgy of Preparation. The
Lamb sits on the diskos (paten). To the left are
Prosphora for the
Theotokos, the saints, the living and the departed.
Liturgy of Preparation
–
Prosphora prepared for the Liturgy of Preparation. The large loaves on the left are the five principal prosphora; the smaller loaves on the right are for the commemorations of the living and the dead by the faithful (Ukrainian Catholic Cathedral, London).
Liturgy of Preparation
–
the
Lamb and particles placed on the
diskos. The large triangle to the viewer's left of the Lamb is the particle for the Theotokos; to the right of the Lamb are the particles for the nine ranks (saints); below the Lamb are the particles commemorating the living and the departed.
Liturgy of Preparation
–
Subdeacon reading the names of the living and the departed during the Liturgy of Preparation.
46.
Eastern Orthodox Church
–
The Eastern Orthodox Church teaches that it is the One, Holy, Catholic and Apostolic Church established by Jesus Christ in his Great Commission to the apostles. It practices what it understands to be the original Christian faith, the Eastern Orthodox Church is a communion of autocephalous churches, each typically governed by a Holy Synod. It teaches that all bishops are equal by virtue of their ordination, prior to the Council of Chalcedon in AD451, the Eastern Orthodox had also shared communion with the Oriental Orthodox churches, separating primarily over differences in Christology. Eastern Orthodoxy spread throughout the Roman and later Eastern Roman Empires and beyond, playing a prominent role in European, Near Eastern, Slavic, and some African cultures. As a result, the term Greek Orthodox has sometimes used to describe all of Eastern Orthodoxy in general. However, the appellation Greek was never in use and was gradually abandoned by the non-Greek-speaking Eastern Orthodox churches. Its most prominent episcopal see is Constantinople, there are also many in other parts of the world, formed through immigration, conversion and missionary activity. The official name of the Eastern Orthodox Church is the Orthodox Catholic Church and it is the name by which the church refers to itself in its liturgical or canonical texts, in official publications, and in official contexts or administrative documents. Orthodox teachers refer to the Church as Catholic and this name and longer variants containing Catholic are also recognized and referenced in other books and publications by secular or non-Orthodox writers. The common name of the Church, Eastern Orthodox Church, is a shortened practicality that helps to avoid confusions in casual use, for this reason, the eastern churches were sometimes identified as Greek, even before the great schism. After 1054, Greek Orthodox or Greek Catholic marked a church as being in communion with Constantinople and this identification with Greek, however, became increasingly confusing with time. Missionaries brought Orthodoxy to many regions without ethnic Greeks, where the Greek language was not spoken. Today, many of those same Roman churches remain, while a large number of Orthodox are not of Greek national origin. Eastern, then, indicates the element in the Churchs origin and development, while Orthodox indicates the faith. While the Church continues officially to call itself Catholic, for reasons of universality, the first known use of the phrase the catholic church occurred in a letter written about 110 AD from one Greek church to another. Quote of St Ignatius to the Smyrnaeans, Wheresoever the bishop shall appear, there let the people be, even as where Jesus may be, thus, almost from the very beginning, Christians referred to the Church as the One, Holy, Catholic and Apostolic Church. The Orthodox Church claims that it is today the continuation and preservation of that same Church, a number of other Christian churches also make a similar claim, the Roman Catholic Church, the Anglican Communion, the Assyrian Church and the Oriental Orthodox Churches. The Church of England separated from the Roman Catholic Church, not directly from the Orthodox Church, the depth of this meaning in the Orthodox Church is registered first in its use of the word Orthodox itself, a union of Greek orthos and doxa
Eastern Orthodox Church
–
Orthodox liturgy
Eastern Orthodox Church
–
An
icon of
John the Baptist, 14th century, Macedonia
47.
Sundial
–
A sundial is a device that tells the time of day by the apparent position of the Sun in the sky. In the narrowest sense of the word it consists of a flat plate, as the sun appears to move across the sky, the shadow aligns with different hour-lines which are marked on the dial to indicate the time of day. The style is the edge of the gnomon, though a single point or nodus may be used. The gnomon casts a shadow, the shadow of the style shows the time. The gnomon may be a rod, a wire or a decorated metal casting. The style must be parallel to the axis of the Earths rotation for the sundial to be throughout the year. The styles angle from horizontal is equal to the geographical latitude. In a broader sense a sundial is any device that uses the suns altitude or azimuth to show the time, in addition to their time-telling function, sundials are valued as decorative objects, as literary metaphors and as objects of mathematical study. It is common for inexpensive mass-produced decorative sundials to have incorrectly aligned gnomons and hour-lines, there are several different types of sundials. Some sundials use a shadow or the edge of a shadow while others use a line or spot of light to indicate the time, the shadow-casting object, known as a gnomon, may be a long thin rod or other object with a sharp tip or a straight edge. Sundials employ many types of gnomon, the gnomon may be fixed or moved according to the season. It may be oriented vertically, horizontally, aligned with the Earths axis, given that sundials use light to indicate time, a line of light may be formed by allowing the suns rays through a thin slit or focusing them through a cylindrical lens. A spot of light may be formed by allowing the suns rays to pass through a hole or by reflecting them from a small circular mirror. Sundials also may use many types of surfaces to receive the light or shadow, planes are the most common surface, but partial spheres, cylinders, cones and other shapes have been used for greater accuracy or beauty. Sundials differ in their portability and their need for orientation, the installation of many dials requires knowing the local latitude, the precise vertical direction, and the direction to true North. Portable dials are self-aligning, for example, it may have two dials that operate on different principles, such as a horizontal and analemmatic dial, mounted together on one plate, in these designs, their times agree only when the plate is aligned properly. Sundials indicate the solar time, unless corrected for some other time. To obtain the clock time, three types of corrections need to be made
Sundial
–
SSW facing, vertical declining sundial on Moot Hall,
Aldeburgh, Suffolk, England.
Sundial
–
A combined analemmatic-equatorial sundial in Ann Morrison Park in
Boise, Idaho, 43°36'45.5"N 116°13'27.6"W
Sundial
–
Sundial in
Singapore Botanic Gardens. The fact that
Singapore is located almost at the
equator is reflected in its design.
Sundial
–
World's oldest sundial, from Egypt's Valley of the Kings (c. 1500 BC)
48.
Lute
–
The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. The lute is used in a variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. It is also an instrument, especially in vocal works. The player of a lute is called a lutenist, lutanist or lutist, the words lute and oud possibly derive from Arabic al-ʿud. Recent research by Eckhard Neubauer suggests ʿud may in turn be an Arabized version of the Persian name rud and it has equally been suggested the wood in the name may have distinguished the instrument by its wooden soundboard from skin-faced predecessors. Gianfranco Lotti suggests the wood appellation originally carried derogatory connotations because of proscriptions of all music in early Islam. Lutes are made almost entirely of wood, the soundboard is a teardrop-shaped thin flat plate of resonant wood. In all lutes the soundboard has a single decorated sound hole under the strings called the rose. The sound hole is not open, but rather covered with a grille in the form of a vine or a decorative knot. Robert Lundberg, in his book Historical Lute Construction, suggests ancient builders placed bars according to ratios of the scale length. He further suggests the inward bend of the soundboard is an adaptation by ancient builders to afford the lutenists right hand more space between the strings and soundboard. Soundboard thickness varies, but generally hovers between 1.5 and 2 mm, some luthiers tune the belly as they build, removing mass and adapting bracing to produce desirable sonic results. The lute belly is almost never finished, but in cases the luthier may size the top with a very thin coat of shellac or glair to help keep it clean. After joining the top to the sides, a half-binding is usually installed around the edge of the soundboard, the half-binding is approximately half the thickness of the soundboard and is usually made of a contrasting color wood. The rebate for the half-binding must be precise to avoid compromising structural integrity. The back or the shell is assembled from strips of hardwood called ribs. There are braces inside on the soundboard to give it strength, the neck is made of light wood, with a veneer of hardwood to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the fretboard is mounted flush with the top
Lute
–
Various lutes
Lute
–
A lute being made in a workshop.
Lute
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c.
1350 BC).
Lute
–
Hellenistic banquet scene from 1st Century AD,
Hadda,
Gandhara. Lute player far right.
49.
Gnomon
–
A gnomon is the part of a sundial that casts a shadow. The term has come to be used for a variety of purposes in mathematics, a painted stick from 2300 BCE found in China is the oldest known gnomon. Anaximander is credited with introducing this Babylonian instrument to the Greeks, oenopides used the phrase drawn gnomon-wise to describe a line drawn perpendicular to another. Later, the term was used for an L-shaped instrument like a steel square used to right angles. This shape may explain its use to describe a shape formed by cutting a square from a larger one. Euclid extended the term to the figure formed by removing a similar parallelogram from a corner of a larger parallelogram. Indeed, the gnomon is the increment between two successive figurate numbers, including square and triangular numbers, hero of Alexandria defined a gnomon as that which, when added to an entity, makes a new entity similar to the starting entity. In this sense Theon of Smyrna used it to describe a number added to a polygonal number produces the next one of the same type. The most common use in this sense is an odd integer especially when seen as a number between square numbers. Perforated gnomons projecting an image of the sun were described in the Chinese Zhoubi Suanjing writings. The location of the circle can be measured to tell the time of day. In Arab and European cultures its invention was later attributed to Egyptian astronomer. With markings on the floor it tells the time of each midday as well as the date of the summer solstice. Italian mathematician, engineer, astronomer and geographer Leonardo Ximenes reconstructed the gnomon according to his new measurements in 1756, in the northern hemisphere, the shadow-casting edge of a sundial gnomon is normally oriented so that it points north and is parallel to the rotation axis of the Earth. That is, it is inclined to the horizontal at an angle equals the latitude of the sundials location. At present, such a gnomon should thus point almost precisely at Polaris, on some sundials, the gnomon is vertical. These were usually used in times for observing the altitude of the Sun. The style is the part of the gnomon that casts the shadow and this can change as the sun moves
Gnomon
–
The gnomon is the
triangular blade in this sundial
Gnomon
–
Gnomon situated on the wall of a building facing Tiradentes Square,
Curitiba, Brazil
50.
Analemmatic sundial
–
Analemmatic sundials are a type of horizontal sundial that has a vertical gnomon and hour markers positioned in an elliptical pattern. The gnomon is not fixed and must change position daily to indicate time of day. Hence there are no lines on the dial and the time of day is read only on the ellipse. As with most sundials, analemmatic sundials mark solar time rather than clock time, an analemmatic sundial is completely defined by The size of its ellipse. Analemmatic sundials are designed with a human as the gnomon. Human gnomon analemmatic sundials are not practical at lower latitudes where a shadow is quite short during the summer months. A66 inch tall person casts a 4-inch shadow at 27 deg latitude on the summer solstice. The use of the adjective analemmatic to describe this class of sundial can be misleading, mayall refers to the analemmatic sundial as the so-called Analemmatic Dial, implying a lack of connection to the analemma. The dial of Brou in front of the church of Brou in Bourg-en-Bresse, rohr states The gnomon is displaced on the short axis of the ellipse and not on the meridian, whose presence here in the shape of an 8 is a mistake. An analemmatic sundial uses a vertical gnomon and its lines are the vertical projection of the hour lines of a circular equatorial sundial onto a flat plane. Therefore, the sundial is an ellipse, where the short axis is aligned North-South. The declination measures how far the sun is above the equator, at the equinoxes. Analemma Analemmatic sundial generator Analemmatic and Horizontal Sundials of the Bronze Age History and principle of analemmatic sundials
Analemmatic sundial
–
Analemmatic sundial at
Saint-Etienne,
France in which the user's head forms the
gnomon of the dial
Analemmatic sundial
–
Analemmatic sundial on a
meridian line in the garden of the
Herkenrode Abbey in
Hasselt (
Flanders in
Belgium)
René Maere (1913). "Diptych". In Herbermann, Charles. Catholic Encyclopedia. New York: Robert Appleton Company.
