Freemasonry or Masonry consists of fraternal organisations that trace their origins to the local fraternities of stonemasons, which from the end of the fourteenth century regulated the qualifications of stonemasons and their interaction with authorities and clients. The degrees of Freemasonry retain the three grades of medieval craft guilds, those of Apprentice, Journeyman or fellow, Master Mason; the candidate of these three degrees is progressively taught the meanings of the symbols of Freemasonry, entrusted with grips and words to signify to other members that he has been so initiated. The initiations are part allegorical morality part lecture; the three degrees are offered by Craft Freemasonry. Members of these organisations are known as Masons. There are additional degrees, which vary with locality and jurisdiction, are administered by their own bodies; the basic, local organisational unit of Freemasonry is the Lodge. The Lodges are supervised and governed at the regional level by a Grand Lodge or Grand Orient.
There is no worldwide Grand Lodge that supervises all of Freemasonry. Modern Freemasonry broadly consists of two main recognition groups. Regular Freemasonry insists that a volume of scripture is open in a working lodge, that every member profess belief in a Supreme Being, that no women are admitted, that the discussion of religion and politics is banned. Continental Freemasonry is now the general term for the jurisdictions which have removed some, or all, of these restrictions; the Masonic lodge is the basic organisational unit of Freemasonry. The Lodge meets to conduct the usual formal business of any small organisation. In addition to business, the meeting may perform a ceremony to confer a Masonic degree or receive a lecture, on some aspect of Masonic history or ritual. At the conclusion of the meeting, the Lodge might adjourn for a formal dinner, or festive board, sometimes involving toasting and song; the bulk of Masonic ritual consists of degree ceremonies. Candidates for Freemasonry are progressively initiated into Freemasonry, first in the degree of Entered Apprentice.
Some time in a separate ceremony, they will be passed to the degree of Fellowcraft, they will be raised to the degree of Master Mason. In all of these ceremonies, the candidate is entrusted with passwords and grips peculiar to his new rank. Another ceremony is officers of the Lodge. In some jurisdictions Installed Master is valued as a separate rank, with its own secrets to distinguish its members. In other jurisdictions, the grade is not recognised, no inner ceremony conveys new secrets during the installation of a new Master of the Lodge. Most Lodges have some sort of social calendar, allowing Masons and their partners to meet in a less ritualised environment. Coupled with these events is the obligation placed on every Mason to contribute to charity; this occurs at both Grand Lodge level. Masonic charities contribute to many fields, such as disaster relief; these private local Lodges form the backbone of Freemasonry, a Freemason will have been initiated into one of these. There exist specialist Lodges where Masons meet to celebrate events, such as sport or Masonic research.
The rank of Master Mason entitles a Freemason to explore Masonry further through other degrees, administered separately from the Craft, or "Blue Lodge" degrees described here, but having a similar format to their meetings. There is little consistency in Freemasonry; because each Masonic jurisdiction is independent, each sets its own procedures. The wording of the ritual, the number of officers present, the layout of the meeting room, etc. varies from jurisdiction to jurisdiction. The officers of the Lodge are appointed annually; every Masonic Lodge has two Wardens, a secretary and a treasurer. There is a Tyler, or outer guard, always present outside the door of a working Lodge. Other offices vary between jurisdictions; each Masonic Lodge exists and operates according to a set of ancient principles known as the Landmarks of Freemasonry. These principles have thus far eluded any universally accepted definition. Candidates for Freemasonry will have met most active members of the Lodge they are joining before they are initiated.
The process varies between jurisdictions, but the candidate will have been introduced by a friend at a Lodge social function, or at some form of open evening in the Lodge. In modern times, interested people track down a local Lodge through the Internet; the onus is on candidates to ask to join. Once the initial inquiry is made, an interview follows to determine the candidate's suitability. If the candidate decides to proceed from here, the Lodge ballots on the application before he can be accepted; the absolute minimum requirement of any body of Freemasons is that the candidate must be free, considered to be of good character. There is an age requirement, varying between Grand Lodges, capable of being overridden by a dispensation from the Grand Lodge; the underlying assumption is that the candidate should
The Corinthian order is the last developed of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric order, the earliest, followed by the Ionic order; when classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order. The Corinthian, with its offshoot the Composite, is the most ornate of the orders; this architectural style is characterized by slender fluted columns and elaborate capitals decorated with acanthus leaves and scrolls. There are many variations; the name Corinthian is derived from the ancient Greek city of Corinth, although the style had its own model in Roman practice, following precedents set by the Temple of Mars Ultor in the Forum of Augustus. It was employed in southern Gaul at the Maison Carrée, Nîmes and at the comparable podium temple at Vienne. Other prime examples noted by Mark Wilson Jones are the lower order of the Basilica Ulpia and the arch at Ancona the "column of Phocas", the "Temple of Bacchus" at Baalbek.
The Corinthian order is named for the Greek city-state of Corinth, to which it was connected in the period. However, according to the architectural historian Vitruvius, the column was created by the sculptor Callimachus an Athenian, who drew acanthus leaves growing around a votive basket, its earliest use can be traced back to the Late Classical Period. The earliest Corinthian capital was found in Bassae, dated at 427 BC. Proportion is a defining characteristic of the Corinthian order: the "coherent integration of dimensions and ratios in accordance with the principles of symmetria" are noted by Mark Wilson Jones, who finds that the ratio of total column height to column-shaft height is in a 6:5 ratio, so that, the full height of column with capital is a multiple of 6 Roman feet while the column height itself is a multiple of 5. In its proportions, the Corinthian column is similar to the Ionic column, though it is more slender, stands apart by its distinctive carved capital; the abacus upon the capital has concave sides to conform to the outscrolling corners of the capital, it may have a rosette at the center of each side.
Corinthian columns were erected on the top level of the Roman Colosseum, holding up the least weight, having the slenderest ratio of thickness to height. Their height to width ratio is about 10:1. One variant is the Tivoli Order, found at the Temple of Tivoli; the Tivoli Order's Corintinan Capital has two rows of Acanthus and its abacus is decorated with oversize fleuron in the form of hibiscus flowers with pronounced spiral pistils. The column flutes have flat tops; the frieze exhibits fruit swag suspended between bucrania. Above each swag is a rosette; the cornice does not have modillions. Indo-Corinthian capitals are capitals crowning columns or pilasters, which can be found in the northwestern Indian subcontinent, combine Hellenistic and Indian elements; these capitals are dated to the 1st centuries of our era, constitute important elements of Greco-Buddhist art of Gandhara. The classical design was adapted taking a more elongated form, sometimes being combined with scrolls within the context of Buddhist stupas and temples.
Indo-Corinthian capitals incorporated figures of the Buddha or Bodhisattvas as central figures surrounded, in the shade, of the luxurious foliage of Corinthian designs. During the first flush of the Italian Renaissance, the Florentine architectural theorist Francesco di Giorgio expressed the human analogies that writers who followed Vitruvius associated with the human form, in squared drawings he made of the Corinthian capital overlaid with human heads, to show the proportions common to both; the Corinthian architrave is divided in two or three sections, which may be equal, or may bear interesting proportional relationships, to one with another. Above the plain, unadorned architrave lies the frieze, which may be richly carved with a continuous design or left plain, as at the U. S. Capitol extension. At the Capitol the proportions of architrave to frieze are 1:1. Above that, the profiles of the cornice moldings are like those of the Ionic order. If the cornice is deep, it may be supported by brackets or modillions, which are ornamental brackets used in a series under a cornice.
The Corinthian column is always fluted, the flutes of a Corinthian column may be enriched. They may be filleted, with rods nestled within the hollow flutes, or stop-fluted, with the rods rising a third of the way, to where the entasis begins. In French, these are called chandelles and sometimes terminate in carved wisps of flame, or with bellflowers. Alternatively, beading or chains of husks may take the place of the fillets in the fluting, Corinthian being the most flexible of the orders, with more opportunities for variation. Elaborating upon an offhand remark when Vitruvius accounted for the origin of its acanthus capital, it became a commonplace to identify the Corinthian column with the slender figure of a young girl. Sir William Chambers expressed the conventional comparison with the Doric order: The proportions of the orders were by the ancients formed on those of the human body, it could n
WorldCat is a union catalog that itemizes the collections of 72,000 libraries in 170 countries and territories that participate in the Online Computer Library Center global cooperative. It is operated by Inc.. The subscribing member libraries collectively maintain WorldCat's database, the world's largest bibliographic database. OCLC makes WorldCat itself available free to libraries, but the catalog is the foundation for other subscription OCLC services. OCLC was founded in 1967 under the leadership of Fred Kilgour; that same year, OCLC began to develop the union catalog technology that would evolve into WorldCat. In 2003, OCLC began the "Open WorldCat" pilot program, making abbreviated records from a subset of WorldCat available to partner web sites and booksellers, to increase the accessibility of its subscribing member libraries' collections. In 2006, it became possible to search WorldCat directly at its website. In 2007, WorldCat Identities began providing pages for 20 million "identities", predominantly authors and persons who are the subjects of published titles.
In December 2017, WorldCat contained over 400 million bibliographic records in 491 languages, representing over 2.6 billion physical and digital library assets, the WorldCat persons dataset included over 100 million people. WorldCat operates on a batch processing model rather than a real-time model; that is, WorldCat records are synchronized at intermittent intervals with the underlying library catalogs instead of real-time or every day. Consequently: WorldCat shows that a particular item is owned by a particular library but does not provide that library's call number. WorldCat does not indicate whether or not an item is borrowed, undergoing restoration or repair, or moved to storage not directly accessible to patrons. Furthermore, WorldCat does not show whether or not a library owns multiple copies of a particular title; as an alternative, WorldCat allows participating institutions to add direct links from WorldCat to their own catalog entries for a particular item, which enables the user to determine its real-time status.
However, this still requires users to open multiple Web pages, each pointing to a different online public access catalog with its own distinctive user interface design, until they can locate a catalog entry that shows the item is available at a particular library. Copac Faceted Application of Subject Terminology Library and Archives Canada Open Library Research Libraries UK Blackman, Cathy. "WorldCat and SkyRiver: a comparison of record quantity and fullness". Library Resources & Technical Services. 58: 178–186. Doi:10.5860/lrts.58n3.178. Breeding, Marshall. "Library services platforms: a maturing genre of products". Library Technology Reports. 51: 1–38. Doi:10.5860/ltr.51n4. Matthews, Joseph R.. "An environmental scan of OCLC alternatives: a management perspective". Public Library Quarterly. 35: 175–187. Doi:10.1080/01616846.2016.1210440. McKenzie, Elizabeth. OCLC changes its rules for use of records in WorldCat: library community pushback through blogs and cultures of resistance. Boston: Suffolk University Law School.
Research paper 12-06. What the OCLC online union catalog means to me: a collection of essays. Dublin, Ohio: OCLC. 1997. ISBN 1556532237. OCLC 37492023. Wilson, Kristen. "The knowledge base at the center of the universe". Library Technology Reports. 52: 1–35. Doi:10.5860/ltr.52n6. "WorldCat data licensing". Oclc.org. Retrieved 2018-12-31. See also: "Data licenses & attribution". Oclc.org. Retrieved 2018-12-31. Information about licensing of WorldCat records and some other OCLC data. Official website "WorldCat". Oclc.org. Retrieved 2018-12-31. Information on the OCLC website about WorldCat. "Bibliographic Formats and Standards". Oclc.org. Retrieved 2018-12-31. "WorldCat Identities". Worldcat.org. Retrieved 2018-12-31
Musée national des Monuments Français
The Musée national des Monuments Français is today a museum of plaster casts of French monuments located in the Palais de Chaillot, 1, place du Trocadéro et du 11 Novembre, France. It now forms part of the Cité de l'Architecture et du Patrimoine, is open daily except Tuesday. An admission fee is charged; the collection was a re-founding in plaster of a collection opened in 1795 by Alexandre Lenoir as the Musée des monuments français of actual monuments of French Medieval and Renaissance art, removed from churches and chateaux after the French Revolution. This remained open until the Bourbon Restoration of 1816, was influential on French taste, making the medievalism of the Troubadour style popular, providing inspiration to its artists. In 1795, Alexandre Lenoir opened the Musée des monuments français to the public in the Petits Augustins convent, now the École des Beaux-Arts in Paris, served as its administrator for 30 years, but he had to restore most of its collections to their former private and public owners on the Bourbon Restoration in 1816.
What remained would be moved to the Louvre in 1824 and to the musée de Versailles in 1836. The architect Eugène Viollet-le-Duc suggested gathering reproductions of French sculpture and architecture at a single site in the palais du Trocadéro in 1879, in buildings left vacant after the Exposition universelle in 1878, his proposal was accepted on 4 November. Alexandre du Sommerard would be designated on 20 December to form the musée de la Sculpture comparée; the institution opened its four rooms to the public on 28 May 1882, three more in 1886 and its library and foundational documents in 1889. The palais du Trocadéro, refaced and widened by a second gallery but deprived of its central hemispherical hall, under the direction of architect Jacques Carlu for the Exposition universelle of 1937, became the palais de Chaillot. Wholly redesigned, the museum became the musée des Monuments français. Avant-garde in terms of its museographic conception and intellectual experimentation, notably through the efforts of the archaeologist Paul Deschamps, it had to close down due to an insufficient budget.
In July 1995, a fire destroyed the building. Its planned reopening in 1998 was pushed back to 15 September 2007 in connection with the creation of the Cité de l'Architecture et du Patrimoine, it is made up of three galleries. The galerie Davioud and galerie Carlu form; the upper gallery serves as an exhibition space for contemporary architectural models. Wall paintings and stained glass windows are located at the end of the modern and contemporary architecture gallery. There is a library as well as rooms for temporary exhibitions, it contains about 6,000 casts of sculptures of all periods including ancient Greece, Italy and Switzerland, but with a strong emphasis on French sculptures of the Romanesque and Gothic periods. It contains scale models of buildings, copies of architectural elements, sculpture and stained glass from French churches and châteaux, as well as a collection of about 200,000 photographs. Most copies were made in the late early 20th centuries. Of particular interest is the Galerie Davioud, which displays casts of sculptures from the Strasbourg Cathedral, Bourges Cathedral, the Notre-Dame de Reims.
The museum contains copies of elements from Angoulême Cathedral, Autun, Conques, Moissac, Sainte-Marie-des-Dames at Saintes, Saint-Gilles-du-Gard, Saint-Trophime d'Arles, Saint-Génis-des-Fontaines, Saint-Sernin at Toulouse, Notre-Dame du Port at Clermont-Ferrand. Cité de l'Architecture et du Patrimoine List of museums in Paris Musée de Cluny Bresc-Bautier, Geneviève. Un musée révolutionaire: le musée des Monuments français d’Alexandre Lenoir. Paris: Louvre éditions. ISBN 978-2-75410-937-6. Stara, Alexandra; the Museum of French Monuments 1795–1816: "Killing art to make history". Farnham: Ashgate. ISBN 978-1-4094-3799-4. Cité de l'Architecture et du Patrimoine Pariserve entry Gralon description Paris.org entry Paris Update article, September 26, 2007 International Herald Tribune, "France's Monuments Museum: A History of Change", January 8, 1994
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Académie des Beaux-Arts
The Académie des Beaux-Arts is a French learned society. It is one of the five academies of the Institut de France; the current President of the Academy is a noted engraver and watercolorist. The Academy was created in 1816 in Paris as a merger of the Académie de peinture et de sculpture, the Académie de musique and the Académie d'architecture; the Académie des Beaux-Arts provides several awards including five dedicated prizes: Liliane Bettencourt Prize for Choral Singing Simone and Cino Del Duca Foundation Prize for Music Pierre Cardin Prize for Design François-Victor Noury Prize Fondation Pierre Gianadda PrizePreviously the Académie granted the Prix Rossini for excellence in libretto or music composition. The members are grouped into eight sections: Section I: Painting Section II: Sculpture Section III: Architecture Section IV: Engraving Section V: Musical composition Section VI: Unattached members Section VII: Artistic creation in the cinema and audio-visual fields Section VIII: Photography Current members: Beaux-Arts architecture École des Beaux-Arts Academic art French art salons and academies Académie des Beaux-Arts website Institut de France website