Philadelphia Museum of Art

The Philadelphia Museum of Art is an art museum chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a hill located at the northwest end of the Benjamin Franklin Parkway at Eakins Oval; the museum administers collections containing over 240,000 objects including major holdings of European and Asian origin. The various classes of artwork include sculpture, prints, photographs and decorative arts; the Philadelphia Museum of Art administers several annexes including the Rodin Museum located on the Benjamin Franklin Parkway, the Ruth and Raymond G. Perelman Building, located across the street just north of the main building; the Perelman Building, which opened in 2007, houses more than 150,000 prints and photographs, along with 30,000 costume and textile pieces, over 1,000 modern and contemporary design objects including furniture and glasswork. The museum administers the historic colonial-era houses of Mount Pleasant and Cedar Grove, both located in Fairmount Park.

The main museum building and its annexes are owned by the City of Philadelphia and administered by a registered nonprofit corporation. Several special exhibitions are held in the museum every year, including touring exhibitions arranged with other museums in the United States and abroad; the attendance figure for the museum was 793,000 in 2017, which ranks it among the top one hundred most-visited art museums in the world. The museum is one of the largest art museums in the world based on gallery space. Philadelphia celebrated the 100th anniversary of the Declaration of Independence with the Centennial Exposition in 1876. Memorial Hall, which contained the art gallery, was intended to outlast the Exposition and house a permanent museum. Following the example of London's South Kensington Museum, the new museum was to focus on applied art and science, provide a school to train craftsmen in drawing, painting and designing; the Pennsylvania Museum and School of Industrial Art opened on May 10, 1877..

The museum's collection began with objects from the Exposition and gifts from the public impressed with the Exposition's ideals of good design and craftsmanship. European and Japanese fine and decorative art objects and books for the museum's library were among the first donations; the location outside of Center City, was distant from many of the city's inhabitants. Admission was charged until 1881 was dropped until 1962. Starting in 1882, Clara Jessup Moore donated a remarkable collection of antique furniture, carved ivory, metalwork, ceramics, books and paintings; the Countess de Brazza's lace collection was acquired in 1894 forming the nucleus of the lace collection. In 1892 Anna H. Wilstach bequeathed a large painting collection, including many American paintings, an endowment of half a million dollars for additional purchases. Works by James Abbott McNeill Whistler and George Inness were purchased within a few years and Henry Ossawa Tanner's The Annunciation was bought in 1899. In the early 1900s, the museum started an education program for the general public, as well as a membership program.

Fiske Kimball was the museum director during the rapid growth of the mid- to late-1920s, which included one million visitors in 1928—the new building's first year. The museum enlarged its print collection in 1928 with about 5,000 Old Master prints and drawings from the gift of Charles M. Lea, including French, German and Netherlandish engravings. Major exhibitions of the 1930s included works by Eakins, Renoir, Cézanne, van Gogh, Degas. In the 1940s, the museum's major gifts and acquisitions included the collections of John D. McIlhenny, George Grey Barnard, Alfred Stieglitz. Early modern art dominated the growth of the collections in the 1950s, with acquisitions of the Louise and Walter Arensberg and the A. E. Gallatin collections; the gift of Philadelphian Grace Kelly's wedding dress is the best known gift of the 1950s. Extensive renovation of the building lasted from the 1960s through 1976. Major acquisitions included the Carroll S. Tyson, Jr. and Samuel S. White III and Vera White collections, 71 objects from designer Elsa Schiaparelli, Marcel Duchamp's Étant donnés.

In 1976 there were celebrations and special exhibitions for the centennial of the museum and the bicentennial of the nation. During the last three decades major acquisitions have included After the Bath by Edgar Degas and Fifty Days at Iliam by Cy Twombly; the City Council of Philadelphia funded a competition in 1895 to design a new museum building, but it was not until 1907 that plans were first made to construct it on Fairmount, a rocky hill topped by the city's main reservoir. The Fairmount Parkway, a grand boulevard that cut diagonally across the grid of city streets, was designed to terminate at the foot of the hill, but there were conflicting views about whether to erect a single museum building, or a number of buildings to house individual collections. The architectural firms of Horace Trumbauer and Zantzinger and Medary collaborated for more than a decade to resolve these issues; the final design is credited to two architects in Trumbauer's firm: Howell Lewis Shay for the building's plan and massing, Julian Abele for the detail work and perspective drawings.

In 1902, Abele had become the first African-American student to be graduated from the University of Pennsylvania's Department of Architecture, presently known as Penn's School of Design. Abele adapted classical Greek temple columns for

Minuscule 80

Minuscule 80, ε 281, known as Cod. T. G. Graevii, is a Greek minuscule manuscript of the New Testament, on parchment leaves. Palaeographically it has been assigned to the 12th century; the manuscript has complex contents. It has marginalia; the codex contains complete text of the four Gospels with a commentary on 309 parchment leaves. The text is written in one column per 23 lines per page; the initial letters are in colour. The text is divided according to the κεφαλαια, whose numbers of at the margin, the τιτλοι at the top of the pages. In the 15th century the Latin chapters were added, it contains Prolegomena, tables of the κεφαλαια before each Gospel, subscriptions at the end of each Gospel. The Greek text of the codex is a representative of the Byzantine text-type. Aland placed it in Category V, it is close textually to the minuscule 140. It was not examined by using the Claremont Profile Method. In Luke 3:23-38 it was rewritten from a three-column text, columns were confused, instead of copying them vertically in proper succession, the scribe copied the genealogy as though the two columns were one, following the lines across both columns.

As a result everyone is made the son of the wrong father: του Ιωραμ, του Καιναν, του Ιωδη, του Εσρωμ, του Ενος. In John 3:13 it has reading ανθρωπου ο ων εκ του ουρανου for ανθρωπου, the reading is supported only by Uncial 0141 and Syriac Curetonian, it passed into the hands Johannes van der Hagen, who showed it to Wettstein in 1739. It is housed in at the National Library of France, at Paris. List of New Testament minuscules Biblical manuscript Textual criticism Gregory, Caspar René. Textkritik des Neuen Testaments. 1. Leipzig: J. C. Hinrichs'sche Buchahandlung. P. 147

Indefinite monism

Indefinite Monism is a philosophical conception of reality that asserts that only Awareness is real and that the wholeness of Reality can be conceptually thought of in terms of immanent and transcendent aspects. The immanent aspect is denominated as Awareness, while the transcendent aspect is referred to as Omnific Awareness. Awareness in this system is not equivalent to consciousness. Rather, Awareness is the venue for consciousness, the transcendent aspect of Reality, Omnific Awareness, is what consciousness is of. In this system, what is real is distinguished from that which exists by showing that everything that we are conscious of exists but is not real since it is contingent upon awareness for its existence. Awareness is the source of its own energetic display -- its omneity. Rather than leading to a solipsistic account of reality, it is claimed through an analysis of consciousness that it is an error on our part to conceive of individuated awareness; that error being found in a conflation of the objects of consciousness with the subject of consciousness within an assumed form of reality of separate physical things.

Proceeding from the one true and unquestionable fact – that we are present to our experiences – an understanding of reality is developed, neither a materialist nor an idealist conceptualization. This way of viewing the world is referred to as surjective, a metaphorical use of a concept found in mathematical set theory that means a function that works upon every member of a set, where Awareness is the function and Omnific Awareness is the set, in order to distinguish this position from both subjectivity and objectivity. Within this system anything whatsoever can arise from Omnific Awareness, thus the use of the term “indefinite” in labeling this monism. What does arise as the existents that we are conscious of is conditioned by the affections of Awareness for its display, thus this system does away with the idea of an active, creative force called Free Will and replaces it with an active volitional component known as affections, that does not itself create anything, whether movement or structure, but instead, constrains the possibilities of what arises naturally.

Arguably, the concept of Free Will necessitates a world of separation as it implies an actor and that, acted upon. In this conception there is no such separation, yet our intuitive modeling of the existents of reality as arising from natural processes, as well as our intuitive understanding that we can ‘cause’ things to happen by our ‘will’, are both cleanly supported. The distinction between physical phenomena and mental phenomena is removed by this system. Omnific Awareness gives rise to everything – thus the use of the term omnific – and this includes thoughts that phenomenally arise in brains as well as existents that arise phenomenally as things in the world. By removing this distinction this system cuts off the inevitable paradoxes that otherwise arise in philosophical systems; the implications of this move create a number of novel, but necessary, modifications in current categorizations of ideas about reality and our study of it. For instance, ontology – the study of being – is necessitated by the assumption of a physical world of separate things, but when viewed surjectively ontology collapses into epistemology – the study of the methods or grounds of knowledge.

By removing the distinction between mental and physical phenomena the tensions created in dualist understandings of reality of how the mental and physical interact with one another are dispelled. The removal of this distinction completely removes the need for claims of metaphysical realms of being or metaphysical processes, thus collapsing all of reality into this reality; the implications of this view of Reality are carried as far as ethics, where the lack of separation between Awareness and that which it gives rise to necessitate a far-reaching adjustment in our ethical beliefs. One such difference, highlighted for instance is that all conscious beings, which are called “knowings” in deference to this new conception of reality, are qualitatively the same. Advaita Vedanta Nonduality Anaximander Parmenides Neoplatonism Neutral monism Open individualism Corrigan, James M.: An Introduction to Awareness. BookSurge Publishing, 2006. McKirahan, Richard: Anaximander. In E. Craig: Routledge Encyclopedia of Philosophy.

London: Routledge, 1998. Menon, Krishna: Notes on Spiritual Discourses of Shri Atmananda. 1959. Https://