1.
John II of France
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John II, called John the Good, was a monarch of the House of Valois who ruled as King of France from 1350 until his death. While John was a prisoner in London, his son Charles became regent and faced several rebellions, to liberate his father, he concluded the Treaty of Brétigny, by which France lost many territories and paid an enormous ransom. In an exchange of hostages, which included his second son Louis, Duke of Anjou, when John was informed that Louis had escaped from captivity, he voluntarily returned to England, where he died in 1364. He was succeeded by his son Charles V, John was nine years old when his father had himself crowned as Philip VI of France. Initially a marriage with Eleanor of Woodstock, sister of King Edward III of England, was considered, Bohemia had aspirations to control Lombardy and needed French diplomatic support. The military clauses stipulated that, in the event of war, the political clauses ensured that the Lombard crown would not be disputed if the king of Bohemia managed to obtain it. Philip selected Bonne of Bohemia as a wife for his son, as she was closer to child-bearing age, and the dowry was fixed at 120,000 florins. John reached the age of majority,13 years and one day, on 27 April 1332, the wedding was celebrated on 28 July at the church of Notre-Dame in Melun in the presence of six thousand guests. The festivities were prolonged by a two months when the young groom was finally knighted at the cathedral of Notre Dame in Paris. Upon his accession as Duke of Normandy in 1332, John had to deal with the reality that most of the Norman nobility was already allied with the English camp, effectively, Normandy depended economically more on maritime trade across the English Channel than on river trade on the Seine. The Duchy had not been English for 150 years, but many landowners had holdings across the Channel, consequently, to line up behind one or other sovereign risked confiscation. Therefore, Norman members of the nobility were governed as interdependent clans and it was split into two key camps, the counts of Tancarville and the counts of Harcourt, which had been in conflict for generations. King Philip, worried about the richest area of the breaking into bloodshed, ordered the bailiffs of Bayeux. Geoffroy dHarcourt raised troops against the king, rallying a number of nobles protective of their autonomy, the rebels demanded that Geoffroy be made duke, thus guaranteeing the autonomy granted by the charter. Royal troops took the castle at Saint-Sauveur-le-Vicomte and Geoffroy was exiled to Brabant, three of his companions were decapitated in Paris on 3 April 1344. In 1342, John was in Avignon at the coronation of Pope Clement VI, by 1345, increasing numbers of Norman rebels had begun to pay homage to Edward III, constituting a major threat to the legitimacy of the Valois kings. The defeat at the Battle of Crécy on 26 August 1346, defections by the nobility, whose land fell within the broad economic influence of England, particularly in the north and west, increased. Consequently, King Philip VI decided to seek a truce, Duke John met Geoffroy dHarcourt, to whom the king agreed to return all confiscated goods, even appointing him sovereign captain in Normandy
2.
Coronation
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The ceremony can also be conducted for the monarchs consort, either simultaneously with the monarch or as a separate event. A ceremony without the placement of a crown on the head is known as an enthronement. Coronations are still observed in the United Kingdom, Tonga, in addition to investing the monarch with symbols of state, Western-style coronations have often traditionally involve anointing with holy oil, or chrism as it is often called. Wherever a ruler is anointed in this way, as in Great Britain and Tonga, some other lands use bathing or cleansing rites, the drinking of a sacred beverage, or other religious practices to achieve a comparable effect. Such acts symbolise the granting of divine favour to the monarch within the relevant spiritual-religious paradigm of the country, in the past, concepts of royalty, coronation and deity were often inexorably linked. Rome promulgated the practice of worship, in Medieval Europe. Coronations were once a direct expression of these alleged connections. Thus, coronations have often been discarded altogether or altered to reflect the nature of the states in which they are held. However, some monarchies still choose to retain an overtly religious dimension to their accession rituals, others have adopted simpler enthronement or inauguration ceremonies, or even no ceremony at all. In non-Christian states, coronation rites evolved from a variety of sources, buddhism, for instance, influenced the coronation rituals of Thailand, Cambodia and Bhutan, while Hindu elements played a significant role in Nepalese rites. The ceremonies used in modern Egypt, Malaysia, Brunei and Iran were shaped by Islam, Coronations, in one form or another, have existed since ancient times. Egyptian records show coronation scenes, such as that of Seti I in 1290 BC, judeo-Christian scriptures testify to particular rites associated with the conferring of kingship, the most detailed accounts of which are found in II Kings 11,12 and II Chronicles 23,11. Following the assumption of the diadem by Constantine, Roman and Byzantine emperors continued to wear it as the symbol of their authority. Although no specific coronation ceremony was observed at first, one gradually evolved over the following century, the emperor Julian was hoisted upon a shield and crowned with a gold necklace provided by one of his standard-bearers, he later wore a jewel-studded diadem. Later emperors were crowned and acclaimed in a manner, until the momentous decision was taken to permit the Patriarch of Constantinople to physically place the crown on the emperors head. Historians debate when exactly this first took place, but the precedent was established by the reign of Leo II. This ritual included recitation of prayers by the Byzantine prelate over the crown, after this event, according to the Catholic Encyclopedia, the ecclesiastical element in the coronation ceremonial rapidly develop. This was usually performed three times, following this, the king was given a spear, and a diadem wrought of silk or linen was bound around his forehead as a token of regal authority
3.
Reims
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Reims, a city in the Grand Est region of France, lies 129 km east-northeast of Paris. The 2013 census recorded 182,592 inhabitants in the city of Reims proper and its river, the Vesle, is a tributary of the Aisne. Founded by the Gauls, it became a city during the period of the Roman Empire. Reims played a prominent ceremonial role in French monarchical history as the site of the crowning of the kings of France. The Cathedral of Reims housed the Holy Ampulla containing the Saint Chrême and it was used for the anointing, the most important part of the coronation of French kings. Reims functions as a subprefecture of the department of Marne, in the region of Grand Est. Although Reims is by far the largest commune in both its region and department, Châlons-en-Champagne is the capital and prefecture of both. Before the Roman conquest of northern Gaul, Reims, founded circa 80 BC as *Durocorteron, at its height in Roman times the city had a population in the range of 30,000 -50,000 or perhaps up to 100,000. Christianity had become established in the city by 260, at which period Saint Sixtus of Reims founded the bishopric of Reims, for centuries the events at the crowning of Clovis I became a symbol used by the monarchy to claim the divine right to rule. Meetings of Pope Stephen II with Pepin the Short, and of Pope Leo III with Charlemagne, took place at Reims, Louis IV gave the city and countship of Reims to the archbishop Artaldus in 940. Louis VII gave the title of duke and peer to William of Champagne, archbishop from 1176 to 1202, by the 10th century Reims had become a centre of intellectual culture. Archbishop Adalberon, seconded by the monk Gerbert, founded schools which taught the liberal arts. Louis XI cruelly suppressed a revolt at Reims, caused in 1461 by the salt tax, during the French Wars of Religion the city sided with the Catholic League, but submitted to Henri IV after the battle of Ivry. In August 1909 Reims hosted the first international meet, the Grande Semaine dAviation de la Champagne. Major aviation personages such as Glenn Curtiss, Louis Blériot and Louis Paulhan participated, hostilities in World War I greatly damaged the city. German bombardment and a subsequent fire in 1914 did severe damage to the cathedral, from the end of World War I to the present day an international effort to restore the cathedral from the ruins has continued. The Palace of Tau, St Jacques Church and the Abbey of St Remi also were protected and restored, the collection of preserved buildings and Roman ruins remains monumentally impressive. During World War II the city suffered additional damage, but in Reims, at 2,41 on the morning of 7 May 1945, General Eisenhower and the Allies received the unconditional surrender of the German Wehrmacht
4.
Manuscript illumination
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An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations. Comparable Far Eastern and Mesoamerican works are described as painted, islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject, for an art-historical account, the earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians, the majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of manuscripts are of a religious nature. However, especially from the 13th century onward, a number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls, a very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment, beginning in the late Middle Ages manuscripts began to be produced on paper. Illuminated manuscripts continued to be produced in the early 16th century, Manuscripts are among the most common items to survive from the Middle Ages, many thousands survive. They are also the best surviving specimens of medieval painting, indeed, for many areas and time periods, they are the only surviving examples of painting. There are a few examples from later periods, the type of book that was most often heavily and richly illuminated, sometimes known as a display book, varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels, the Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also illuminated in both this and the Gothic period. Finally, the Book of Hours, very commonly the personal book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods, the Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types, reusing parchments by scraping the surface and reusing them was a common practice, the traces often left behind of the original text are known as palimpsests. The Gothic period, which saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles
5.
Jean Fouquet
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Jean Fouquet was a preeminent French painter of the 15th century, a master of both panel painting and manuscript illumination, and the apparent inventor of the portrait miniature. He was the first French artist to travel to Italy and experience first-hand the early Italian Renaissance, little is known of his life, but it is certain that he was in Italy before 1447, when he executed a portrait of Pope Eugene IV, who died that year. He worked for the French court, including Charles VII, the treasurer Étienne Chevalier, near the end of his career, he became court painter to Louis XI. His work can be associated with the French courts attempt to solidify French national identity in the wake of its struggle with England in the Hundred Years War. One example is when Fouquet depicts Charles VII as one of the three magi and this is one of the very few portraits of the king. According to some sources, the other two magi are the Dauphin Louis, future Louis XI, and his brother, far more numerous are his illuminated books and miniatures. The Musée Condé in Chantilly contains forty miniatures from the Hours of Étienne Chevalier, Fouquet also illuminated a copy of the Grandes Chroniques de France, for an unknown patron, thought to be either Charles VII or someone else at the royal court. Also from Fouquets hand are eleven of the fourteen miniatures illustrating a translation of Josephus at the Bibliothèque Nationale, the Melun Diptych One of Fouquets most important paintings is the Melun Diptych, formerly in Melun cathedral. The left wing of the diptych depicts Étienne Chevalier with his patron saint St. Stephen, the right wing shows a pale Virgin and Child surrounded by red and blue angels and is now at the Royal Museum of Fine Arts, Antwerp. Since at least the seventeenth century, the Virgin has been recognized as a portrait of Agnès Sorel, the Louvre has his oil portraits of Charles VII, of Count Wilczek, and of Guillaume Jouvenel des Ursins, and a portrait drawing in crayon. Melun Diptych Book of Hours of Simon de Varie Chisholm, Hugh, ed. Foucquet, world Digital Library presentation of Antiquités judaïques or Jewish Antiquities. Illuminated parchment manuscripts recount the history of the Jewish people from Creation to the outbreak of the Jewish revolt against the Romans in A. D.66
6.
Joyous Entry
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The most recent Joyous Entries took place in 2013 in honour of the Belgian king. The custom began in the Middle Ages and continued until the French Revolution, one of the functions of the Council of Brabant was to ensure that new legislation did not contravene or abrogate the liberties established in the Joyous Entry. In Belgium this ceremonial reception of the new sovereign has continued since 1830, ceremonial entries are performed by the new royal couple in the capitals of the provinces after the installation of the King. The same goes for the Duke of Brabant, who after his marriage presents the new duchess of Brabant to the public, the most recent Joyous Entries were organised in honour of King Philippe and Queen Mathilde in 2013. In 1356, the Joyous Entry into Brussels, by Joanna and her husband Wenceslaus I, Duke of Luxembourg, a Joyous Entry, by John the Fearless. A Joyous Entry, by Philip the Good, in 1464, the Joyous Entry into Sopron, by King Matthias of Hungary — atypically mainly celebrating the return of the object of the Crown. In 1467, the Joyous Entry into Ghent, by Charles the Bold, in 1468, the Joyous Entry into Bruges, by Charles the Bold and Margaret of York. In 1478, the Joyous Entry into Antwerp, by Maximilian of Austria, the Joyous Entry into Mechelen, by Maximilian of Austria In 1496, the Joyous Entry into Brussels, by Joanna the Mad. In 1507, the Joyous Entry into Mechelen, by Philiberts widow Margarete, in 1515, the Joyous Entries into Bruges, Ghent, Antwerp, and Leiden, by young Prince Charles. In 1520, the Joyous Entry into Bruges, by young King Charles In 1548, in 1549, a series of Joyous Entries into the Low Countries by Charles V and his son Philip II of Spain in Antwerp, Brussels and Bruges. In 1550, the Joyous Entry into Rouen, by Henri II of Valois, the Joyous Entry into Mechelen, by Granvelle, as Archbishop. In 1577, the Joyous Entry into Brussels, by Don John, in 1578, the Joyous Entry into Brussels, by Prince Matthias, later the Magnificent. In 1582, the Joyous Entry into Antwerp, Bruges, and Ghent, by François, in 1635, the Joyous Entry by the Cardinal-Infante Ferdinand into Antwerp and Ghent. In 1891, the Joyous Entry into Luxembourg, by Grand Duke Adolphe, Festival Books online from the British Museum – records of these and similar occasions Festival books, mostly German from HAB Wolfenbüttel
7.
Middle Ages
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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
8.
Early Modern Period
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The early modern period of modern history follows the late Middle Ages of the post-classical era. Historians in recent decades have argued that from a worldwide standpoint, the period witnessed the exploration and colonization of the Americas and the rise of sustained contacts between previously isolated parts of the globe. The historical powers became involved in trade, as the exchange of goods, plants, animals, and food crops extended to the Old World. The Columbian Exchange greatly affected the human environment, New economies and institutions emerged, becoming more sophisticated and globally articulated over the course of the early modern period. This process began in the medieval North Italian city-states, particularly Genoa, Venice, the early modern period also included the rise of the dominance of the economic theory of mercantilism. The European colonization of the Americas, Asia, and Africa occurred during the 15th to 19th centuries, the early modern trends in various regions of the world represented a shift away from medieval modes of organization, politically and economically. Historians typically date the end of the modern period when the French Revolution of the 1790s began the modern period. Early modern themes Other In 16th century China, the Ming Dynastys economy was stimulated by trade with the Portuguese, Spanish. China became involved in a new trade of goods, plants, animals. Trade with Early Modern Europe and Japan brought in massive amounts of silver, during the last decades of the Ming the flow of silver into China was greatly diminished, thereby undermining state revenues and the entire Chinese economy. This damage to the economy was compounded by the effects on agriculture of the incipient Little Ice Age, natural calamities, crop failure, the ensuing breakdown of authority and peoples livelihoods allowed rebel leaders such as Li Zicheng to challenge Ming authority. The Ming Dynasty fell around 1644 to the Qing Dynasty, which was the last ruling dynasty of China, during its reign, the Qing Dynasty became highly integrated with Chinese culture. The Azuchi-Momoyama period saw the unification that preceded the establishment of the Tokugawa shogunate. The Edo period from 1600 to 1868 characterized early modern Japan, the Tokugawa shogunate was a feudal regime of Japan established by Tokugawa Ieyasu and ruled by the shoguns of the Tokugawa family. This period gets its name from the city, Edo. The Tokugawa shogunate ruled from Edo Castle from 1603 until 1868, in 1392, General Yi Seong-gye established the Joseon Dynasty with a largely bloodless coup. Joseon experienced advances in science and culture, King Sejong the Great promulgated hangul, the Korean alphabet. The period saw various other cultural and technological advances as well as the dominance of neo-Confucianism over the entirety of Korea, during the late 16th and early 17th centuries, invasions by the neighboring Japanese and Qing Chinese nearly overran the Korean peninsula
9.
Roman triumph
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He rode in a four-horse chariot through the streets of Rome in unarmed procession with his army, captives, and the spoils of his war. At Jupiters temple on the Capitoline Hill, he offered sacrifice, inevitably, the triumph offered extraordinary opportunities for self-publicity, besides its religious and military dimensions. From the Principate onwards, the reflected the Imperial order. The triumph was consciously imitated by medieval and later states in the royal entry, in Republican Rome, truly exceptional military achievement merited the highest possible honours, which connected the vir triumphalis to Romes mythical and semi-mythical past. In effect, the general was close to being king for a day and he was drawn in procession through the city in a four-horse chariot, under the gaze of his peers and an applauding crowd, to the temple of Capitoline Jupiter. The spoils and captives of his victory led the way, his armies followed behind, once at the Capitoline temple, he sacrificed two white oxen to Jupiter and laid tokens of his victory at Jupiters feet, dedicating his victory to the Roman Senate, people, and gods. Triumphs were tied to no particular day, season, or religious festival of the Roman calendar, most seem to have been celebrated at the earliest practicable opportunity, probably on days that were deemed auspicious for the occasion. Tradition required that, for the duration of a triumph, every temple was open, the ceremony was thus, in some sense, shared by the whole community of Roman gods, but overlaps were inevitable with specific festivals and anniversaries. Some may have been coincidental, others were designed, Pompey postponed his third and most magnificent triumph for several months to make it coincide with his own dies natalis. Religious dimensions aside, the focus of the triumph was the general himself, the ceremony promoted him – however temporarily – above every mortal Roman. This was an opportunity granted to very few, from the time of Scipio Africanus, the triumphal general was linked to Alexander and the demi-god Hercules, who had laboured selflessly for the benefit of all mankind. His sumptuous triumphal chariot was bedecked with charms against the possible envy, in some accounts, a companion or public slave would remind him from time to time of his own mortality. This is probably so for the earliest legendary and later semi-legendary triumphs of Romes regal era, as Romes population, power, influence, and territory increased, so did the scale, length, variety, and extravagance of its triumphal processions. The procession mustered in the space of the Campus Martius probably well before first light. Triumphal processions were notoriously long and slow, the longest could last for two or three days, and possibly more, and some may have been of greater length than the route itself, some ancient and modern sources suggest a fairly standard processional order. First came the captive leaders, allies, and soldiers walking in chains. Next in line, all on foot, came Romes senators and magistrates, followed by the generals lictors in their red war-robes, their fasces wreathed in laurel, then the general in his four-horse chariot. A companion, or a slave, might share the chariot with him or, in some cases
10.
Late Middle Ages
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The Late Middle Ages or Late Medieval Period was the period of European history generally comprising the 14th and 15th centuries. The Late Middle Ages followed the High Middle Ages and preceded the onset of the modern era. Around 1300, centuries of prosperity and growth in Europe came to a halt, a series of famines and plagues, including the Great Famine of 1315–1317 and the Black Death, reduced the population to around half of what it was before the calamities. Along with depopulation came social unrest and endemic warfare, France and England experienced serious peasant uprisings, such as the Jacquerie and the Peasants Revolt, as well as over a century of intermittent conflict in the Hundred Years War. To add to the problems of the period, the unity of the Catholic Church was shattered by the Western Schism. Collectively these events are called the Crisis of the Late Middle Ages. Despite these crises, the 14th century was also a time of progress in the arts. Following a renewed interest in ancient Greek and Roman texts that took root in the High Middle Ages, combined with this influx of classical ideas was the invention of printing, which facilitated dissemination of the printed word and democratized learning. These two things would lead to the Protestant Reformation. Toward the end of the period, the Age of Discovery began, the rise of the Ottoman Empire, culminating in the Fall of Constantinople in 1453, eroded the last remnants of the Byzantine Empire and cut off trading possibilities with the east. Europeans were forced to seek new trading routes, leading to the expedition of Columbus to the Americas in 1492 and their discoveries strengthened the economy and power of European nations. The changes brought about by these developments have led scholars to view this period as the end of the Middle Ages and beginning of modern history. However, the division is artificial, since ancient learning was never entirely absent from European society. As a result there was continuity between the ancient age and the modern age. Some historians, particularly in Italy, prefer not to speak of the Late Middle Ages at all, but rather see the period of the Middle Ages transitioning to the Renaissance. The term Late Middle Ages refers to one of the three periods of the Middle Ages, along with the Early Middle Ages and the High Middle Ages, leonardo Bruni was the first historian to use tripartite periodization in his History of the Florentine People. Flavio Biondo used a framework in Decades of History from the Deterioration of the Roman Empire. Tripartite periodization became standard after the German historian Christoph Cellarius published Universal History Divided into an Ancient, Medieval, for 18th-century historians studying the 14th and 15th centuries, the central theme was the Renaissance, with its rediscovery of ancient learning and the emergence of an individual spirit
11.
Propaganda
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Propaganda is information, especially of a biased or misleading nature, used to promote a political cause or point of view. Propaganda is often associated with material prepared by governments, but activist groups, in the 2010s, the term propaganda is associated with a manipulative approach, but propaganda historically was a neutral descriptive term. Propaganda is a modern Latin word, the form of propagare, meaning to spread or to propagate. Originally this word derived from a new body of the Catholic church created in 1622, called the Congregatio de Propaganda Fide. Its activity was aimed at propagating the Catholic faith in non-Catholic countries, from the 1790s, the term began being used also to refer to propaganda in secular activities. The term began taking a pejorative or negative connotation in the mid-19th century, primitive forms of propaganda have been a human activity as far back as reliable recorded evidence exists. The Behistun Inscription detailing the rise of Darius I to the Persian throne is viewed by most historians as an example of propaganda. During the era of the American Revolution, the American colonies had a network of newspapers and printers who specialized in the topic on behalf of the Patriots. During the French Revolutionary and Napoleonic era, propaganda was widely used, abolitionists in Britain and the United States in the 19th century developed large, complex propaganda campaigns against slavery. The first large-scale and organised propagation of government propaganda was occasioned by the outbreak of war in 1914, after the defeat of Germany in the First World War, military officials such as Erich Ludendorff suggested that British propaganda had been instrumental in their defeat. Adolf Hitler came to echo this view, believing that it had been a cause of the collapse of morale. Later, the Nazis adapted many British propaganda techniques during their time in power, most propaganda in Germany was produced by the Ministry of Public Enlightenment and Propaganda. Joseph Goebbels was placed in charge of this ministry, the 1930s and 1940s, which saw the rise of totalitarian states and the Second World War, are arguably the Golden Age of Propaganda. Leni Riefenstahl, a filmmaker working in Nazi Germany, created one of the propaganda movies. US war films in the early 1940s in the United States were designed to create a patriotic mindset, the West and the Soviet Union both used propaganda extensively during the Cold War. Both sides used film, television, and radio programming to influence their own citizens, each other, george Orwells novels Animal Farm and Nineteen Eighty-Four are virtual textbooks on the use of propaganda. During the Cuban Revolution, Fidel Castro stressed the importance of propaganda, Propaganda was used extensively by Communist forces in the Vietnam War as means of controlling peoples opinions. During the Yugoslav wars, propaganda was used as a strategy by governments of Federal Republic of Yugoslavia and Croatia
12.
Iconography
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The word iconography comes from the Greek εἰκών and γράφειν. A secondary meaning is the production of images, called icons, in the Byzantine and Orthodox Christian tradition. In art history, an iconography may also mean a depiction of a subject in terms of the content of the image, such as the number of figures used, their placing. Sometimes distinctions have been made between iconology and iconography, although the definitions, and so the distinction made, varies, when referring to movies, genres are immediately recognizable through their iconography, motifs that become associated with a specific genre through repetition. Gian Pietro Bellori, a 17th-century biographer of artists of his own time, describes and analyses, not always correctly, many works. Lessings study of the classical figure Amor with a torch was an early attempt to use a study of a type of image to explain the culture it originated in. These early contributions paved the way for encyclopedias, manuals, mâles lArt religieux du XIIIe siècle en France translated into English as The Gothic Image, Religious Art in France of the Thirteenth Century has remained continuously in print. In the United States, to which Panofsky immigrated in 1931, students such as Frederick Hartt, the period from 1940 can be seen as one where iconography was especially prominent in art history. These are now being digitised and made online, usually on a restricted basis. For example, the Iconclass code 71H7131 is for the subject of Bathsheba with Davids letter, whereas 71 is the whole Old Testament and 71H the story of David. A number of collections of different types have been classified using Iconclass, notably types of old master print, the collections of the Gemäldegalerie, Berlin. These are available, usually on-line or on DVD, the system can also be used outside pure art history, for example on sites like Flickr. Central to the iconography and hagiography of Indian religions are mudra or gestures with specific meanings, the symbolic use of colour to denote the Classical Elements or Mahabhuta and letters and bija syllables from sacred alphabetic scripts are other features. Under the influence of art developed esoteric meanings, accessible only to initiates. The art of Indian Religions esp, for example, Narasimha an incarnation of Vishnu though considered a wrathful deity but in few contexts is depicted in pacified mood. Conversely, in Hindu art, narrative scenes have become more common in recent centuries, especially in miniature paintings of the lives of Krishna. Having Veena in hands to denote necessity of resonating with what you going to learn, holding pear garland to indicate concentration is required to learn about some thing. A book on other hand to indicate one should relay on authentic source of learning, dressed in white colour cloth to indicate a learner should not having any own colour but inclusive to all colours
13.
Francis I of France
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Francis I was the first King of France from the Angoulême branch of the House of Valois, reigning from 1515 until his death. He was the son of Charles, Count of Angoulême, and he succeeded his cousin and father-in-law Louis XII, who died without a male heir. Francis reign saw important cultural changes with the rise of absolute monarchy in France, the spread of humanism and Protestantism, Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire. For his role in the development and promotion of a standardized French language, he became known as le Père et Restaurateur des Lettres. He was also known as François au Grand Nez, the Grand Colas, following the policy of his predecessors, Francis continued the Italian Wars. In his struggle against Imperial hegemony, he sought the support of Henry VIII of England at the Field of the Cloth of Gold. When this was unsuccessful, he formed a Franco-Ottoman alliance with the Muslim sultan Suleiman the Magnificent, a controversial move for a Christian king at the time. Francis was born on 12 September 1494 at the Château de Cognac in the town of Cognac, which at that time lay in the province of Saintonge, today the town lies in the department of Charente. Francis was the son of Charles, Count of Angoulême, and Louise of Savoy. His family was not expected to inherit the throne, as his third cousin King Charles VIII was still young at the time of his birth, as was his fathers cousin the Duke of Orléans, later King Louis XII. However, Charles VIII died childless in 1498 and was succeeded by Louis XII, the Salic Law prevailed in France, thus females were ineligible to inherit the throne. Therefore, the four-year-old Francis became the heir presumptive to the throne of France in 1498 and was vested with the title of Duke of Valois. In 1505, Louis XII, having fallen ill, ordered that his daughter Claude and Francis be married immediately, Claude was heiress to the Duchy of Brittany through her mother, Anne of Brittany. Following Annes death, the took place on 18 May 1514. Louis died shortly afterwards and Francis inherited the throne and he was crowned King of France in the Cathedral of Reims on 25 January 1515, with Claude as his queen consort. As Francis was receiving his education, ideas emerging from the Italian Renaissance were influential in France, some of his tutors, such as François Desmoulins de Rochefort and Christophe de Longueil, were attracted by these new ways of thinking and attempted to influence Francis. His academic education had been in arithmetic, geography, grammar, history, reading, spelling, Francis came to learn chivalry, dancing, and music and he loved archery, falconry, horseback riding, hunting, jousting, real tennis and wrestling. He ended up reading philosophy and theology and he was fascinated with art, literature, poetry and his mother, who had a high admiration for Italian Renaissance art, passed this interest on to her son
14.
Holy Roman Emperor Charles V
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Charles V was ruler of both the Spanish Empire from 1516 and the Holy Roman Empire from 1519, as well as of the Habsburg Netherlands from 1506. He voluntarily stepped down from these and other positions by a series of abdications between 1554 and 1556, through inheritance, he brought together under his rule extensive territories in western, central, and southern Europe, and the Spanish colonies in the Americas and Asia. As a result, his domains spanned nearly four square kilometers and were the first to be described as the empire on which the sun never sets. Charles was the heir of three of Europes leading dynasties, the Houses of Valois-Burgundy, Habsburg, and Trastámara and he inherited the Burgundian Netherlands and the Franche-Comté as heir of the House of Valois-Burgundy. From his own dynasty, the Habsburgs, he inherited Austria and he was also elected to succeed his Habsburg grandfather, Maximilian I, as Holy Roman Emperor, a title held by the Habsburgs since 1440. Charles was the first king to rule Castile and Aragon simultaneously in his own right, the personal union, under Charles, of the Holy Roman Empire with the Spanish Empire resulted in the closest Europe would come to a universal monarchy since the death of Louis the Pious. France recovered and the wars continued for the remainder of Charless reign, enormously expensive, they led to the development of the first modern professional army in Europe, the Tercios. The struggle with the Ottoman Empire was fought in Hungary and the Mediterranean, after seizing most of eastern and central Hungary in 1526, the Ottomans’ advance was halted at their failed Siege of Vienna in 1529. A lengthy war of attrition, conducted on his behalf by his younger brother Ferdinand, in the Mediterranean, although there were some successes, Charles was unable to prevent the Ottomans’ increasing naval dominance and the piratical activity of the Barbary Corsairs. Charles opposed the Reformation and in Germany he was in conflict with the Protestant Princes of the Schmalkaldic League who were motivated by religious and political opposition to him. Once the rebellions were quelled the essential Castilian and Burgundian territories remained mostly loyal to Charles throughout his rule, Charles’s Spanish dominions were the chief source of his power and wealth, and they became increasingly important as his reign progressed. In the Americas, Charles sanctioned the conquest by Castillian conquistadors of the Aztec, Castillian control was extended across much of South and Central America. The resulting vast expansion of territory and the flows of South American silver to Castile had profound long term effects on Spain. Charles was only 56 when he abdicated, but after 34 years of rule he was physically exhausted and sought the peace of a monastery. Upon Charles’s abdications, the Holy Roman Empire was inherited by his younger brother Ferdinand, the Spanish Empire, including the possessions in the Netherlands and Italy, was inherited by Charles’s son Philip II. The two empires would remain allies until the 18th century, Charles was born in 1500 as the eldest son of Philip the Handsome and Joanna of Castile in the Flemish city of Ghent, which was part of the Habsburg Netherlands. The culture and courtly life of the Burgundian Low Countries were an important influence in his early life and he was tutored by William de Croÿ, and also by Adrian of Utrecht. He also gained a decent command of German, though he never spoke it as well as French, a witticism sometimes attributed to Charles is, I speak Spanish to God, Italian to women, French to men and German to my horse
15.
Alessandro Farnese (cardinal)
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He should not be confused with his nephew Alessandro Farnese, Governor of the Spanish Netherlands, grandson of Emperor Charles V and great-grandson of Pope Paul III. They were married in Rome on August 6,1519, young Alessandro studied at Bologna along with his cousin, Guido Ascanio Sforza di Santa Fiora. He was a member of the Collegio Ancarano, which had founded in the XV century by Petrus de Ancarano de nobilibus de Farnesino provinciae Patrimoniae B. Petri in Tuscia, for students specializing in legal studies, on 18 December 1534, at the age of 14, he was appointed Cardinal Deacon of the Title of SantAngelo in Pescheria by his grandfather Paul III, who had been elected to the papacy two months previously. On August 11,1535, he was appointed Abbot Commendatory of the Abbey of Tre Fontane on the Via Ostiense, in 1535, he was also appointed Abbot commendatory of S. Étienne de Caën. On August 27,1539, at the age of 18, Alessandro Farnese was named titular Latin Patriarch of Jerusalem, the office was highly lucrative, the duties were nominal and did not necessarily involve episcopal functions. In 1538, he was appointed Pope Paul IIIs principal Secretary, in 1541, Cardinal Farnese was named Protector of the Holy Roman Empire before the Holy See and Protector of Spain before the Holy See. At the same time, he was appointed Papal Legate in Avignon, from 1564 to 1565, he was Bishop of Sabina, and it is conjectured that it was in 1564 that Farnese finally was consecrated a bishop. He was certainly a bishop when he was the principal Consecrator of Cardinal Giulio della Rovere on April 15,1566, from 1565 to 1578, he was Bishop of Tusculum. He was the Bishop of Porto from July 9,1578 to December 5,1580 and he was then Cardinal-Bishop of Ostia and Velletri and Dean of the College of Cardinals from December 5,1580 until his death on March 2,1589. His grandfather Pope Paul III immediately named Alessandro Farnese Administrator of the Diocese of Parma, Alessandro resigned on August 13,1535, when Cardinal Guido Ascanio Sforza di Santa Fiora, another grandson of Paul III and only two years older than Alessandro, was named the new Administrator. Farnese was appointed Administrator of Jaen, Spain, from July 30,1535 until another Administrator and he was Administrator of the Archdiocese of Avignon from 1535 to 1551. and of the Diocese of Vizeu, Portugal. On May 9,1536, the Emperor Charles V named Cardinal Farnese as the new Archbishop of Monreale in Sicily, his appointment was confirmed on May 15,1536, by Pope Paul III. But Monreale was not a place, since the monks of the Cathedral of Monreale. On July 26,1549, the Pope was forced to intervene, a Vicar was appointed for the underage and absentee Archbishop, Msgr. Giovanni Antonio Fassari, titular Bishop of Christopolis in Greece, he was succeeded in 1546 by Pompeo Zambecari, in 1557, he was followed by Msgr. Giovanni Pietro Fortiguerra, Bishop of Cyrene in Libya, the Cardinal allowed the Jesuits to found a college in Monreale, and allowed the priests of the Society to work in the diocese. In 1568, Cardinal Farnese visited his diocese and held a synod and he was accompanied by his librarian, the famous antiquarian and papal biographer, Onofrio Panvinio, who, unhappily, died at Palermo on March 16,1568
16.
Baldachin
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A baldachin, or baldaquin, is a canopy of state typically placed over an altar or throne. A cloth of honour is a simpler cloth hanging vertically behind the throne, Baldachin was originally a luxurious type of cloth from Baghdad, from which name the word is derived, in English as baudekin and other spellings. Matthew Paris records that Henry III of England wore a robe de preciosissimo baldekino at a ceremony at Westminster Abbey in 1247, the word for the cloth became the word for the ceremonial canopies made from the cloth. In the Middle Ages, a canopy of state, cloth of honour, or cloth of state was hung above the seat of a personage of sufficient standing. The seat under such a canopy of state would normally be raised on a dais, the cloth above a seat generally continued vertically down to the ground behind the seat. Emperors and kings, reigning dukes and bishops were accorded this honour, in a 15th-century manuscript illumination the sovereign Grand Master of the Knights Hospitaller in Rhodes sits in state to receive a presentation copy of the authors book. His seat is raised on a dais and backed with a richly embroidered dosser. Under his feet is a cushion, such as protected the feet of the King of France when he presided at a lit de justice, the King of France was also covered by a mobile canopy during his Coronation, held up on poles by several Peers of France. The Virgin Mary in particular, is often shown sitting under a cloth of honour in medieval. The cloth was simply a luxurious textile, often imported and with rich patterns, as in brocades. French kings are shown with blue cloths patterned with the gold fleur-de-lys. The coats-of-arms embroidered or woven into the tapestry are of England, sometimes, as in the presentation miniature Jean Wauquelin presenting his Chroniques de Hainaut to Philip the Good by Rogier van der Weyden, the cloth continues over the seat, and then to the floor. The canopy of estate may still be seen in most formal throne rooms, louis XIV developed the rituals of receptions in his state bedchamber, the petit lever to which only a handful of his court élite might expect to be invited. The other monarchs of Europe soon imitated his practice, even his staunchest enemy, William III of England, had his grooms of the bedchamber and its tester is quickly recognizable as a baldachin, serving its time-honoured function, the bedding might easily be replaced by a gilded throne. The queens of France spent a deal of time in their chambre. By the time Marie Antoinette escaped the mob from this bedroom, such state beds, the canopy imitated cloth in bronze, as did many subsequent imitations. This famous and spectacular feature is called the Baldacchino, though strictly it is a ciborium. Berninis design for the Baldachin incorporated giant solomonic columns inspired by columns that ringed the altar of the Old St. Peters and these columns were originally donated by Constantine, and a false tradition asserts they are the columns from the Temple of Jerusalem
17.
Taddeo Zuccari
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Taddeo Zuccari Italian pronunciation, was an Italian painter, one of the most popular members of the Roman mannerist school. Zuccari was born in SantAngelo in Vado, near Urbino, the son of Ottaviano Zuccari and his brother Federico, born around 1540, was also a painter and architect. As a young man Taddeo was to be encouraged by Pompeo da Fano, Zuccari moved to Rome by age 14, and he succeeded at an early age in gaining a knowledge of painting and in finding patrons to employ him. When he was seventeen a pupil of Correggio, named Daniele da Parma, engaged him to assist in painting a series of frescoes in a chapel at Vitto near Sora, on the borders of the Abruzzi. From that time his success was assured, and he was employed by the popes Julius III and Paul IV, by the della Rovere duke of Urbino. He is documented to have worked alongside Prospero Fontana in decorating the Villa Giulia, in 1556, he painted frescoed Scenes of the Passion in the Cappella Mattei of Santa Maria della Consolazione. He also painted Histories of Alexander in the Castello Orsini at Bracciano, nearly all his paintings were large, rapidly executed frescos, often in chiaroscuro or monochrome. Stylistically, he displays a Mannerist taste for sculpted physicality characteristic of Michelangelo. Vasari praised his skill and the refined fluidity and vigour of his style, singling out his treatment of heads, hands. Zuccaris easel pictures are less common than his decorative frescoes, a small painting on copper of the Adoration of the Shepherds, formerly in the collection of James II, is now at Hampton Court Palace. The Caprarola frescoes were engraved and published by Prenner, Illustri Fatti Farnesiani Coloriti nel Real Palazzo di Caprarola and he painted Conversion of St. Paul in San Marcello al Corso in Rome. He died in Rome in 1566, and was buried in the Pantheon, freedberg, Sydney J. Pelican History of Art, ed. The Zuccaro Scholarship Getty Museum Exhibition Taddeo and Federico Zuccaro, Artist Brothers in Rome
18.
Galbert of Bruges
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Galbert of Bruges was a Flemish cleric and chronicler. The Murder, Betrayal, and Slaughter of the Glorious Charles, new Haven and London, Yale University Press. De multro, traditione, et occisione gloriosi Karoli comitis Flandriarum, gods Scribe, The Historiographical Art of Galbert of Bruges. Washington, DC, Catholic University of America Press, jeff Rider and Alan V. Murray. Galbert of Bruges and the Historiography of Medieval Flanders, washington, DC, Catholic University of America Press. James Bruce Ross, The murder of Charles the Good by Galbert of Bruges deremilitari. org home. cc. umanitoba. ca
19.
Count of Flanders
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The Count of Flanders was the ruler or sub-ruler of the county of Flanders, beginning in the 9th century. The title was held for a time by the Holy Roman Emperor, during the French Revolution in 1790, the county of Flanders was annexed to France and the peerage ceased to exist. In the 19th century, the title was appropriated by Belgium, the most recent holder died in 1983. Although the early rulers, starting with Arnulf I, were referred to as margraves or marquesses. Since then, the rulers of Flanders have only referred to as Counts. The Counts of Flanders enlarged their estate through a series of diplomatic marriages, the counties of Hainaut, Namur, Béthune, Nevers, Auxerre, Rethel, Burgundy, and Artois were all acquired in this manner. However, the County of Flanders suffered the fate in turn. As a result of the marriage of Countess Margaret III with Philip II, Duke of Burgundy, the county, the Counts of Flanders were also associated with the Duchy of Brittany prior to its union with France. In c 1323, Joan, the daughter of Arthur II, Duke of Brittany, joanna of Flanders, the granddaughter of Count Robert III and daughter of his son, Count Louis I, married John Montfort. It was through this alliance that the Duchy of Brittany was eventually joined to the throne of France, baldwin I Iron Arm, married Judith and was granted lands and honours, which would evolve into the County of Flanders. In 1246, King Louis IX of France awarded Flanders to William, when the Habsburg empire was divided among the heirs of Charles V, the Low Countries, including Flanders, went to Philip II of Spain, of the Spanish branch of the House of Habsburg. The fief was claimed by the House of Habsburg and the House of Bourbon, in 1713, the Treaty of Utrecht settled the succession and the County of Flanders went to the Austrian branch of the House of Habsburg. The Emperor Francis II relinquished his claim to the Low Countries in the Treaty of Campo Formio of 1797, in modern times, from 1840 onward, the substantive title Count of Flanders has been granted to two younger sons of the Kings of the Belgians. The second of these died in 1983, and the title not be conferred again. It is a title which is only nominally and ceremonially used. Genealogy of the counts of Flanders
20.
Relic
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In religion, a relic usually consists of the physical remains of a saint or the personal effects of the saint or venerated person preserved for purposes of veneration as a tangible memorial. Relics are an important aspect of forms of Buddhism, Christianity, Islam, Hinduism, Shamanism. Relic derives from the Latin reliquiae, meaning remains, and a form of the Latin verb relinquere, to leave behind, a reliquary is a shrine that houses one or more religious relics. In ancient Greece, a city or sanctuary might claim to possess, without necessarily displaying, the sanctuary of the Leucippides at Sparta claimed to display the egg of Leda. The bones were not regarded as holding a power derived from the hero, with some exceptions. Miracles and healing were not regularly attributed to them, rather, their presence was meant to serve a tutelary function, the bones of Orestes and Theseus were supposed to have been stolen or removed from their original resting place and reburied. Plutarch says that the Athenians were likewise instructed by the oracle to locate, the body of the legendary Eurystheus was also supposed to protect Athens from enemy attack, and in Thebes, that of the prophet Amphiaraus, whose cult was oracular and healing. As with the relics of Theseus, the bones are sometimes described in sources as gigantic. On the basis of their size, it has been conjectured that such bones were those of prehistoric creatures. The head of the poet-prophet Orpheus was supposed to have transported to Lesbos. The 2nd-century geographer Pausanias reported that the bones of Orpheus were kept in a stone vase displayed on a pillar near Dion, his place of death and these too were regarded as having oracular power, which might be accessed through dreaming in a ritual of incubation. The accidental exposure of the bones brought a disaster upon the town of Libretha, according to the Chronicon Paschale, the bones of the Persian Zoroaster were venerated, but the tradition of Zoroastrianism and its scriptures offer no support of this. In Hinduism, relics are less common than in other religions since the remains of most saints are cremated. The veneration of corporal relics may have originated with the movement or the appearance of Buddhism. In Buddhism, relics of the Buddha and various sages are venerated, after the Buddhas death, his remains were divided into eight portions. Afterward, these relics were enshrined in stupas wherever Buddhism was spread, some relics believed to be original remains of the body of the Buddha still survive, including the much-revered Sacred Relic of the tooth of the Buddha in Sri Lanka. A stupa is a building created specifically for the relics, many Buddhist temples have stupas and historically, the placement of relics in a stupa often became the initial structure around which the whole temple would be based. Today, many also hold the ashes or ringsel of prominent/respected Buddhists who were cremated
21.
St. Donatian's Cathedral
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The St. Donatians Cathedral was a Roman Catholic cathedral in Bruges, Belgium. Located on the Burg, one of the squares in the city. The cathedral was destroyed in 1799 in the wake of the dissolution of the Diocese of Bruges during the aftermath of the French Revolution. St Donatians Church was built by Arnulf I, Count of Flanders, c.950 AD, the church was built in the Romanesque architectural style. There was a main building, with a tower and a sixteen-sided ambulatory. The building stood on the Burg square, across from the Stadhuis, St Donatians Church became a cathedral following the installation of the first Bishop of Bruges in 1562. St. Donatians was destroyed in 1799 by occupying forces of the French First Republic, the former site of St Donatians is now occupied by the Crowne Plaza Brugge Hotel, the foundations of the cathedral were uncovered in 1955 and are visible in the hotels cellars. On 2 March 1127, Charles the Good, Count of Flanders was assassinated in St Donatians. Jan van Eycks painting The Virgin and Child with Canon van der Paele, jan van Eyck himself was buried in St Donatians Church in 1441. ISBN 0-582-04000-0 Dunford, M. and Lee, P, the Rough Guide to Belgium and Luxembourg, Third Edition. London and New York, Rough Guides Ltd, ISBN 1-85828-871-1 McDonald, G. Insight Compact Guide, Bruges, Second Edition
22.
Reliquary
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A reliquary is a container for relics. These may be the purported or actual physical remains of saints, such as bones, pieces of clothing, the authenticity of any given relic is often a matter of debate, for that reason, some churches require documentation of the relics provenance. Relics have long been important to Buddhists, Christians, Hindus, in these cultures, reliquaries are often presented in shrines, churches, or temples to which the faithful make pilgrimages in order to gain blessings. Relics are venerated in the Oriental Orthodox, Eastern Orthodox, Roman Catholic, reliquaries provide a means of protecting and displaying relics. While frequently taking the form of caskets, they range in size from simple pendants or rings to very elaborate ossuaries, ivory was widely used in the Middle Ages for reliquaries, its pure white color an indication of the holy status of its contents. These objects constituted a form of artistic production across Europe. Many were designed with portability in mind, often being exhibited in public or carried in procession on the saints feast day or on holy days. Pilgrimages often centered on the veneration of relics, the faithful often venerate relics by bowing before the reliquary or kissing it. Those churches which observe the veneration of relics make a distinction between the honor given to the saints and the worship that is due to God alone. The feretrum was a form of reliquary or shrine containing the sacred effigies. In the late Middle Ages the craze for relics, many now fraudulent, became extreme, 16th-century reformers such as Martin Luther opposed the use of relics since many had no proof of historic authenticity, and they objected to the cult of saints. Nonetheless, the use and manufacture of reliquaries continues to this day, especially in Roman Catholic, post-Reformation reliquaries have tended to take the form of glass-sided caskets to display relics such as the bodies of saints. The earliest reliquaries were essentially boxes, either simply box-shaped or based on an architectural design and these latter are known by the French term chasse, and typical examples from the 12th to 14th century have wooden frameworks with gilt-copper plaques nailed on, decorated in champlevé enamel. Limoges was the largest centre of production, NB the English usage differs from that of the French châsse, relics of the True Cross became very popular from the 9th century onwards and were housed in magnificent gold and silver cross-shaped reliquaries, decorated with enamels and precious stones. Similarly, the bones of saints were often housed in reliquaries that recalled the shape of the body part. A philatory is a transparent reliquary designed to contain and exhibit the bones and this style of reliquary has a viewing portal by which to view the relic contained inside. During the later Middle Ages, the form, mostly used for consecrated hosts, was sometimes used for reliquaries. These housed the relic in a crystal or glass capsule mounted on a column above a base
23.
Isabeau of Bavaria
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Isabeau of Bavaria was born into the House of Wittelsbach as the eldest daughter of Duke Stephen III of Bavaria-Ingolstadt and Taddea Visconti of Milan. She became Queen of France when she married King Charles VI in 1385, at age 15 or 16, Isabeau was sent to France on approval to the young French king, the couple wed three days after their first meeting. Isabeau was honored in 1389 with a coronation ceremony and entry into Paris. In 1392 Charles suffered the first attack of what was to become a lifelong and progressive mental illness, the episodes occurred with increasing frequency, leaving a court both divided by political factions and steeped in social extravagances. A1393 masque for one of Isabeaus ladies-in-waiting—an event later known as Bal des Ardents—ended in disaster with the King almost burning to death, although the King demanded Isabeaus removal from his presence during his illness, he consistently allowed her to act on his behalf. In this way she became regent to the Dauphin of France, Charles illness created a power vacuum that eventually led to the Armagnac–Burgundian Civil War between supporters of his brother, Louis of Orléans and the royal dukes of Burgundy. Isabeau shifted allegiances as she chose the most favorable paths for the heir to the throne, when she followed the Armagnacs, the Burgundians accused her of adultery with Louis of Orléans, when she sided with the Burgundians the Armagnacs removed her from Paris and she was imprisoned. In 1407 John the Fearless assassinated Orléans, sparking hostilities between the factions, the war ended soon after Isabeaus eldest son, Charles, had John the Fearless assassinated in 1419—an act that saw him disinherited. Isabeau attended the 1420 signing of the Treaty of Troyes, which decided that the English king should inherit the French crown after the death of her husband and she lived in English-occupied Paris until her death in 1435. Isabeau was popularly seen as a spendthrift and irresponsible philanderess, Isabeaus parents were Duke Stephen III of Bavaria-Ingolstadt and Taddea Visconti, whom he married for a 100,000 ducat dowry. She was most likely born in Munich where she was baptized as Elisabeth at the Church of Our Lady and she was great-granddaughter to the Wittelsbach Holy Roman Emperor Louis IV. At that period Bavaria counted amongst the most powerful German states, Isabeaus uncle, Duke Frederick of Bavaria-Landshut, suggested in 1383 that she be considered as a bride to King Charles VI of France. Charles, then 17, rode in the tourneys at the wedding and he was an attractive, physically fit young man, who enjoyed jousting and hunting and was excited to be married. Charles VIs uncle, Philip the Bold, Duke of Burgundy, thought the proposed marriage ideal to build an alliance with the Holy Roman Empire and against the English. Isabeaus father agreed reluctantly and sent her to France with his brother, her uncle, on the pretext of taking a pilgrimage to Amiens. According to the contemporary chronicler Jean Froissart, Isabeau was 13 or 14 when the match was proposed and about 16 at the time of the marriage in 1385, suggesting a birth date of around 1370. Before her presentation to Charles, Isabeau visited Hainaut for about a month, staying with her granduncle Duke Albert I, ruler of some of Bavaria-Straubing and Count of Holland. Alberts wife, Margaret of Brieg, replaced Isabeaus Bavarian style of dress, deemed unsuitable as French courtly attire and she learned quickly, suggestive of an intelligent and quick-witted character
24.
Froissart
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For centuries, Froissarts Chronicles have been recognised as the chief expression of the chivalric revival of the 14th century Kingdom of England and Kingdom of France. His history is also an important source for the first half of the Hundred Years War, what little is known of Froissarts life comes mainly from his historical writings and from archival sources which mention him in the service of aristocrats or receiving gifts from them. This is why de Looze has characterised these works as pseudo-autobiographical, Froissart came from Valenciennes in the County of Hainaut, situated in the western tip of the Holy Roman Empire, bordering France. Earlier scholars have suggested that his father was a painter of armorial bearings, other suggestions include that he began working as a merchant but soon gave that up to become a cleric. For this conclusion there is no real evidence, as the poems which have been cited to support these interpretations are not really autobiographical. By about age 24, Froissart left Hainault and entered the service of Philippa of Hainault, queen consort of Edward III of England, in 1361 or 1362. This service, which would have lasted until the death in 1369, has often been presented as including a position of court poet and/or official historiographer. Froissart took an approach to his work. He traveled in England, Scotland, Wales, France, Flanders and Spain gathering material and he traveled with Lionel, Duke of Clarence, to Milan to attend and chronicle the dukes wedding to Violante, the daughter of Galeazzo Visconti. At this wedding, two other significant writers of the Middle Ages were present, Chaucer and Petrarch, after the death of Queen Philippa, he enjoyed the patronage of Joanna, Duchess of Brabant among various others. He received rewards—including the benefice of Estinnes, a village near Binche and later became canon of Chimay—sufficient to finance further travels and he returned to England in 1395 but seemed disappointed by changes that he viewed as the end of chivalry. The date and circumstances of his death are unknown but St. Monegunda of Chimay might be the resting place for his remains. Much more than his poetry, Froissarts fame is due to his Chronicles, the text of his Chronicles is preserved in more than 100 illuminated manuscripts, illustrated by a variety of miniaturists. One of the most lavishly illuminated copies was commissioned by Louis of Gruuthuse, the four volumes of this copy contain 112 miniatures painted by well-known Brugeois artists of the day, among them Loiset Lyédet, to whom the miniatures in the first two volumes are attributed. He is thought to have one of the first to mention the use of the verge and foliot, or verge escapement in European clockworks. The English composer Edward Elgar wrote an overture entitled Froissart, Froissarts Chronicles LHorloge amoureux Méliador Peter Ainsworth, Froissart, Jean, in Graeme Dunphy, Encyclopedia of the Medieval Chronicle, Leiden, Brill,2010, pp. 642–645. Cristian Bratu, Je, aucteur de ce livre, Authorial Persona, in Authorities in the Middle Ages. Influence, Legitimacy and Power in Medieval Society, sini Kangas, Mia Korpiola, and Tuija Ainonen, eds
25.
Charles IX of France
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Charles IX was a monarch of the House of Valois who ruled as King of France from 1560 until his death. He ascended the throne of France upon the death of his brother Francis II, after decades of tension, war broke out between Protestants and Catholics after the massacre of Vassy in 1562. This event, known as the St. Bartholomews Day Massacre, was a significant blow to the Huguenot movement, Charles sought to take advantage of the disarray of the Huguenots by ordering the Siege of La Rochelle, but was unable to take the Protestant stronghold. He died without male issue in 1574 and was succeeded by his brother Henry III. He was born Charles Maximilian, third son of King Henry II of France and Catherine de Medici, in the royal chateau of Saint-Germain-en-Laye. Styled since birth as Duke of Angoulême, he was created Duke of Orléans after the death of his older brother Louis, his parents second son, on 14 May 1564, Charles was presented the Order of the Garter by Henry Carey. His father died in 1559, and was succeeded by his elder brother, after Franciss short rule, the ten-year-old Charles was immediately proclaimed king on 5 December 1560. When Francis II died, the Privy Council appointed his mother, Catherine de Medici, as governor of France, with sweeping powers, on 15 May 1561, Charles was consecrated in the cathedral at Reims. Antoine of Bourbon, himself in line to the French throne, Charles reign was dominated by the French Wars of Religion, which pitted various factions against each other. Queen Catherine, though nominally a Catholic, initially tried to steer a course between the two factions, attempting to keep the peace and augment royal power. The regent Catherine tried to foster reconciliation at the Colloquy at Poissy and, after that failed, made several concessions to the Huguenots in the Edict of Saint-Germain in January 1562. Nonetheless, war broke out when some retainers of the House of Guise, hoping to avenge the attempt of Amboise, in return, the monarchy revoked the concessions given to the Huguenots. After the military leaders of both sides were killed or captured in battles at Rouen, Dreux, and Orléans. The war was followed by four years of an armed peace. After this victory, Charles declared his legal majority in August 1563, however, Catherine would continue to play a principal role in politics and often dominated her son. In March 1564, the King and his mother set out from Fontainebleau on a tour of France. Their tour spanned two years and brought them through Bar, Lyon, Salon-de-Provence, Carcassonne, Toulouse, Bayonne, La Rochelle, during this trip, Charles IX issued the Edict of Roussillon, which standardised 1 January as the first day of the year throughout France. War again broke out in 1567 after reports of iconoclasm in Flanders prompted Charles to support Catholics there
26.
French Wars of Religion
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Approximately 3,000,000 people perished as a result of violence, famine and disease in what is accounted as the second deadliest European religious war. Unlike all other wars at the time, the French wars retained their religious character without being confounded by dynastic considerations. At the conclusion of the conflict in 1598, Huguenots were granted rights and freedoms by the Edict of Nantes. The wars weakened the authority of the monarchy, already fragile under the rule of Francis II and then Charles IX, apart from previously mentioned names, the wars have been variously described as the Eight Wars of Religion, or simply the Wars of Religion. However, the Massacre of Vassy in 1562 is agreed to begin the French Wars of Religion, during this time, complex diplomatic negotiations and agreements of peace were followed by renewed conflict and power struggles. Humanism, until the late 1520s, served as a ground for the French Protestant Reformation. The spirit of the Renaissance interested Francis I and he encouraged the study of the classics by establishing royal professorships in Paris, equipping more people with the knowledge necessary to understand the classics. Francis I had no qualms with the religious order. Through the Concordat of Bologna, Pope Leo X increased the power of the king over the church, nomination of clergy depended upon the kings choice, in France, unlike in Germany, the nobles supported the policies and the status quo of their time. The establishment of the college and the spread of the printing press served the purposes of the Reformation. The printing press made mass production of inexpensive and fueled the spread of knowledge in all disciplines. Interest in the classics soared and literature was available to a wider audience. The accessibility coupled with romanticism for the knowledge from the past that built empires, precise language and eloquence were valued among scholars and true understanding of the classics meant studying them from the originals. Theological and religious thoughts were disseminated at an unprecedented pace, ideas about the Reformation were widespread in France by 1519. John Froben, a humanist printer, published a collection of Luther’s works, in one correspondence, he reported that 600 copies of such works were being shipped to France and Spain and were sold in Paris. The humanist perspective on understanding Scriptures had theological and ecclesiastical implications, studying Scriptures in the original flourished in the Renaissance period. This contrasted the heavy reliance of the church on the Vulgate - the Latin translation of the Bible. The Meaux Circle was formed by a group of humanists including Jacques Lefèvre d’Étaples and Guillaume Briçonnet, bishop of Meaux, in the effort to reform preaching, the Meaux circle was joined by Vatable, a Hebraist and Guillaume Budé the classicist and librarian to the king
27.
Tableau vivant
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Tableau vivant, French for living picture, is a style of artistic presentation, often shortened to simply tableau. It most often describes a group of costumed actors, carefully posed. In the theatrical context, the actors/models do not speak or move throughout the duration of the display, the approach thus marries the art forms of the stage with those of the more static visual arts, and it has thus been of interest to modern photographers. Occasionally, a Mass was punctuated with short dramatic scenes and painting-like tableaux and they were a major feature of festivities for royal weddings, coronations and royal entries into cities. Often the actors imitated statues of painting, much in the manner of street entertainers, but in larger groups. The Realism movement, with more naturalistic depictions, did not begin until the mid-19th century, before radio, film and television, tableaux vivants were popular forms of entertainment, even in frontier towns. Before the age of reproduction of images, the tableau was sometimes used to recreate artworks on stage. They thus influenced the form taken by later Victorian and Edwardian era magic lantern shows, Tableaux vivants were often performed as the basis for school Nativity plays in England during the Victorian period, the custom is still practiced at Loughborough High School. Several tableaux are performed each year at the carol service. Theatrical censorship in Britain and the United States forbade actresses to move when nude or semi-nude on stage, in the early 1900s, German dancer Olga Desmond appeared in Schönheitsabende in which she posed nude in living pictures, imitating classical works of art. In the nineteenth century, tableaux vivants took such titles as Nymphs Bathing and Diana the Huntress and were to be found at such places as the Hall of Rome in Great Windmill Street, other venues were the Coal Hole in the Strand and the Cyder Cellar in Maiden Lane. Nude and semi-nude poses plastiques were also a frequent feature of variety shows in the US, first on Broadway in New York City, the Ziegfeld Follies featured such tableaux from 1917. The Windmill Theatre in London featured nude poses plastiques on stage, it was the first, Tableaux vivants were often included in fairground sideshows. Such shows had largely died out by the 1970s, Tableaux remain a major attraction at the annual Pageant of the Masters in Laguna Beach, California. The initial translation of this text substitutes the English word picture for the French word tableau, however Michael Fried retains the French term when referring to Chevriers essay, because according to Fried, there is no direct translation into English for tableau in this sense. It lacks the connotations of constructedness, of being the product of an act that the French word carries. Other texts and Clement Greenbergs theory of medium specificity also cover this topic, the key characteristics of the contemporary photographic tableau according to Chevrier are, firstly, They are designed and produced for the wall. But size has another function, it distances the viewer from the object and this confrontational experience, Fried notes, is actually quite a large break from the conventional reception of photography, which up to that point was often consumed in books or magazines
28.
Motto
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A motto is a maxim, a phrase meant to formally summarize the general motivation or intention of an individual, family, social group or organization. A motto may be in any language, but Latin has been widely used, especially in the Western world. In heraldry, a motto is depicted below the shield in a banderole, this placement stems from the Middle Ages, in which the vast majority of nobles possessed a coat of arms. In the case of Scottish heraldry it is mandated to appear above the crest, spanish coats of arms may display a motto in the bordure of the shield. In heraldic literature, the rallying cry respectively battle banner are also common, which date back to the battle cry. In English heraldry mottos are not granted with armorial bearings, in Scottish heraldry, mottos can only be changed by re-matriculation, with the Lord Lyon King of Arms. Although very unusual and perhaps outside standard heraldic practice, there are examples of the particular appearance of the motto scroll. Ships and submarines in the Royal Navy each have a badge and motto, Latin has been very common for mottos, but for nation states their official language is generally chosen. A canting motto is one that contains word play, for example, the motto of the Earl of Onslow is Festina lente, punningly interpreting on-slow. In literature, a motto is a sentence, phrase, poem, or word prefixed to an essay, chapter, novel and it is a short, suggestive expression of a guiding principle for the written material that follows. For example, Robert Louis Stevensons Travels with a Donkey in the Cévennes uses mottos at the start of each section, epigram Hendiatris Inscription List of Latin phrases List of mottos List of national mottos Slogan Tagline United in diversity United we stand, divided we fall
29.
Three Estates
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The estates of the realm were the broad orders of social hierarchy used in Christendom from the medieval period to early modern Europe. Different systems for dividing society members into estates developed and evolved over time, the best known system is the French Ancien Régime, a three-estate system used until the French Revolution. Monarchy was for the king and the queen and this system was made up of clergy, nobles, furthermore, the non-landowning poor could be left outside the estates, leaving them without political rights. In England, a system evolved that combined nobility and bishops into one lordly estate with commons as the second estate. This system produced the two houses of parliament, the House of Commons and the House of Lords, in southern Germany, a three-estate system of nobility, ritters, and burghers was used. Today the term Fourth Estate usually refers to forces outside the power structure. Historically, in Northern and Eastern Europe, the Fourth Estate meant rural commoners, during the Middle Ages individuals were born into their class and change in social position was difficult. The medieval Church was the institution where social mobility was most likely up to a certain level, typically, however, only nobility were appointed to the highest church positions, although low nobility could aspire to the highest church positions. Another possible way to rise in position was due to exceptional military or commercial success. Such families were rare and their rise to nobility required royal patronage at some point, medieval political speculation is imbued to the marrow with the idea of a structure of society based upon distinct orders, Johan Huizinga observes. There are, first of all, the estates of the realm, but there are also the trades, the state of matrimony and that of virginity, at court there are the four estates of the body and mouth, bread-masters, cup-bearers, carvers, and cooks. In the Church there are orders and monastic orders. Finally there are the different orders of chivalry and this static view of society was predicated on inherited positions. Commoners were universally considered the lowest order, a persons estate and position within it were usually inherited from the father and his occupation, similar to a caste within that system. In many regions and realms there also existed population groups born outside these specifically defined resident estates, legislative bodies or advisory bodies to a monarch were traditionally grouped along lines of these estates, with the monarch above all three estates. Meetings of the estates of the realm became early legislative and judicial parliaments, monarchs often sought to legitimize their power by requiring oaths of fealty from the estates. Today, in most countries, the estates have lost all their legal privileges, one of the earliest political pamphlets to address these ideas was called What Is the Third Estate. It was written by Abbé Emmanuel Joseph Sieyès in January 1789, the struggle over investiture and the reform movement also legitimized all secular authorities, partly on the grounds of their obligation to enforce discipline
30.
Guild
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A guild /ɡɪld/ is an association of artisans or merchants who control the practice of their craft in a particular town. The earliest types of guild were formed as confraternities of tradesmen and they were organized in a manner something between a professional association, trade union, a cartel, and a secret society. A lasting legacy of traditional guilds are the guildhalls constructed and used as meeting places, an important result of the guild framework was the emergence of universities at Bologna, Oxford and Paris, they originated as guilds of students as at Bologna, or of masters as at Paris. Usually the founders were free independent master craftsmen who hired apprentices, there were several types of guilds, including the two main categories of merchant guilds and craft guilds but also the frith guild and religious guild. In many cases became the governing body of a town. The Freedom of the City, effective from the Middle Ages until 1835, gave the right to trade, Trade guilds arose in the 14th century as craftsmen united to protect their common interest. The occasion for these oaths were drunken banquets held on December 26, gregory of Tours tells a miraculous tale of a builder whose art and techniques suddenly left him, but were restored by an apparition of the Virgin Mary in a dream. Michel Rouche remarks that the story speaks for the importance of practically transmitted journeymanship, in France, guilds were called corps de métiers. According to Viktor Ivanovich Rutenburg, Within the guild itself there was little division of labour. Thus, according to Étienne Boileaus Book of Handicrafts, by the century there were no less than 100 guilds in Paris. In Catalan towns, specially at Barcelona, guilds or gremis were a basic agent in the society, a shoemakers guild is recorded in 1208. In England, specifically in the City of London Corporation, more than 110 guilds, referred to as companies, survive today. Other groups, such as the Worshipful Company of Tax Advisers, have been formed far more recently, membership in a livery company is expected for individuals participating in the governance of The City, as the Lord Mayor and the Remembrancer. The guild system reached a state in Germany circa 1300 and held on in German cities into the 19th century. In the 15th century, Hamburg had 100 guilds, Cologne 80, the latest guilds to develop in Western Europe were the gremios of Spain, e. g. Valencia or Toledo. Not all city economies were controlled by guilds, some cities were free, in order to become a Master, a Journeyman would have to go on a three-year voyage called Journeyman years. The practice of the Journeyman years still exists in Germany and France, in Ghent, as in Florence, the woolen textile industry developed as a congeries of specialized guilds. The appearance of the European guilds was tied to the emergent money economy, before this time it was not possible to run a money-driven organization, as commodity money was the normal way of doing business
31.
Tournai
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Tournai, known in Dutch as Doornik, is a Walloon city and municipality of Belgium located 85 kilometres west-southwest of Brussels, on the river Scheldt, in the province of Hainaut. Tournai is part of the Eurometropolis Lille-Kortrijk-Tournai, which had 2,155,161 residents in 2008, along with Tongeren, Tournai is the oldest city in Belgium and it has played an important role in the countrys cultural history. Tournai is located in the Wallonia region of Belgium, at the limit of the Flemish plain, in the basin of the River Scheldt. Administratively, the town is part of the Province of Hainaut and it is also a municipality that is part of the French-speaking Community of Belgium. Tournai has its own arrondissements, both administrative and judicial and its area of 213.75 square kilometres makes it the largest municipality in size in Belgium, it is also the largest in population in Western Hainaut. Rocks from the Tournai area date from the Carboniferous Period and have used to define the Tournaisian Age. Tournai stone is a limestone which takes a polish and was used particularly in the Romanesque period for sculpted items such as Tournai fonts. It is also enough to have been used locally for pavements. It is sometimes called Tournai marble, though this is geologically inaccurate, Tournai, known as Tornacum, was a place of minor importance in Roman times, a stopping place where the Roman road from Cologne on the Rhine to Boulogne on the coast crossed the river Scheldt. It was fortified under Maximian in the 3rd century AD, when the Roman limes was withdrawn to the string of outposts along the road and it came into the possession of the Salian Franks in 432. Under king Childeric I, whose tomb was discovered there in 1653, in 486, Clovis moved the center of power to Paris. In turn, a son of Tournai, Eleutherius, became bishop of the newly created bishopric of Tournai. In 862 Charles the Bald, first king of Western Francia and still to become Holy Roman Emperor, after the partition of the Frankish empire by the Treaties of Verdun and of Meerssen, Tournai remained in the western part of the empire, which in 987 became France. The city participated in 11th-century rise of towns in the Low Countries, with a cloth industry based on English wool. An ambitious rebuilding of the cathedral was initiated in 1030, the stone Pont des Trous over the Scheldt, with defensive towers at either end, was built in 1290, replacing an earlier wooden structure. During the 15th century, the textile trade boomed and it became an important supplier of tapestry. The art of painting flourished too, Jacques Daret, Robert Campin and it was captured in 1513 by Henry VIII of England, making it the only Belgian city ever to have been ruled by England. It was also represented in the 1515 Parliament of England, the city was handed back to French rule in 1519, following the Treaty of London
32.
Fleur de lys
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The fleur-de-lis or flower-de-luce is a stylized lily that is used as a decorative design or symbol. Many of the saints are depicted with a lily, most prominently St. Joseph. The fleur-de-lis is represented in Unicode at U+269C in the Miscellaneous Symbols block and it remains an enduring symbol of France that appears on French postage stamps, although it has never been adopted officially by any of the French republics. According to French historian Georges Duby, the three represent the medieval social classes, those who worked, those who fought. It is unclear where the fleur-de-lis originated, among the Egyptians, Persians, Arabs and Greeks, this arabesque evoked warrior-like power. In France it is used in city emblems like in the coat of arms of the city of Lille, Saint-Denis, Brest, Clermont-Ferrand, Boulogne-Billancourt. The fleur-de-lis was the symbol of Île-de-France, the core of the French kingdom, many of the current departments use the ancient symbol on their coats to express this heritage. In Italy, the fleur de lis, called giglio is mainly known as the crest of the city of Florence, in the Florentine fleurs-de-lis, the stamens are always posed between the petals. This heraldic charge is known as the Florentine lily to distinguish it from the conventional design. As an emblem of the city, it is found in icons of Zenobius, its first bishop. Several towns subjugated by Florence or founded within the territory of the Florentine Republic adopted a variation of the Florentine lily in their crests, often without the stamens. The heraldic fleur-de-lis is still widespread, among the cities which use it as a symbol are some whose names echo the word lily, for example, Liljendal, Finland. This is called canting arms in heraldic terminology, other European examples of municipal coats-of-arms bearing the fleur-de-lis include Lincoln in England, Morcín in Spain, Wiesbaden in Germany, Skierniewice in Poland and Jurbarkas in Lithuania. The Swiss municipality of Schlieren and the Estonian municipality of Jõelähtme also have a fleur-de-lis on their coats, in Malta, the town of Santa Venera has three red fleurs-de-lis on its flag and coat of arms. Another suburb which developed around the area known as Fleur-de-Lys. The coat of arms of the medieval Kingdom of Bosnia contained six fleurs-de-lis, understood as the native Bosnian or Golden Lily and this emblem was revived in 1992 as a national symbol of the Republic of Bosnia and Herzegovina and was the flag of Bosnia-Herzegovina from 1992 to 1998. The state insignia were changed in 1999, the former flag of the Federation of Bosnia and Herzegovina contains a fleur-de-lis alongside the Croatian chequy. Fleurs also appear in the flags and arms of cantons, municipalities, cities
33.
Cathedral chapter
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They can be numbered, in which case they are provided with a fixed prebend, or unnumbered, in which case the bishop indicates the number of canons according to the rents. In some Church of England cathedrals there are two bodies, the lesser and greater chapters, which have different functions. The smaller body usually consists of the members and is included in the larger one. Originally, it referred to a section of a rule that was read out daily during the assembly of a group of canons or other clergy attached to a cathedral or collegiate church. Later it came to be applied to the group of clergy itself, in both cases the chapter was the bishops consilium which he was bound to consult on all important matters and without doing so he could not act. Thus, a decision of a bishop needed the confirmation of the chapter before it could be enforced. In its corporate capacity the chapter takes charge sede vacante of a diocese, in England, however, this custom has never obtained, the two archbishops having, from time immemorial, taken charge of the vacant dioceses in their respective provinces. The normal constitution of the chapter of a cathedral church comprised four officers. These are the dean, the precentor, the chancellor and the treasurer and these four officers, occupying the four corner stalls in the choir, are called in many of the statutes the quatuor majores personae of the church. A dean seems to have derived the designation from the Benedictine deans who had ten monks under their charge, the dean came into existence to supply the place of the provost in the internal management of the church and chapter. In England every secular cathedral church was headed by a dean who was elected by the chapter. The dean is president of the chapter and within the cathedral has charge of the celebration of the services, deans sit in the principal stall in the choir, which is usually the first on the right hand on entering the choir at the west. Next to the dean is the precentor, whose duty is that of regulating the musical portion of the services. The third officer is the chancellor, who must not be confused with the chancellor of the diocese, the chancellor of the cathedral church is charged with the oversight of its schools, ought to read theology lectures and superintend the lections in the choir and correct slovenly readers. Chancellors are often the secretary and librarian of the chapter, in the absence of the dean and precentor the chancellor is president of the chapter. The easternmost stall, on the side of the choir, is usually assigned to the chancellor. The fourth officer is the treasurer and they are guardians of the fabric and all the furniture and ornaments of the church. It was their duty to provide bread and wine for the Eucharist and candles and they also regulated such matters as the ringing of the bells
34.
Te Deum
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The Te Deum is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as Thee, O God and it is sung either after Mass or the Divine Office or as a separate religious ceremony. The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings, a plenary indulgence is granted, under the usual conditions, to those who recite it in public on New Years Eve. Authorship is traditionally ascribed to Saints Ambrose and Augustine, on the occasion of the baptism by the former in AD387. It has also ascribed to Saint Hilary, but The Historical Companion to Hymns Ancient and Modern says it is now accredited to Nicetas. The petitions at the end of the hymn are a selection of verses from the book of Psalms, the hymn follows the outline of the Apostles Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. The hymn then returns to its formula, naming Christ and recalling his birth, suffering and death. The hymn was chanted jubilantly by the people of Orléans after the successful Siege of Orléans, during the Hundred Years War, when St. Joan of Arc and the French army entered the town. The text has been set to music by composers, with settings by Haydn, Mozart, Berlioz, Verdi, Bruckner, Furtwängler, Dvořák, Britten, Kodály. Jean-Baptiste Lully wrote a setting of Te Deum for the court of Louis XIV of France, earlier it had been used as the theme music for Bud Greenspans documentary series, The Olympiad. Sir William Waltons Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1953, puccinis opera Tosca features a dramatic performance of the initial part of the Te Deum at the end of Act I. A version by Father Michael Keating is popular in some Charismatic circles, mark Hayes wrote a setting of the text in 2005, with Latin phrases interpolated amid primarily English lyrics. In 1978, British hymnodist Christopher Idle wrote God We Praise You, British composer John Rutter has composed two settings of this hymn, one entitled Te Deum and the other Winchester Te Deum. Igor Stravinsky set the first 12 lines of the text as part of The Flood in 1962, antony Pitts was commissioned by the London Festival of Contemporary Church Music to write a setting for the 2011 10th Anniversary Festival. The 18th-century German hymn Großer Gott, wir loben dich is a translation of the Te Deum. In the Book of Common Prayer, verse is written in half-lines, at which reading pauses, texts on Wikisource, Te Deum Te Deum Catholic Encyclopedia entry Piers Maxim Te Deum in Service, Cathedral of Notre Dame, Paris on YouTube
35.
Charles V of France
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Charles V, called the Wise, was a monarch of the House of Valois who ruled as King of France from 1364 to his death. In 1349, as a prince, Charles received from his grandfather King Philip VI the province of Dauphiné to rule. This allowed him to bear the title Dauphin until his coronation, after 1350, all heirs apparent of France bore the title of Dauphin until their coronation. Charles became regent of France when his father John II was captured by the English at the Battle of Poitiers in 1356. With the help of talented advisers known as the Marmousets, his management of the kingdom allowed him to replenish the royal treasury. He established the first permanent army paid with regular wages, which liberated the French populace from the companies of routiers who regularly plundered the country when not employed. Furthermore, the French Navy, led by Jean de Vienne and he was succeeded by his son Charles VI the Mad, whose disastrous reign allowed the English to regain control of large parts of France. Charles was born at the Château de Vincennes outside of Paris, the future king was highly intelligent but physically weak, with pale skin and a thin, ill-proportioned body. This made a sharp contrast to his father, who was tall, strong, as neither the pope nor the emperor wanted to buy, the transaction was concluded with Philip VI. Under the Treaty of Romans, the Dauphiné of Viennois was to be held by a son of the future king John the Good, so it was Charles, the eldest son of the latter, who became the first Dauphin. At the age of twelve, he was confronted with the exercise of power while staying in Grenoble. A few days after his arrival, the people of Grenoble were invited to the Place Notre-Dame, young Charles took his place next to Bishop John of Chissé and received the oath of allegiance of the people. On April 8,1350 at Tain-lHermitage, the Dauphin married his cousin Joanna of Bourbon at the age of 12, the prior approval of the pope was obtained for this consanguineous marriage. The marriage was delayed by the death of his mother Bonne of Luxembourg and his grandmother Joan the Lame, the dauphin himself had been seriously ill from August to December 1349. Gatherings were limited to slow the spread of the then raging in Europe. Despite his young age, the applied to be recognized by his subjects. Charles was recalled to Paris at the death of his grandfather Philip VI, the legitimacy of John the Good, and that of the Valois in general, was not unanimous. His father, Philip VI, had lost all credibility with the disasters of Crecy, Calais, the ravages of the plague, the royal clan had to cope with opposition from all sides in the kingdom
36.
Medieval theatre
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Medieval Theatre covers all drama produced in Europe over that thousand-year period and refers to a variety of genres, including liturgical drama, mystery plays, morality plays, farces and masques. Beginning with Hrosvitha of Gandersheim in the 10th century, Medieval drama was for the most part very religious and moral in its themes, staging, one of the earliest surviving secular plays in English is The Interlude of the Student and the Girl. However, by the period, drama and theatre began to become more secularized. These dramatizations were included in order to vivify annual celebrations, symbolic objects and actions recalled the events which Christian ritual celebrates. These were extensive sets of signs that could be used to communicate with a largely illiterate audience. These performances developed into liturgical dramas, the earliest of which is the Whom do you Seek Easter trope, liturgical drama was sung responsively by two groups and did not involve actors impersonating characters. However, sometime between 965 and 975, Æthelwold of Winchester composed the Regularis Concordia which contains a playlet complete with directions for performance, constantinople had two theatres that were in use as late as the 5th century A. D. In the 6th century, the Emperor Justinian finally closed down all theatres for good, according to the binary thinking of the Churchs early followers, everything that did not belong to God belonged to the Devil, thus all non-Christian gods and religions were satanic. Efforts were made in countries through this period to not only convert Jews and pagans but to destroy pre-Christian institutions. Works of Greek and Roman literature were burnt, the thousand-year-old Platonic Academy was closed, the theatre itself was viewed as a diabolical threat to Christianity because of its continued popularity in Rome even among new converts. Under these influences, the set about trying to suppress theatrical spectacles by passing laws prohibiting and excluding Roman actors. They were forbidden to have contact with Christian women, own slaves and they were officially excommunicated, denied the sacraments, including marriage and burial, and were defamed and debased throughout Europe. For many centuries thereafter, clerics were cautioned to not allow these suddenly homeless, from the 5th century, Western Europe was plunged into a period of general disorder that lasted until the 10th century A. D. As such, most organized theatrical activities disappeared in Western Europe, in order to preempt criticism from the church, Hrosvitha prefaced her collection by stating that her moral purpose to save Christians from the guilt they must feel when reading Classical literature. Her declared solution was to imitate the laudable deeds of women in Terences plays and these six plays are the first known plays composed by a female dramatist and the first identifiable Western dramatic works of the post-Classical era. They were first published in 1501 and had influence on religious. Hrosvitha was followed by Hildegard of Bingen, a Benedictine abbess, the anonymous pagan play Querolus, written c.420, was adapted in the 12th century by Vitalis of Blois. Other secular Latin plays were written in the 12th century, mainly in France
37.
Nine Worthies
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The Nine Worthies are nine historical, scriptural, and legendary personages who personify the ideals of chivalry as were established in the Middle Ages. All are commonly referred to as Princes in their own right, the study of the life of each would thus form a good education for the aspirant to chivalric status. In Italy they are i Nove Prodi, the Nine Worthies include three pagans, three Jews and three Christians. They were first described in the fourteenth century, by Jacques de Longuyon in his Voeux du Paon. Their selection, as Johan Huizinga pointed out, betrays a close connection with the genre of chivalry. Neatly divided into a triad of triads, these men were considered to be paragons of chivalry within their tradition, be it Pagan, Jewish. Longuyons choices soon became a theme in the literature and art of the Middle Ages. The medieval craving for symmetry engendered female equivalents, the neuf preuses, eustache Deschamps selected a group of rather bizarre heroines selected from fiction and history, among them Penthesilea, Tomyris, Semiramis. Literature and suites of tapestry featured the full complement of eighteen, a tenth worthy was added by Deschamps, in the figure of Bertrand du Guesclin, the Breton knight to whom France owed recovery from the battles of Crécy and Poitiers. Francis I of France still occasionally paraded himself at court dressed in the mode to identify himself also as one of the Neuf Preux. As a group, the nine worthies represents all facets of the chivalrous warrior. All, with the exception of Hector, are conquering heroes and those not royal came from knightly families, it was thought. All lived in the era and attributed arms were invented for them. All brought glory and honor to their nations and were noted for their prowess in arms. As individuals, each displayed some outstanding quality of chivalry which made them exemplars of knighthood, in William Shakespeares play Loves Labours Lost the comic characters attempt to stage such a masque, but it descends into chaos. The list of Worthies actually named in the play include two not on the original list, Hercules and Pompey the Great, alexander, Judas Maccabaeus, and Hector also appear on stage before the show collapses into complete disorder. I Nove Prodi, a fresco by the Maestro del Castello della Manta, the series also includes depictions of their female counterparts. Montacute House has sculptures of the nine worthies spaced along the upper eastern façade on the exterior of the long gallery piers and these figures are dressed in Roman armour
38.
Family tree
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A family tree, or pedigree chart, is a chart representing family relationships in a conventional tree structure. The more detailed family trees used in medicine and social work are known as genograms, genealogical data can be represented in several formats, for example as a pedigree or ancestry chart. Family trees are presented with the oldest generations at the top. An ancestry chart, which is a showing the ancestors of an individual, will more closely resemble a tree in shape. In some ancestry charts, a appears on the left. A descendancy chart, which all the descendants of an individual will be narrowest at the top. Family trees can have many themes, one might encompass all direct descendants of a single figure, or all known ancestors of a living person. Another might include all members of a particular surname, yet another approach is to construct a tree including all holders of a certain office, such as kings of Germany. This relies on dynastic marriage to hold together the links between dynasties, the image of the tree probably originated with one in medieval art of the Tree of Jesse, used to illustrate the Genealogy of Christ in terms of a prophecy of Isaiah. Fan charts depict paternal and maternal ancestors, however, because a parent must be born before their child is born, a person cannot be their own ancestor, and thus there are no loops, so ancestry forms a directed acyclic graph. The graphs of matrilineal descent and patrilineal descent are trees however, assuming no common ancestor, an ancestry chart is a perfect binary tree, as each person has exactly one mother and one father, for two parents, these thus have a regular structure. A descendancy chart, on the hand, does not in general have a regular structure, as a person can have any number of children. The longest family tree in the world is that of the Chinese philosopher and educator Confucius, the tree spans more than 80 generations from him, and includes more than 2 million members. An international effort involving more than 450 branches around the world was started in 1998 to retrace, a new edition of the Confucius genealogy was printed in September 2009 by the Confucius Genealogy Compilation Committee, to coincide with the 2560th anniversary of the birth of the Chinese thinker. This latest edition is expected to include some 1.3 million living members who are scattered around the world today, the 1999 edition of the Guinness Book of Records recorded the Lurie family in the longest lineage category as oldest-known living family in the world today. In Europe, the pedigree of Niall Noígíallach would be contender for the longest, the author Pete Frame is notable for having produced family trees of rock bands. In this instance, the entries represent membership of certain groups, several books have been produced with his family trees, which in turn have led to a BBC television series about them, including interviews from the bands depicted in the trees
39.
Triumphal arch
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A triumphal arch is a monumental structure in the shape of an archway with one or more arched passageways, often designed to span a road. The main structure is decorated with carvings, sculpted reliefs. More elaborate triumphal arches may have multiple archways, Triumphal arches are one of the most influential and distinctive types of architecture associated with ancient Rome. The survival of great Roman triumphal arches such as the Arch of Titus inspired many states and rulers, up to the present day. Triumphal arch is also the given to the arch above the entrance to the chancel of a medieval church where a rood can be placed. The origins of the Roman triumphal arch are unclear, Triumphal arch look similar to Mesopotamian Arch entrances like the Ishtar Gate but there is no evidence to support that the Romans got their influence from there. The development of the arch is often associated with ancient Roman architecture. To fully understand this development however it is important to understand the importance of basic arches in Roman civilization, the Romans had learned how to construct effective arches from the Etruscans, who lived in central Italy. This knowledge had a impact on the architecture of Roman civilization. As a result, the Romans used arches for things such as aqueducts, amphitheaters, bridges and they had effectively used the arch in various aspects of their civilization and city structure. Since the Romans had effectively perfected this architectural structure, one could conclude that the arch symbolized perfection, monumental gateways had already been in use for hundreds of years by civilizations such as the Hittites, Assyrians, Babylonians and Myceneans. There were precursors to the arch within the Roman world, in Italy. Surviving examples of Etruscan arches can still be seen at Perugia, the two key elements of the triumphal arch – a round-topped arch and a square entablature – had long been in use as separate architectural elements in ancient Greece. Entablatures were a part of the structural fabric of such buildings. The great innovation of the Romans was to combine a round arch, the first recorded Roman triumphal arches were set up in the time of the Roman Republic. Generals who were granted a triumph were termed triumphators and would erect fornices or honorific arches bearing statues to commemorate their victories, a number of fornices were built in Rome during the Republican era. Lucius Steritinus erected two in 196 BC to commemorate his victories in Hispania, another fornix was built on the Capitoline Hill by Scipio Africanus in 190 BC, and Quintus Fabius Maximus Allobrogicus constructed one in the Roman Forum in 121 BC. None of them today and little is known about their appearance
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Masque
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The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. Professional actors and musicians were hired for the speaking and singing parts, in the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully. The masque tradition developed from the elaborate pageants and courtly shows of ducal Burgundy in the late Middle Ages, masques were typically a complimentary offering to the prince among his guests and might combine pastoral settings, mythological fable, and the dramatic elements of ethical debate. There would invariably be some political and social application of the allegory, such pageants often celebrated a birth, marriage, change of ruler or a Royal Entry and invariably ended with a tableau of bliss and concord. Masque imagery tended to be drawn from Classical rather than Christian sources, Masque thus lent itself to Mannerist treatment in the hands of master designers like Giulio Romano or Inigo Jones. The New Historians, in works like the essays of Bevington, in English masques, purely musical interludes might be accompanied by a dumbshow. The rustic presentation of Pyramus and Thisbe as an entertainment in Shakespeares A Midsummer Nights Dream offers a familiar example. Spectators were invited to join in the dancing, at the end, the players would take off their masks to reveal their identities. A descriptive narrative of a processional masque is the masque of the Seven Deadly Sins in Edmund Spensers The Faerie Queene, a particularly elaborate masque, performed over the course of two weeks for Queen Elizabeth, is described in the 1821 novel Kenilworth, by Sir Walter Scott. Later, in the court of James I, narrative elements of the masque became more significant, plots were often on classical or allegorical themes, glorifying the royal or noble sponsor. At the end, the audience would join with the actors in a final dance, Ben Jonson wrote a number of masques with stage design by Inigo Jones. Their works are thought of as the most significant in the form. Sir Philip Sidney also wrote masques, william Shakespeare wrote a masque-like interlude in The Tempest, understood by modern scholars to have been heavily influenced by the masque texts of Ben Jonson and the stagecraft of Inigo Jones. There is also a sequence in his Romeo and Juliet. John Miltons Comus is described as a masque, though it is reckoned a pastoral play. Reconstructions of Stuart masques have been few and far between, part of the problem is that only texts survive complete, there is no complete music, only fragments, so no authoritative performance can be made without interpretive invention. In the 18th-century, masques were even less frequently staged, but because of its ephemeral nature, not a lot of documentation related to masques remains, and much of what is said about the production and enjoyment of masques is still part speculation. While the masque was no longer as popular as it was at its height in the 17th Century, during the late 17th century, English semi-operas by composers such as Henry Purcell had masque scenes inset between the acts of the play proper
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Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
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Ballet
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Ballet /ˈbæleɪ/ is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own based on French terminology. It has been influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training, Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Ballet may also refer to a dance work, which consists of the choreography. A well-known example of this is The Nutcracker, a ballet that was originally choreographed by Marius Petipa. Ballets are choreographed and performed by trained artists, the word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the 15th and 16th centuries before being spread from Italy to France by an Italian aristocrat, Catherine de Medici, in France, ballet developed even further under her aristocratic influence. The dancers in these early court ballets were mostly noble amateurs, Ballets in this period were lengthy and elaborate and often served a political purpose. Ornamented costumes were meant to impress viewers and restricted freedom of movement. The ballets were performed in large chambers with viewers on three sides, French court ballet reached its height under the reign of King Louis XIV. Known as the Sun King, Louis symbolized the brilliance of France, in 1661 Louis founded the Académie Royale de Danse to establish standards and certify dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form. Ballet went into decline in France after 1830, though it continued to develop in Denmark, Italy, the arrival in Europe on the eve of First World War of the Ballets Russes of Sergei Diaghilev, revived interest in the ballet and started the modern era. The Russian choreographer Michel Fokine challenged tradition and called for reforms that reinvigorated ballet as an art form, in the 20th century, ballet had a wide influence on other dance genres, and subgenres of ballet have also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, other developments include contemporary ballet and post-structural ballet. Also in the century, ballet took a turn dividing it from classical ballet to the introduction of modern dance. Stylistic variations have emerged and evolved since the Italian Renaissance, early, classical variations are primarily associated with geographic origin
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Absolute monarch
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Absolute monarchy, or despotic monarchy, is a form of monarchy in which one ruler has supreme authority that is not restricted by any written laws, legislature, or customs. These are often, but not always, hereditary monarchies, in contrast, in constitutional monarchies, the head of states authority derives from and is legally bounded or restricted by a constitution or legislature. Some monarchies have weak or symbolic legislatures and other bodies that the monarch can alter or dissolve at will. Countries where a monarch still maintains absolute power are Brunei, Qatar, Oman, Saudi Arabia, the individual emirates composing the United Arab Emirates, Swaziland, in Ancient Egypt, the Pharaoh wielded absolute power over the country and was considered a living god by his people. In ancient Mesopotamia, many rulers of Assyria, Babylonia and Sumer were absolute monarchs as well, in ancient and medieval India, rulers of the Maurya, Satahavana, Gupta and Chalukya Empires, as well as other major and minor empires, were considered absolute monarchs. In the Khmer Empire, the kings were called Devaraja and Chakravartin, in Kingdom of Siam, the kings were esestablished Somburanaya-sittiraj. Throughout Chinese history, many emperors and one empress wielded absolute power through the Mandate of Heaven, in pre-Columbian America, the Inca Empire was ruled by a Sapa Inca, who was considered the son of Inti, the sun god and absolute ruler over the people and nation. Throughout much of European history, the right of kings was the theological justification for absolute monarchy. Many European monarchs, such as those of Russia, claimed supreme autocratic power by right. James VI of Scotland and his son Charles I of Scotland and England tried to import this principle, there is a considerable variety of opinion by historians on the extent of absolutism among European monarchs. Some, such as Perry Anderson, argue that quite a few monarchs achieved levels of absolutist control over their states, a widely held story about Louis XIV of France is that he proclaimed Létat, cest moi. What Louis did say was, The interests of the state come first, when one gives these priority, one labors for ones own good. These advantages to the state redounds to ones glory, although often criticized for his extravagances, such as the Palace of Versailles, he reigned over France for a long period, and some historians consider him a successful absolute monarch. More recently, revisionist historians have questioned whether Louis reign should be considered absolute, the King of France concentrated in his person legislative, executive, and judicial powers. He was the judicial authority. He could condemn men to death without the right of appeal and it was both his duty to punish offenses and stop them from being committed. From his judicial authority followed his power both to make laws and to annul them and this law consequently authorized the king to abolish all other centers of power. Most important was the abolition of the Council of the Realm and his actions largely originated the militaristic streak of the Hohenzollern
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Mary Tudor, Queen of France
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Mary Tudor, the third daughter of Henry VII of England and Elizabeth of York, was an English princess. Mary became the wife of Louis XII of France, more than 30 years her senior. Following his death, she married Charles Brandon, 1st Duke of Suffolk, the marriage, which was performed secretly in France, took place during her brothers reign and without his consent. This necessitated the intervention of Thomas Wolsey and although the couple were eventually pardoned by Henry VIII, Mary was the fourth child of Henry VII of England and Elizabeth of York, and the youngest to survive infancy. She was born at Sheen Palace, most probably in March 1496, a privy seal bill dated from midsummer 1496 authorizes a payment of fifty shillings to her nurse, Anne Skeron. Also, Erasmus stated that she was four years old when he visited the Royal nursery in 1499–1500, at age six, she was given her own household, complete with a staff of gentlewomen assigned to wait upon her, a schoolmaster, and a physician. She was given instruction in French, Latin, music, dancing, as children, Mary and her brother, the future King Henry VIII, shared a close friendship. He would name his first surviving child, the future Queen Mary I and they lost their mother when Mary was just seven, and given the number of bills paid to her apothecary between 1504 and 1509, it would appear that Marys own health was fragile. Known in her youth as one of the most beautiful princesses in Europe, in 1506, during a visit from Philip I of Castile, Mary was called upon to entertain the guests, dancing, and playing the lute and clavicord. The following year, King Philip died, and on 21 December 1507, Mary was betrothed to his son Charles, the betrothal was called off in 1513. Instead, Cardinal Wolsey negotiated a treaty with France, and on 9 October 1514, at the age of 18. One of the Maids of Honour who attended her in France was Anne Boleyn, following Louis death, the new King Francis I made attempts to arrange a second marriage for the beautiful widow. Mary had been unhappy with her marriage of state to Louis, as at this time she was almost certainly already in love with Charles Brandon, 1st Duke of Suffolk. Henry was aware of his sisters feelings, letters from 1515 indicate that Mary agreed to wed Louis only on condition that if she survived him, however, Henry wanted any future marriage to be to his advantage. The Kings council, not wishing to see Brandon gain further power at Court, were opposed to the match. Meanwhile, rumours swirled in France that she would wed either the Duke of Lorraine or the Duke of Savoy, a pair of French friars actually went so far as to warn Mary that she must not wed Brandon, because he had traffickings with the devil. When Henry sent Brandon to bring Mary back to England in late January 1515, once in France, Mary persuaded Brandon to abandon this pledge. The couple wed in secret at the Hotel de Clugny on 3 March 1515, in the presence of just ten people, technically this was treason, as Brandon had married a Royal Princess without Henrys consent
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Anne of Brittany
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Anne of Brittany was Duchess of Brittany from 1488 until her death, and queen consort of France from 1491 to 1498 and from 1499 to her death. She is the woman to have been queen consort of France twice. During the Italian Wars, Anne also became queen consort of Naples, from 1501 to 1504, Anne was raised in Nantes during a series of conflicts in which the king of France sought to assert his suzerainty over Brittany. Her father, Francis II, Duke of Brittany, was the last male of the House of Montfort, upon his death in 1488, Anne became duchess regnant of Brittany, countess of Nantes, Montfort, and Richmond, and viscountess of Limoges. She was only 12 at that time, but she was already a coveted heiress because of Brittanys strategic position. The next year, she married Maximilian I of Austria by proxy and he started a military campaign which eventually forced the duchess to renounce her marriage. Anne eventually married Charles VIII in 1491, none of their children survived early childhood, and when the king died in 1498, the throne went to his cousin, Louis XII. Following an agreement made to secure the annexation of Brittany, Anne had to marry the new king, Louis XII was deeply in love with his wife and Anne had many opportunities to reassert the independence of her duchy. They had two daughters together and, although neither could succeed to the French throne due to the Salic Law, the eldest was proclaimed the heiress of Brittany. Anne managed to have her eldest daughter engaged to the future Charles V of Austria, grandchild of Maximilian I and this marriage later led to the formal union between France and Brittany. Anne is highly regarded in Brittany as a ruler who defended the duchy against France. In the Romantic period, she became a figure of Breton patriotism and she was honoured with many memorials and her artistic legacy is important in the Loire Valley, where she spent most of her life. She was notably responsible, with her husbands, for projects in the châteaux of Blois. Four years later, her parents had a daughter, Isabelle. Her mother died when she was little, while her father died when Anne was eleven years old and it is likely that she learned to read and write in French, and perhaps a little Latin. Contrary to what is claimed, it was unlikely that she learned Greek or Hebrew. She was raised by a governess, Françoise de Dinan, Lady of Chateaubriant, in addition, she had several tutors, including her butler and court poet, Jean Meschinot, who is thought to have taught her dancing, singing and music. The Treaty of Guérande in 1365, however, stated that in the absence of an heir from the House of Montfort
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Mystery play
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Mystery plays and miracle plays are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song and they told of subjects such as the Creation, Adam and Eve, the murder of Abel, and the last judgment. Oftentimes they were performed together in cycles which could last for days, the name derives from mystery used in its sense of miracle, but an occasionally quoted derivation is from ministerium, meaning craft, and so the mysteries or plays performed by the craft guilds. As early as the century living tableaux were introduced into sacred services. The plays originated as simple tropes, verbal embellishments of liturgical texts, at an early period chants from the service of the day were added to the prose dialogue. The Quem Quaeritis. is the best known form of the dramas. These primitive forms were later elaborated with dialogue and dramatic action, eventually the dramas moved from church to the exterior - the churchyard and the public marketplace. These early performances were given in Latin, and were preceded by a vernacular prologue spoken by a herald who gave a synopsis of the events, the writers and directors of the earliest plays, were probably monks. Religious drama flourished from about the ninth century to the sixteenth, in 1210, suspicious of the growing popularity of miracle plays, Pope Innocent III issued a papal edict forbidding clergy from acting on a public stage. This had the effect of transferring the organization of the dramas to town guilds, vernacular texts replaced Latin, and non-Biblical passages were added along with comic scenes, for example in the Secunda Pastorum of the Wakefield Cycle. Acting and characterization became more elaborate, from the guild control originated the term mystery play or mysteries, from the Latin ministerium meaning occupation. The genre was again banned, following the Reformation and the establishment of the Church of England in 1534. The mystery play developed, in places, into a series of plays dealing with all the major events in the Christian calendar. By the end of the 15th century, the practice of acting these plays in cycles on festival days was established in parts of Europe. Taken as a whole, these are referred to as Corpus Christi cycles and these cycles were often performed during the Feast of Corpus Christi and their overall design drew attention to Christs life and his redemption for all of mankind. The variety of theatrical and poetic styles, even in a cycle of plays. Also extant are two pageants from a New Testament cycle acted at Coventry and one pageant each from Norwich and Newcastle upon Tyne. Additionally, a play of the life of Mary Magdalene, The Brome Abraham and Isaac
