1.
Morgan Library & Museum
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It was founded to house the private library of J. P. Morgan in 1906, which included manuscripts and printed books, some of them in rare bindings, as well as his collection of prints and drawings. The library was designed by Charles McKim of the firm of McKim, Mead and White and it was made a public institution in 1924 by J. P. Morgans son John Pierpont Morgan, Jr. in accordance with his fathers will. The building was designated a New York City landmark in 1966 and was declared a National Historic Landmark later that same year, today the library is a complex of buildings which serve as a museum and scholarly research center. Her successor Frederick Baldwin Adams, Jr. managed the Library until 1969 and was also world-renowned for his own personal collections. Among the more famous manuscripts are the Morgan Bible, Morgan Beatus, Hours of Catherine of Cleves, Farnese Hours, Morgan Black Hours, and Codex Glazier. Other notable artists of the Morgan Library and Museum are Jean de Brunhoff, Paul Cézanne, Vincent van Gogh, John Leech, Gaston Phoebus, Rembrandt van Rijn, and John Ruskin. The Morgan has one of the worlds greatest collections of ancient Near Eastern cylinder seals and it also contains many music manuscripts and a considerable collection of Victoriana, including one of the most important collections of Gilbert and Sullivan manuscripts and related artifacts. Of interest to Australians is a copy of the written by Andrea Corsali from India in 1516. This letter, one of five in existence, contains the first description of the Southern Cross which is illustrated by Corsali in this letter. One other copy of the letter is in the British Museum, the fifth is in the Library of Princeton University. The letter is also available in Ramusios Viaggi, a compendium of letters of exploration. The first building constructed to house Morgans library – the McKim Building – was designed in the Classical Revival style by Charles Follen McKim of the firm of McKim. Morgan also commissioned a house to be built for his daughter a block away at the same time and it is located at 33 East 36th Street, which was at the time just to the east of Morgans residence, a brownstone house at 219 Madison Avenue built in 1880. McKim took his inspiration from the Villa Giulia and its Nymphaeum, also in the entrance are roundels and panels by Andrew OConnor and Adolph Weinman. The rotunda itself has a ceiling with murals and plasterwork inspired by Raphael. Morgans study, now the West Library, has called one of the greatest achievements of American interior decoration. The remaining Italianate brownstone house in the complex is 231 Madison Avenue. This house was built by Isaac Newton Phelps who bequeathed it to his daughter, Helen Stokes and she extended the building, doubling the size and adding an additional attic floor
2.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
3.
Medieval art
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The medieval art of the Western world covers a vast scope of time and place, over 1000 years of art in Europe, and at times the Middle East and North Africa. It includes major art movements and periods, national and regional art, genres, revivals, the crafts. Art historians attempt to classify medieval art into major periods and styles, in addition each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Norse art. Medieval art in Europe grew out of the heritage of the Roman Empire. These sources were mixed with the vigorous barbarian artistic culture of Northern Europe to produce an artistic legacy. Indeed, the history of art can be seen as the history of the interplay between the elements of classical, early Christian and barbarian art. The period ended with the self-perceived Renaissance recovery of the skills and values of art. Since a revival of interest and understanding in the 19th century it has seen as a period of enormous achievement that underlies the development of later Western art. Many regions did not regain their population levels until the 17th century. The population of Europe is estimated to have reached a low point of about 18 million in 650, doubling by 1000, in 1450 it was still only 50 million. To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, the increase in prosperity, for those who survived, was much less affected by the Black Death. Until about the 11th century most of Europe was short of labour, with large amounts of unused land. The medieval period saw the falling away of the invasions and incursions from outside the area that characterized the first millennium. The impression may be left by the works that almost all medieval art was religious. Most churches have been rebuilt, often times, but medieval palaces and large houses have been lost at a far greater rate. The situation is similar in most of Europe, though the 14th century Palais des Papes in Avignon survives largely intact. Paper became available in the last centuries of the period, but was extremely expensive by todays standards. Art in the Middle Ages is a subject and art historians traditionally divide it in several large-scale phases, styles or periods
4.
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
5.
Altar
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An altar is any structure upon which offerings such as sacrifices are made for religious purposes, and by extension the Holy table of post-reformation Anglican churches. Altars are usually found at shrines, and they can be located in temples, churches, today they are used particularly in Christianity, Buddhism, Hinduism, Shinto, Taoism, as well as in Neopaganism and Ceremonial Magic. Judaism used such a structure until the destruction of the Second Temple, many historical faiths also made use of them, including Greek and Norse religion. Altars in the Hebrew Bible were typically made of earth or unwrought stone, altars were generally erected in conspicuous places. The first altar recorded in the Hebrew Bible is that erected by Noah, altars were erected by Abraham, by Isaac, by Jacob, and by Moses. In Catholic and Orthodox Christian theology, the Eucharist is a re-presentation, hence, the table upon which the Eucharist is consecrated is called an altar. The altar plays a role in the celebration of the Eucharist, which takes place at the altar on which the bread. The altar is often on a higher elevation than the rest of the church, in Reformed and Anabaptist churches, a table, often called a Communion table, serves an analogous function. In some colloquial usage, the altar is used to denote the altar rail also. The main altar was also referred to as the high altar, in the earliest days of the Church, the Eucharist appears to have been celebrated on portable altars set up for the purpose. Some historians hold that, during the persecutions, the Eucharist was celebrated among the tombs in the Catacombs of Rome, other historians dispute this, but it is thought to be the origin of the tradition of placing relics beneath the altar. Although in the days of the Jerusalem Temple the High Priest indeed faced east when sacrificing on Yom Kippur, the ministers, celebrated the Eucharist facing east, towards the entrance. Some hold that for the part of the celebration the congregation faced the same way. After the sixth century the contrary orientation prevailed, with the entrance to the west and the altar at the east end. Then the ministers and congregation all faced east during the whole celebration, most rubrics, even in books of the seventeenth century and later, such as the Pontificale Romanum, continued to envisage the altar as free-standing. The rite of the Dedication of the Church continued to presume that the officiating Bishop could circle the altar during the consecration of the church and its altar. Despite this, with the increase in the size and importance of the reredos, most altars were built against the wall or barely separated from it. This diversity was recognized in the rubrics of the Roman Missal from the 1604 typical edition of Pope Clement VIII to the 1962 edition of Pope John XXIII, Si altare sit ad orientem, versus populum
6.
Vitreous enamel
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Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating on metal, so in technical terms fired enamelware is an integrated layered composite of glass and metal. Enamelling is an old and widely adopted technology, for most of its history mainly used in jewelry, enamelled and enamelling are the preferred spellings in British English, while enameled and enameling are preferred in American English. The term enamel is most often restricted to work on metal, enamelled glass is also called painted, and overglaze decoration to pottery is often called enamelling. The word enamel comes from the Old High German word smelzan via the Old French esmail, or from a Latin word smaltum, used as a noun, an enamel is usually a small decorative object coated with enamel. Since the 19th century the term also to industrial materials and many metal consumer objects, such as some cooking vessels, dishwashers, laundry machines, sinks. The ancient Egyptians applied enamels to stone objects, pottery, and sometimes jewellery, the ancient Greeks, Celts, Georgians, and Chinese also used enamel on metal objects. Enamel powder could be produced in two ways, either by powdering coloured glass, or by mixing colourless glass powder with pigments such as a metallic oxide, designs were either painted freehand or over the top of outline incisions, and the technique probably originated in metalworking. Once painted, enamelled glass vessels needed to be fired at a high enough to melt the applied powder. Ancient Persians used this method for colouring and ornamenting the surface of metals by fusing over it brilliant colours that are decorated in an intricate design and called it Meenakari. Gold has been used traditionally for Meenakari Jewellery as it holds the enamel better, lasts longer, initially, the work of Meenakari often went unnoticed as this art was traditionally used as a backing for the famous kundan or stone-studded jewellery. This also allowed the wearer to reverse the jewellery as also promised a special joy in the secret of the hidden design, the Byzantine enamel style was widely adopted by the barbarian peoples of Migration Period northern Europe. The Byzantines then began to use cloisonné more freely to create images, the champlevé technique was considerably easier and very widely practiced in the Romanesque period. In Gothic art the finest work is in basse-taille and ronde-bosse techniques, from either Byzantium or the Islamic world, the cloisonné technique reached China in the 13-14th centuries. The first written reference to cloisonné is in a book from 1388, cloisonné remained very popular in China until the 19th century and is still produced today. Starting from the century, the Japanese also produced large quantities of very high technical quality. A resurgence in enamel-based art took place near the end of the 20th century in the Soviet Union, led by artists like Alexei Maximov, in Australia, abstract artist Bernard Hesling brought the style into prominence with his variously sized steel plates. Enamel was first applied commercially to sheet iron and steel in Austria, industrialization increased as the purity of raw materials increased and costs decreased
7.
True Cross
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The True Cross is the name for physical remnants which, by a Catholic Church tradition, are believed to be from the cross upon which Jesus was crucified. Many churches possess fragmentary remains that are by tradition alleged to be those of the True Cross and their authenticity is not accepted universally by those of the Christian faith and the accuracy of the reports surrounding the discovery of the True Cross is questioned by some Christians. The medieval legends that developed concerning its provenance differ between Catholic and Orthodox tradition and these churches honour Helena as a saint, as does also the Anglican Communion. The Golden Legend contains several versions of the origin of the True Cross, in The Life of Adam, Voragine writes that the True Cross came from three trees which grew from three seeds from the Tree of Mercy which Seth collected and planted in the mouth of Adams corpse. After many centuries, the tree was cut down and the used to build a bridge over which the Queen of Sheba passed. So struck was she by the portent contained in the timber of the bridge that she fell on her knees and revered it. On her visit to Solomon, she told him that a piece of wood from the bridge would bring about the replacement of Gods Covenant with the Jewish people, Solomon, fearing the eventual destruction of his people, had the timber buried. But after fourteen generations, the wood taken from the bridge was fashioned into the Cross used to crucify Christ, Voragine then goes on to describe its finding by Helena, mother of the Emperor Constantine. In the late Middle Ages and Early Renaissance, there was a general acceptance of the origin of the True Cross and its history preceding the Crucifixion. The Golden Legend and many of its sources developed after the East-West Schism of 1054, the above pre-Crucifixion history, therefore, is not to be found in Eastern Christianity. According to the tradition of the Eastern Orthodox Church the True Cross was made from three different types of wood, cedar, pine and cypress. The link between this verse and the Crucifixion lies in the words, the place of my feet, there is a tradition that the three trees from which the True Cross was constructed grew together in one spot. A traditional Orthodox icon depicts Lot, the nephew of Abraham, according to tradition, these trees were used to construct the Temple in Jerusalem. Later, during Herods reconstruction of the Temple, the wood from these trees was removed from the Temple and discarded, eventually being used to construct the cross on which Jesus was crucified. Following his conversion to Christianity, Emperor Constantine ordered in about 325–326 that the site be uncovered and instructed Saint Macarius, Bishop of Jerusalem, in his Life of Constantine, Eusebius does not mention the finding of the True Cross. Socrates Scholasticus, in his Ecclesiastical History, gives a description of the discovery that was repeated later by Sozomen. In Socratess version of the story, Macarius had the three placed in turn on a deathly ill woman. This woman recovered at the touch of the cross, which was taken as a sign that this was the cross of Christ
8.
Mosan art
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Mosan art is a regional style of art from the valley of the Meuse in present-day Belgium, the Netherlands, and Germany. The Meuse valley lay in the heart of the Carolingian Empire and therefore the style draws largely from the heritage of the Carolingian art tradition. Thus, Mosan art contains strong elements, which separates it from the international Romanesque style seen elsewhere during the period, for example in France, Germany England. However, it shares with mainstream Romanesque art elements such as the treatment of space. The Mosan region was formed largely by the boundary of the Bishopric of Liège, Mosan art at its peak had a strong influence on bordering regions, notably on Rhineland art. Mosan Romanesque art has been described by art historians as the first golden age of Netherlandish art, usually the term Mosan art does not include Medieval literature although Heinrich von Veldeke may be considered the first poet writing in Middle Dutch. The fully developed Mosan style of the 12th century is a comprise between the older Meuse valley traditions and foreign influences, mainly coming from the Rhineland and Italy, an outstanding factor in Mosan architecture is the closed west front. Unfortunately, some of the largest churches, notably Liège cathedral, Former collegiate church St Bartholomew, Liège Former collegiate church of St. Maastricht metsen worked on capitals and reliefs as far afield as Utrecht, Bonn and Eisenach. The Shrine of the Three Kings at Cologne Cathedral, the Anno Shrine in Siegburg, other important metalworkers were Renier de Huy and Hugo dOignies. Morgan Library, New York City Reliquary of St. Maurus, Royal Museums of Art and History, Brussels Reliquary with head of Pope Alexander I, Royal Museums of Art and History, Brussels The foot of the so-called Cross of Saint Bertin. Museum of Saint-Omer Very little has come to us from what must have been a body of Mosan murals. Wolfram von Eschenbach, in his Parzival expressed his high regard for Maastricht painters, book illumination, like the rest of the arts, was at its zenith in the second half of the 12th century. The principal centres were the abbey of Saint Laurent in Liège, another highly developed art was vitreous enameling. Basilica of Saint Servatius, Maastricht Stavelot Bible, british Library, London Evangeliary of Averbode. University Library, Liège Manuscripts from the abbey of Sint-Truiden Evangeliary of Notger Romanesque Art --> Sculpture Mosan Renaissance Tournai font Chapman, Romanesque Sculpture in Maastricht Timmers, J. J. M. De Kunst van het Maasland Mosan school
9.
Meuse
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The Meuse or Maas is a major European river, rising in France and flowing through Belgium and the Netherlands before draining into the North Sea. It has a length of 925 km. Its lower Belgian portion, part of the sillon industriel, was the first fully industrialized area in continental Europe. The Meuse and its crossings were a key objective of the last major German WWII counter-offensive on the Western Front, the Meuse River is represented in the documentary The River People released in 2012 by Xavier Istasse. The name Meuse is derived from the French name of the river, the Dutch name Maas descends from Middle Dutch Mase, which comes from the presumed but unattested Old Dutch form *Masa, from Proto-Germanic *Masō. Only modern Dutch preserves this Germanic form, however, despite the similarity, the Germanic name is not derived from the Latin name, judging from the change from earlier o into a, which is characteristic of the Germanic languages. Therefore, both the Latin and Germanic names were derived from a Proto-Celtic source, which would have been *Mosā. The Meuse rises in Pouilly-en-Bassigny, commune of Le Châtelet-sur-Meuse on the Langres plateau in France from where it flows northwards past Sedan, at Namur it is joined by the River Sambre. Beyond Namur the Meuse winds eastwards, skirting the Ardennes, the river then forms part of the Belgian-Dutch border, except that at Maastricht the border lies further to the west. The river has been divided near Heusden into the Afgedamde Maas on the right, the Bergse Maas continues under the name of Amer, which is part of De Biesbosch. Near Lage Zwaluwe, the Nieuwe Merwede joins the Amer, forming the Hollands Diep, between Maastricht and Maasbracht, an unnavigable section of the Meuse is bypassed by the 36 km Juliana Canal. South of Namur, further upstream, the river can carry more modest vessels. From Givet, the river is canalized over a distance of 272 kilometres, the canalized Meuse used to be called the Canal de lEst — Branche Nord but was recently rebaptized into Canal de la Meuse. The waterway can be used by the smallest barges that are still in use commercially, just upstream of the town of Commercy, the Canal de la Meuse connects with the Marne–Rhine Canal by means of a short diversion canal. The Cretaceous sea reptile Mosasaur is named after the river Meuse, the first fossils of it were discovered outside Maastricht 1780. An international agreement was signed in 2002 in Ghent, Belgium about the management of the river amongst France, Germany, Luxembourg, the Netherlands, also participating in the agreement were the Belgian regional governments of Flanders, Wallonia, and Brussels. Most of the area is in Wallonia, followed by France. An International Commission on the Meuse has the responsibility of the implementation of the treaty, the map of the basin area of Meuse was joined to the text of the treaty
10.
Principality of Stavelot-Malmedy
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The Principality of Stavelot-Malmedy was an ecclesiastical principality of the Holy Roman Empire. Princely power was exercised by the Benedictine abbot of the double monastery of Stavelot and Malmedy. At 600 km2, it was among the territories in the Empire. As a prince-abbot, the abbot of Stavelot-Malmedy sat on the Ecclesiastical Bench of the College of Ruling Princes of the Imperial Diet, in 1795, the principality was abolished and its territory was incorporated into the French département of Ourthe. The Congress of Vienna in 1815 assigned Stavelot to the United Kingdom of the Netherlands, both are currently parts of the Kingdom of Belgium—since the 1830 Belgian Revolution and the 1919 Treaty of Versailles, respectively. Sigebert granted forest land, charged his Mayor of the Palace, Grimoald the Elder, the site of Malmedy was probably already settled before the foundation of the abbey, despite etymology seeming to indicate Malmedys unsuitability. Malmund-arium was a place with winding waters, or, most probably, Malmund-arium, the Warchenne was partially canalised and its banks strengthened, to prevent the flooding that Malmedy often experienced. The abbey church in Malmedy was dedicated to St Benedict, the monastery of Malmedy is considered by historians and hagiographers to be slightly older than the monastery of Stavelot, with the town claiming its foundation date as 648. Malmedy is listed on earlier maps than Stavelot, and the commission appointed in 670 by Childeric II, in order to delimit the abbey territory, afterwards, the territory of the abbey was enlarged westwards, so that Stavelot became the geographical centre and the capital of the principality. The first church in Stavelot was built by abbot Godwin and, on 25 June 685, was dedicated to saints Martin, Peter, the relics of Saint Remaclus were housed in this new church. In 747, Carloman, Duke of the Franks and Mayor of the Palace of Austrasia, enlarged the abbeys lands with gifts from his own, throughout the ninth century, the abbeys played an important cultural role in Lotharingia, particularly thanks to abbot Christian. Through the seventh and eighth centuries, the two followed their mission of evangelism, along with forest clearance. Welcoming pilgrims and the sick was a part of the monks mission, in December 881, Normans, including Godfrid, Duke of Frisia, invaded the area, burning both abbeys and causing the monks to flee with their treasures and relics. Several historical sources provide evidence of the raid of 881, which was prepared and organised. Stavelot and Malmedy were both burned, with the monks not returning until just before Christmas 882, with a stay in Chooz, relics from Aachen, which had been entrusted to the monks at Stavelot because of the Norman threat, were returned intact. After the invasions, abbot Odilon began to rebuild the abbey of Stavelot, with support from bishops of Liège—including Notker. The abbots Odilon and Werinfride rebuilt the abbeys, with new building, re-established the monastic community, by the time of the Ottonian dynasty in the early 10th century, the abbeys were once again of suitable Imperial stature. A new abbey church was built in Malmedy in 992, dedicated to St Quirinus, in 1007, another danger threatened the abbey—and the Western Empire—in the 10th century, the Hungarian invasions
Michael Ott (1913). "Wibald". In Herbermann, Charles. Catholic Encyclopedia. New York: Robert Appleton Company.
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