The Crown Jewels
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Królewski Kościół Katedralny Na Wawelu. W Rocznicę Konsekracji
Tomasz Węcławowicz Królewski kościół katedralny na Wawelu W rocznicę konsekracji 1364-2014 Royal Cathedral Church on Wawel Hill in Krakow Jubilee of the Consecration 1364-2014 Dekoracja zachodniej ściany katedry dobitnie ilustruje powiązanie św. Stanisława z ideą polityczną ostatnich władców z dynastii Piastów. Szczyt wieńczy figura św. Stani sława, poniżej na drzwiach widnieje monogram króla Kazimierza Wielkiego - a między nimi Orzeł, herb Królestwa Polskiego - heraldyczny łącznik spajający dwie personifikacje religijnej i świeckiej władzy. [...] Dlatego krakowska katedra jest w każdym znaczeniu tego słowa „kościołem królewskim” - a przy tym jedną z najwcześniejszych takich realizacji w Europie Środkowej. Paul Crossley, Gothic Architecture in the Reign of Kazimir the Great, Kraków 1985 [The] demonstration of the link between St Stanislaw and the political ideology of the last Piast King is provided by the decoration of the west front of the cathedral. Above, in the gable is the figure of St Stanislaw; below, on the doors, is the pronounced signature of Kazimir the Great; and between them, as a heraldic link between these two personifica tions of the religious and secular authority, is the Polish eagle, the arms of Poland [...] In every sense of the word, therefore, Krakow cathedral is - a Konigskirche. It is moreover one of the earliest of its kind in Central Europe. Paul Crossley, Gothic Architecture in the Reign of Kazimir the Great, Krakow 1985 Tomasz Węcławowicz Królewski kościół katedralny na Wawelu W rocznicę konsekracji 1364-2014 Royal Cathedral Church on Wawel Hill in Krakow Jubilee of the Consecration 1364-2014 Kraków 2014 UNIW ERSYTET PAPIESKI JANA PAWŁA II WYDZIAŁ HISTORII I DZIEDZICTWA KULTUROWEGO PONTIFICAL UNIVERSITY OF JOH N PAUL II FACULTY OF HISTORY AND CULTURAL HERITAGE KRAKOWSKA AKADEMIA IM. -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Diadem Gold Mining Co
aiyiM iwaftwfiFBywiwftBiaww1' 1,,iw Mf MJff Wednesday, May i, 1901 THE SUMPTER MINER Diadem Gold Mining Co. : OFFICERS Mines Situated on Green- This Mine is Working j President J. H. ROBBINS J Every Day j Mayor of Sumpttr a. N.C.RICHARDS horn Mountain Attorney (Uw J This Mine is a Shiping Sec'y and Treas...OTTO HERLOCKER Baker County Mine i4 At. Cathltr First Bank ol Sumpttr f Directors J. H. Robblns, N. C. J The Baker Cl!y SamplInK Works Richards, E. M. Anderson, M. D. gives the following returns (or two Supt. of Mines... DAVID O'NEIL small shipments: Lot 68-1- . 253 sacks X Of Iter P, O.. Baker County, Oregon 1,000,000 SHARES of ore, dry weight, 13,06) pounds. In addition to the officer of the company Z Gold, 7 ounces; silver, 940 ounces. J among the atockholderi are: Hon. Lee Mantle, T : PAR VALUE $1 00 EACH Gold per oz, $20; treatment cost 98. late IT. S. Senator, Hutte, Montana: Tho. R. Net price per Freight, Hindi, County Treasurer, Butte, Montana; I ton, 130.50. late of Hon. John F. Forbes, Attorney-at-La- Butte; Zi a 97 per ton. Net value lost, 9800,24. Chas. S. Warren, Speculator, Butte; los. F. Par-- T Lot No. 102. 378 sack ore; dry dee, Miner, Phllllpsburg, Montana; H. M. Grant, weight, 18,810. Gold, 6.20 ounces; Insurance Adfuster, Portland; Geo. W, McDow- - ell, Broker Portland; CB. Richardson, Contrac- - Home Office silver, q ounces; gold $20 per ounce. tor, Walla. Walla, Wash.; Hector McRea. -
Hour 3: Mo'narchs, Mo' Problems Part I: British Royals 1
Hour 3: Mo'narchs, mo' problems Part I: British royals 1. First monarch to live in Buckingham Palace? Victoria 2. Which English monarch was the youngest of sixteen children? Edward II 3. Who was known to his/her family by the moniker “pussy”? Victoria, Princess Royal (DO NOT ACCEPT “Victoria” or “Queen Victoria”--this is Queen Victoria’s daughter) 4. Name the postcode where Queen Elizabeth II was born. W1J 6QB 5. What does King James II of Scotland have in common with Princess Josephine of Denmark and Prince Wolfgang of Hesse? Twins 6. Patrick Melrose met which member of the British royal family in 1994? Princess Margaret 7. Where did Charles I fail to check out a library book? The Bodleian Library at the University of Oxford 8. Who carved a poem into a wall (or possibly a window) while under house arrest in Oxfordshire? Elizabeth I 9. Which nephew of Henry IV spearheaded Portugal’s colonial activities? Henry the Navigator 10. What did Johannes Klencke give to Charles II in 1660? An atlas 11. Which king’s death was blamed on someone wearing black velvet? William III 12. Which disputed English king’s life was saved by a well-timed bout of diarrhea? King Stephen 13. Which disputed English king was crowned in Ireland? Lambert Simnel 14. Where are three English queens who shared a common cause of death buried? The Church of St Peter ad Vincula, London 15. What drink did the future George IV order after meeting his future wife? Brandy Part II: General Trivia 16. -
There and Back Again: Mobilising Tourist Imaginaries at the Tower Of
There and Back Again: Mobilising Tourist Imaginaries at the Tower of London Matthew Hughes Ansell 2014 Dissertation submitted in partial fulfillment of the requirements for the degree of MA in Cultural Heritage Studies of University College London in 2017 UCL INSTITUTE OF ARCHAEOLOGY ‘Those responsible for the brochure had darkly intuited how easily their readers might be turned into prey by photographs whose power insulted the intelligence and contravened any notions of free will: over-exposed photographs of palm trees, clear skies, and white beaches. Readers who would have been capable of skepticism and prudence in other areas of their lives reverted in contact with these elements to a primordial innocence and optimism. The longing provoked by the brochure was an example, at once touching and bathetic, of how projects (and even whole lies) might be influenced by the simplest and most unexamined images of happiness; of how a lengthy and ruinously expensive journey might be set into motion by nothing more than the sight of a photograph of a palm tree gently inclining in a tropical breeze’ (de Botton 2002, 9). 2 Abstract Tourist sites are amalgams of competing and complimentary narratives that dialectically circulate and imbue places with meaning. Widely held tourism narratives, known as tourist imaginaries, are manifestations of ‘shared mental life’ (Leite 2014, 268) by tourists, would-be tourists, and not-yet tourists prior to, during, and after the tourism experience. This dissertation investigates those specific pre-tour understandings that inform tourists’ expectations and understandings of place prior to visiting. Looking specifically at the Tower of London, I employ content and discourse analysis alongside ethnographic field methods to identify the predominant tourist imaginaries of the Tower of London, trace their circulation and reproduction, and ultimately discuss their impact on visitor experience at the Tower. -
From Charlemagne to Hitler: the Imperial Crown of the Holy Roman Empire and Its Symbolism
From Charlemagne to Hitler: The Imperial Crown of the Holy Roman Empire and its Symbolism Dagmar Paulus (University College London) [email protected] 2 The fabled Imperial Crown of the Holy Roman Empire is a striking visual image of political power whose symbolism influenced political discourse in the German-speaking lands over centuries. Together with other artefacts such as the Holy Lance or the Imperial Orb and Sword, the crown was part of the so-called Imperial Regalia, a collection of sacred objects that connotated royal authority and which were used at the coronations of kings and emperors during the Middle Ages and beyond. But even after the end of the Holy Roman Empire in 1806, the crown remained a powerful political symbol. In Germany, it was seen as the very embodiment of the Reichsidee, the concept or notion of the German Empire, which shaped the political landscape of Germany right up to National Socialism. In this paper, I will first present the crown itself as well as the political and religious connotations it carries. I will then move on to demonstrate how its symbolism was appropriated during the Second German Empire from 1871 onwards, and later by the Nazis in the so-called Third Reich, in order to legitimise political authority. I The crown, as part of the Regalia, had a symbolic and representational function that can be difficult for us to imagine today. On the one hand, it stood of course for royal authority. During coronations, the Regalia marked and established the transfer of authority from one ruler to his successor, ensuring continuity amidst the change that took place. -
The King, the Crown and the Colonel: How Did Thomas Blood Try to Steal the Crown Jewels in 1671?
Education Service The king, the crown and the colonel: How did Thomas Blood try to steal the crown jewels in 1671? This resource was produced using documents from the collections of The National Archives. It can be freely modified and reproduced for use in the classroom only. The king, the crown and the colonel : How did Thomas Blood try to steal the crown jewels in 1671? 2 Introduction After the execution of Charles I in 1649 many of the crown jewels were sold or destroyed. Oliver Cromwell ordered that the orb and sceptres should be broken as they stood for the 'detestable rule of kings'. All the gemstones were removed and sold and the precious metal was used to make coins. When the monarchy was restored in 1660, two new sceptres and an orb costing £12,185 were made for the coronation of Charles II in 1661. Can you spot any of these items in the picture at the top of this page? During the ceremony, the new king held the Sceptre with the Cross in his right hand and the Sceptre with the Dove in his left. The sceptre was a rod or staff which represents royal power and the dove refers to the Holy Spirit. The king was crowned with St Edward's Crown. At some point the king also held the orb, a hollow golden sphere decorated with a band of jewels and a jewelled cross on top. The orb refers to the king’s role as protector of the church. Charles II allowed the crown jewels to be shown to members of the public for a viewing fee paid to a custodian (keeper) who looked after the jewels in the Martin Tower at the Tower of London. -
Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily
2018 V From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily Christopher Mielke Article: From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily Christopher Mielke INDEPENDENT SCHOLAR Abstract: This article re-examines József Deér’s claim that the crown uncovered in the tomb of Constance of Aragon (d. 1222) was originally her husband’s. His argument is based entirely on the shape of the crown itself, and ignores the context of her burial and the other idiosyncrasies of Frederick II’s burial provisions at Palermo Cathedral. By examining the contents of the grave of Constance, and by discussing patterns related to the size of medieval crowns recovered from archaeological context, the evidence indicates that this crown would have originally adorned the buried queen’s head. Rather than identifying it as a ‘male’ crown that found its way into the queen’s sarcophagus as a gift from her husband, this article argues that Constance’s crown is evidence that as a category of analysis, gender is not as simple as it may appear. In fact, medieval crowns often had multiple owners and sometimes a crown could be owned, or even worn, by someone who had a different gender than the original owner. This fact demonstrates the need for a more complex, nuanced interpretation of regalia found in an archaeological context. -
Campaign for the German Imperial Constitution Written: August 1849-April 1850; Source: MECW Volume 10, P
Friedrich Engels The Campaign for the German Imperial Constitution Written: August 1849-April 1850; Source: MECW Volume 10, p. 147-239; First Published: Neue Rheinische Zeitung. Politisch-okonomische Revue Nos. 1, 2 and 3, 1850; Transcription/Markup: Unknown; Proofed: and corrected by Mark Harris, 2010. Table of Contents Introduction ................................................................................................................................ 2 I. Rhenish Prussia ....................................................................................................................... 5 II. Karlsruhe .............................................................................................................................. 16 III. The Palatinate ..................................................................................................................... 24 IV. To Die for the Republic! ..................................................................................................... 34 Introduction Hecker, Struve, Blenker, Zitz und Blum, Bringt die deutschen Fürsten um! This refrain [Hecker, Struve, Blenker, Zitz and Blum, slay the German princes!– Ed.] which on every highway and in every tavern from the Palatinate to the Swiss frontier rang out on the lips of the South German “people's militia” to the well-known tune of “Surrounded by the Sea”, a mixture of chorale and barrel-organ–this refrain sums up the whole character of the “magnificent uprising for the Imperial Constitution”.1 Here you have in two lines -
Download Detailed Coronation Crown Instructions and Templates
Getty at Home Coronation Crown A crown is often bestowed as part of the inaugural ceremony (coronation) of a king or a queen as a symbol of honor and regal status. Materials: • Primary: construction paper or card stock, crayons, colored pencils, markers, paints, brushes, scissors, glue, and template (provided). • Optional: stapler, glue gun, decorative stickers, glitter, sequins, tin foil, noodles, The Coronation of the Virgin (detail), cereal, lace, pom poms, pipe cleaners, Jean Bourdichon, about 1480-1490. or cut paper shapes. You can cut or hole punch elements from old greeting cards or wrapping paper for more decorative options. Use your imagination! • Alternative: paper bag, gift bag, flattened cereal box, lightweight cardboard, or foam sheets. Tips for starting: • Gather all materials beforehand. If you don’t have the exact materials, improvise! • Use sheets measuring 8½ x 11 inches or larger for tracing the template Completed coronation crowns • Print the custom Getty crown template. © 2020 J. Paul Getty Trust Getty at Home Coronation Crown Instructions: 1. Print custom Getty template and cut out the three crown segments. 2. Decorate the printed template directly with dry media (like crayons, markers, etc.) and lightweight decorations for best results. Decorating the crown template directly 3. Or, use the template to trace three crown segments on another material like construction paper, cardstock, or cardboard 4. Cut out traced segments and decorate with crayons, markers, paints, decorative stickers, glitter, sequins, tin foil, noodles, cereal, lace, pom poms, pipe cleaners, and/or cut paper shapes. Tracing the template onto another material 5. Glue or staple the three decorated crown segments together to make one long band. -
Westminster Abbey ASERVICE to CELEBRATE the 60TH ANNIVERSARY of the CORONATION of HER MAJESTY QUEEN ELIZABETH II
Westminster Abbey ASERVICE TO CELEBRATE THE 60TH ANNIVERSARY OF THE CORONATION OF HER MAJESTY QUEEN ELIZABETH II Tuesday 4th June 2013 at 11.00 am FOREWORD On 2nd June 1953, the Coronation of Her Majesty Queen Elizabeth II followed a pattern established over the centuries since William the Conqueror was crowned in Westminster Abbey on Christmas Day 1066. Our intention in this Service of Thanksgiving is to evoke and reflect the shape of the Coronation service itself. The Queen’s entrance was marked by the Choirs’ singing Psalm 122—I was glad—set to music for the Coronation of EdwardVII by Sir Hubert Parry. The Queen’s Scholars of Westminster School exercised their historic right to exclaim Vivat Regina Elizabetha! (‘Long live Queen Elizabeth!’); so it will be today. The coronation service begins with the Recognition. The content of this part of the service is, of course, not today what it was in 1953, but the intention is similar: to recognise with thanksgiving the dutiful service offered over the past sixty years by our gracious and noble Queen, and to continue to pray God saveThe Queen. The Anointing is an act of consecration, a setting apart for royal and priestly service, through the gift of the Holy Spirit. The Ampulla from which the oil was poured rests today on the HighAltar as a reminder of that central act. St Edward’s Crown also rests today on the High Altar as a powerful symbol of the moment of Coronation. In today’s Service, a flask of Oil is carried by representatives of the people of the United Kingdom to the Sacrarium, received by theArchbishop and placed by the Dean on the High Altar. -
Spinel Gemstones
Sell With a Story: Spinel Gemstones GIA has said “Spinel is a good candidate for the title of ‘History’s Most Underappreciated Gem.’” And it could not be truer. Throughout history, Spinel has had a privileged yet unknown heyday. It appears in everything from the British Crown Jewels and the Austrian Imperial Crown, to the Russian coronation crown for Catherine the Great in 1762. Famous Spinel The largest Spinel in history is part of the Iranian National Jewels — still currently used to back the Iranian currency. Known and valued by the crowns of the world, Spinel have been found and pilfered as the spoils of war. The now-known ‘Black Prince’s Ruby’ — alas, a perfectly red Spinel — was given as payment to Edward, Prince of Wales, for a victorious battle in 1367. Historically, this gemstone has been confused with corundum (ruby and sapphire). Why? Mostly because it is regularly found in the same mines and because it comes in similar colors. What makes Spinel distinctively different? It is a singly refractive stone, while corundum is doubly refractive. As far back as the 1300s and 1400s, the largest and most valuable crystals in corundum mines were proclaimed ruby or sapphire (depending on color) when they were actually Spinel. They simply didn’t have the tools to tell the difference (I’m looking at you, refractometer). So, what makes spinel so captivating? Shades of Spinel Begin with the crisp nature of the stones and its alluring shades of color. Then throw in the limited supply, and you have yourself a gemstone that is as tempting for customers as it is valuable.