Some Old Crosses and Unlettered Sepulchral Monuments Aberdeenshiren I Jamey B
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The Sign of the Cross on the Early Medieval Axes – a Symbol of Power, Magic Or Religion?
PIOTR N. KOTOWICZ THE SIGN OF THE CROSS ON THE EARLY MEDIEVAL AXES – A SYMBOL OF POWER, MAGIC OR RELIGION? INTRODUCTION The tradition of adorning of weapons goes back In comparison to the total number of early medi- into the distant past. In the early Middle Ages people eval axes found in the territory of Europe, the arte- also tried to make their weapons look impressive. facts marked with the sign of the cross are very rare. Among numerous motifs used to decorate swords, It is clearly visible for example in Poland, where over spears, spurs and others military accessories, a special 900 battle-axes and axes are known from the period position is held by the sign of the cross (Kurasiński of the 6th–the 1st half of the 13th cent.,2 but only 2006). The main aim of this paper is the analysis of 27 specimens were ornamented (Kotowicz 2011). a group of early medieval axes marked with this sign Among these artefacts only four were marked with and discovered in the territory of Europe. Then, it the sign of the cross. It is only 0.45% of all the axes would be explained why this holy symbol was put discovered in Poland. on such a murderous weapon as the axe.1 The chronology of this group of items encom- Among several dozens of ornamented early me- passes almost the whole early medieval period. The dieval axes, the group decorated with the signs of the earliest specimen with this type of ornamentation cross is not very impressive. The general number of comes from Horland in Norway. -
Antique French Altar Corpus Christi Hardwood Cross & Base
anticSwiss 01/10/2021 06:45:41 http://www.anticswiss.com Antique French Altar Corpus Christi Hardwood Cross & Base FOR SALE ANTIQUE DEALER Period: 20° secolo - 1900 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:28cm Width:18cm Depth:9cm Price:300€ DETAILED DESCRIPTION: This is a distinctive antique French dark patinated altar Corpus Christi of Christ crucified on a hardwood cross, circa 1900 in date. The details are very impressive, the Corpus Christi is very life-like, wearing a flowing linen cloth, his eyes closed and head upper-turned. The hardwood cross and stepped base are highly evocative featuring suggestive stylized thorns - hence, recalling the woven crown of thorns that was placed on the head of Jesus during the events leading up to the crucifixion. Pieces like these really are in a class of their own, as such, work beautifully anywhere. The craftsmanship is second to none throughout all aspects of this magnificent altar Corpus Christi which is sure to add an unparalleled touch of sacred art to your home. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 28 x Width 18 x Depth 9 Dimensions in inches: Height 11.0 x Width 7.1 x Depth 3.5 The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus, is the best-known symbol of Christianity. It is related to the crucifix (a cross that includes a corpus, usually a three-dimensional representation of Jesus' body) and to the more general family of cross symbols, the term cross itself being detached from the original specifically Christian meaning in modern English (as in many other western languages). -
F Ai Th from Generation to Generation
• Sy1nbols of our---------- F ai th from generation to generation 1952 - 1992 St. Michael's in the Hills Episcopal Church 4718 Brittany Road -------- Toledo, Ohio 43615 The Reverend Paul E. Hannaford, Rector ,- . Symb{)ls of our Faith 50th Anniversary Celebration Edition 1952-2002 St. Michael's in the Hills Episcopal Church 4718 BrittanyRd. Toledo, Oh 43615 The Reverend Gregory Sammons, Rector The Reverend MargaretH. Sammons, Associate Rector The Reverend Collins E. Asonye, Assistant Rector • SYMBOLS OF OUR FAITH FROM GENERATION TO GENERATION 1952 - 1992 PRESENTED TO SAINT MICHAEL'S IN THE HILLS EPISCOPAL CHURCH BY THE ALTAR GUILD IN RECOGNITION OF THE 40th ANNIVERSARY OF THE CHURCH, MAY 17, 1992. Betty Stykemain, Director Virginia Ryan, Assistant Director Isabelle Carter, Chairperson Editor and Photographer Isabelle Carter Cover Design Patricia Eckhart I CONTENTS INTRODUCTION ••••••••• ii BRIEF HISTORY OF THE KNEELERS . iii FROM GENERATION TO GENERATION, 1952-1992 v SYMBOLS 1. ANGELS, EVANGELISTS, SAINTS • 1 2. ANIMALS, BIRDS, INSECTS • 7 3. APOSTLES •••••• 13 18 4. CROSSES • 5. EARTH AND SKY • 39 41 6. FLOWERS, PLANTS, TREES 7. GEOMETRIC IMAGES .•••• 49 8. HUMAN BODY 55 9. LETTERS, NUMBERS 57 64 10. PRAYER ANO PR�ISE ••. 11. RELIGIOUS OBJECTS 71 RESOURCES 80 i I INTRODUCTION Canon Edward N. West of New York 1s Cathedral of St. John the Divine has referred to symbols for Christians as 11the shorthand of their faith. 11 He also says that 11symbolism is so powerful that if one takes two sticks to form a cross, the whole message, including the theology, is conveyed. 11 At Saint Michael 1s Church, whenever we are gathered for worship in the nave, we find ourselves in the midst of hundreds of symbols of our faith. -
British Heraldry (1921)
BERKELEY / LIBRARY ^ UNIVERSITY OF CALIFORNIA J BRITISH HERALDRY BRITISH HERALDRY I, Arms of James I. 2, Great Seal of Scotland BRITISH HERALDRY CYRIL DAVENPORT V.D.. J.P., F.S.A. WITH 210 ILLUSTRATIONS BY TH^ AUTHOR NEW YORK E. P. DUTTON AND COMPANY PUBLISHERS Digitized by the Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation littp://www.archive.org/details/britislilieraldryOOdavericli — CKicii CONTENTS CHAPTER I PAGE The Beginnings of Armory—The Bayeux Tapestry—Early Heraldic Manuscripts—The Heralds* College—Tourna- ments I CHAPTER n Shields and their Divisions— Colours a; d their Linear Repre- sentations as Designed by Silvestro Petra Sancta—Furs Charges on Shields— Heraldic Terms as to position and Arrangement of Charges—Marshalling—Cadency—How to Draw Up Genealogical Trees 13 CHAPTER HI Badges and Crests— List of Crests of Peers and Baronets, 191 2- 1920 53 CHAPTER IV Supporters—List of Supporters of Peers and Baronets, 1912- 1920 .143 CHAPTER V The Royal Heraldry of Great Britain and Ireland . 200 Index 217 166 — —— LIST OF ILLUSTRATIONS rms of James I. Great Seal of Scotland . Frontispiece PAGE late I. Ancient Heraldry 2 I. English Shield from the Bayeux Tapestry—2. North American Tent with Armorial Totem—3. Rhodian Warrior with Armorial Shield 4. Standardof Duke William of Normandy— 5. Greek figure of Athene with Armorial Shield— 6. Norse Chessman with Armorial Shield 7. Standard of King Harold— 8. Norman Shield from the Bayeux Tapestry—9. Dragon Standard of Wessex. ate II. Divisions of Shields of Arms, etc 14 I. Paly—2. Bendy Sinister—3. Lozengy—4, Barry—5. -
The Heraldry of Queens' College Cambridge
The Heraldry of Queens’ College, Cambridge By David Broomfield BA (Hons) Introduction The representations of the coat of arms of Queens’ College are many and varied. On the face of it they should be easy to agree. They were granted in 1575 by Robert Cooke, Clarenceux King of Arms, during his heraldic Visitation to Cambridge. According to Cooke Queen Margaret granted “unto the saide President and fellowes and their successors her armes to be used in the saide colledge as they stand depicted in this margent.” He added to Margaret’s paternal arms a border of green to differentiate those of the College from those of her family. However, the painting of the arms in the grant is in error and many of these mistakes find their way into the arms as shown in the College. The main problem in agreeing a definitive version of the College’s arms is that of reconciling different heraldic traditions. In England it is a principle that the “metals”, gold and silver, take precedence over the “colours”, blue, black, red, green and purple. This is best illustrated in the arms of Grey where the silver bar appears at the top of the shield and is then followed by blue and so forth. This is at variance with some Continental practice, for example the arms of Hungary have at the top a red band followed by silver. Also in most English arms six “bars” usually suffice but for Hungary the four silver bars are said to represent the four main rivers of Hungary. The curious agglomeration of quarterings in Margaret’s arms can be traced back to the first House of Anjou. -
Foreword by Michael Hamilton to the Presentation I Attach the Usual
Foreword by Michael Hamilton To the presentation I attach the usual disclaimer. I have researched this in good faith and hope everything is factually right but there may be errors and omissions and as with everything from the WWW it is open to interpretation. AB – Alan Briggs; MH – Michael Hamilton AB From the very beginnings of the order in 313 AD., crosses have be intrinsically linked with the Order. This in effect covers the period from Constantine's Conversion at the Battle of Milvian Bridge which took place between the Roman Emperors Constantine I and Maxentius on 28th October 312 to the present day, and a scene is depicted in this slide. We intend in this relatively short presentation to describe some of the crosses associated with the order, their history and how they evolved or were derived. While this collection of information on Christian Crosses reflects a great deal of history from crosses of the past, we also reflect on the stylistic and artistic elements of current crosses. MH These are just a few of the hundreds of designs of Crosses. The cross is one of the earliest and most widely used Christian symbols. It represents Christianity in general and the crucifixion in particular. A great variety of crosses has evolved, with leading examples illustrated here. With the possible exception of the face and figure of Jesus, the cross is the pre-eminent symbol of Christianity. Crosses with names such as Latin Cross, Passion, Calvary, Coptic, Celtic, St. James, Maltese, Armenian, St. Nicholas, Crenel, Toulouse, Rugged, Julian, Cofi, Cuthbert Cross are just a few of the hundreds of types of different crosses that have evolved. -
Ing Items Have Been Registered
ACCEPTANCES Page 1 of 24 November 2020 LoAR THE FOLLOWING ITEMS HAVE BEEN REGISTERED: ÆTHELMEARC Bera of Tavastland. Device change. Or, five golpes conjoined in saltire and a bordure gules. The submitter’s previous device, Or, a frog gules bezanty and a bordure gules, is released. Bera of Tavastland. Badge change. (Fieldless) Five golpes conjoined in saltire. The submitter’s previous badge, (Fieldless) A frog Or estencely purpure, is released. Bera of Tavastland. Badge change. (Fieldless) Five golpes conjoined in saltire within and conjoined to an annulet purpure. The submitter’s previous badge, (Fieldless) A frog Or semy of torteaux, is released. Bera of Tavastland. Badge change. Vert, on an apple slipped argent a heart gules. There is a step from period practice for use of a modern, trapezoidal-shaped apple. The submitter’s previous badge, (Fieldless) A frog purpure estencely Or, is released. Boghda Altan Arsalan. Name. Emily of Dunvegan. Device. Azure, a cross capital and a bordure Or. This is the defining instance of the cross capital, which is a cross formed by conjoining four architectural columns, including their capitals. Period depictions may be found in BSB Cod.icon 391 (https://daten.digitale-sammlungen.de/bsb00007681/image_32) and BSB Cgm 1952 (https://daten.digitale-sammlungen.de/bsb00016900/image_104), as well as the post-period Randall Holme’s Academy of Armory, 1688, which blazons it (Book V, table 11) as a Cross - at each end the Cemish of a Pillar (or Capitall). While we were considering several potential blazons for this charge (including cross columnar), Bruce Batonvert was able to cite various sources referring to the charge as a cross capital (c.f. -
Crusaders Cross Free Ebook
FREECRUSADERS CROSS EBOOK James Lee Burke | 368 pages | 03 Aug 2006 | Orion Publishing Co | 9780753820933 | English | London, United Kingdom Crusader's Cross (Dave Robicheaux, #14) by James Lee Burke Throughout history there have been many variations of the cross, each holding historical or Crusaders Cross significance. The Greek cross, Latin cross, Celtic Crusaders Cross, and the Jerusalem cross are just a few examples of the different types of crosses created throughout the history of our faith. Some crosses, such as the Latin cross, are simple in design, while others, including the Celtic and Jerusalem crosses are more elaborate. Also known as the Crusader cross, the Jerusalem cross dates back to the 11th and 12th century when the Crusaders captured Jerusalem inestablishing Christianity in the area. At that time, Muslim forces controlled the area. One of the leaders of the Crusades, Godfrey de Bouillon, was the first to use the Jerusalem Cross as a distinct symbol of the new Crusader state, known as the Latin Kingdom of Jerusalem. De Bouillon believed that the cross symbolized Jesus Christ and the city of Jerusalem which is the root of Christianity. Even after the overthrow of the Crusader state inthe cross remained a symbol of Jerusalem for Christians and became the emblem of the esteemed Equestrian Order of the Holy Sepulchre of Jerusalem. Today, the Jerusalem cross remains the emblem of the Order, and is still the symbol of all those who work to preserve Christianity in Jerusalem. Historians note that the four crosses surrounding the large center cross represent the four Gospels of Matthew, Mark, Luke, and John. -
Symbolism in Heraldry
Symbolism in Heraldry CHAPTER I - THE LIVING ALERION: An eagle displayed (wings spread) but without beak or claws; denoted one who was injured in a war and thus was prevented from fully asserting his power. ANGEL: According to Dionysius the Areopagite, angels were divided into nine orders: Seraphim, Cherubim, and Thrones, in the first circle; Dominions, Virtues, and Powers, in the second circle; Principalities, Archangels, and Angels, in the third circle. They denote dignity, glory, virtue and honour; missionary; bearer of joyful intelligence. ANT: Denotes great labour, wisdom, and providence in one's affairs; diligence and industriousness. ANTELOPE (heraldic): A mythical beast with the body of a stag, the tail of a unicorn, a tusk at the tip of the nose, tufts down the back of the neck, chest, and thighs. ; one of the most ferocious of beasts, wild and untameable. Beware to all beholders. ANTELOPE: The word comes from Medieval Latin anthalopus and from Late Greek antholops. It was only the Egyptian elite who was allowed to hunt various species of Antelope and Ibex and considered them magical, and even had amulets made in their shapes. In Heraldry, Antelopes seem to appear more often in the arms of royalty but not exclusively so. The symbol represents action, agility and sacrifice and a very worthy guardian that is not easily provoked, but can be fierce when challenged. In Sumerian mythology, the antelope was both a lunar and solar animal. As a solar creature it was sacred to the God Ea who was sometimes called Ea-Onnes ("the antelope of Apsu and of creation") and the God Marduk. -
SALTIRE an X Or Chi-Shaped Cross. Saltire Is the Tech Nical Name for The
SALTIRE An X or chi-shaped cross. Saltire is the tech nical name for the cross of St. Andrew. He is said to have died on this form of cross, con sidering himself unworthy to be crucified on the same type as his Lord died upon. He con tinued in prayer until the very end. This cross symbolizes humility and suffering. The beginning of the Christian year, Advent is alway? the nearest Sunday to St. Andrew's Day, November 30. TAU A cross formed of the letter "tau," the first letter of the Greek word "Theos," meaning God. It may be con sidered as a pre-Christian cross. It is also referred to as the Old Testament Cross, Cross Potent, Cross of Prophecy, Anticipatory Cross, Advent Cross, St. Anthony's Cross, and Egyptian Cross. It is the Old Testament Cross because it is the tradi tional sign which the Israelites made with blood on their door-posts to avert death on the night of the Passover. (Exodus 12: 22, 23) As the Cross of Prophecy, or Anticipatory Cross, it is often called the Advent Cross. St. Anthony's or Egyptian Cross are names for the Tau because St. Anthony of Egypt sold all his possessions while a young man. He lived in complete solitude for twenty years. He is regarded as the patriarch of monks. BRAZEN SERPENT ON A CROSS This Tau Cross of Prbphecy·or_Anticipatory Cross refers to Numbers 21, verses 8 and 9, in which "the Lord said unto Moses, Make thee a fiery serpent, and set it upon a pole: and it shall come to pass, that every one that is bitten (by a fiery serpent) when he looketh upon it, shall live." This symbol is a link between the time of Moses and the time of Christ. -
Th He Gu Guar Rdia An
York Rite Research Institutte THHE GUARDIAAN VOLUME 1, ISSUE 7 YORK RITE RESEARCH OFFICERS James “Rocky” Dallas - Director James Ellerbe - D/D National Bodies of York Rite Masonry Walter J. Sims Jr. - D/D * General Conference Grand Chapter H.R.A.M. * General Conference Grand Royal and Select Masters Joseph E. Green Jr. - Secretary * Grand Encampment of Knights Templar U.S.A. Eugene S. Morris - Treasurer * General Conference Grand Court Heroines of Jericho Melvin Pace - Writer * LOCOP - Grand Court Daniel Holmes - Writer Sidney Breckenridge - Books James Hubbard – Books Robert D. Cassidy – Editor/Webmaster JAMES “ROCKY” DALLAS - DIRECTOR Message from the Director: I wish each of you the very best and I hope this copy Table of Contents of the Guardian is helpful to you. I am providing you the names of a few authors who The Origin of the Triple Tau by A.S. Hall- have published a few books I think you will enjoy Johnson reading. They are Michael Baigent and Richard Leigh who wrote the Temple and the Lodge. Joseph Campbell wrote the Inner Reaches of Outer Space and Metaphor as Myth and Religion. Finally J.C. Found wrote the Pathway to Bliss. 1 WALTER F. MEIER LODGE OF RESEARCH, No 281 A. S. HALL-JOHNSON The Origin of the Triple Tau And it’s Relation to Other Symbols A Paper By Grand Representative of Grand Lodge of Connecticut near Grand Lodge of Argentina A. S. HALL-JOHNSON, P. M. Honorary Member of Eureka Lodge and Pitagoras Lodge, Argentina District Grand Director. Ceremonies and Chairman of Library, Committee, Local Secretary of Quatuor, Coronati, London ' Past Master and Librarian, Excelsior 617; Secretary, Trevor Mold 3293 Corresponding Member of Walter F. -
Old-Standing-Crosses-Herefordshire
THE OLD STANDING CROSSES OF HEREFORDSHIRE. THE OLD STANDING CROSSES OF HEREFORDSHIRE BY ALFRED WATKINS FELLOW AND PROGRESS MEDALLIST FOR 1910,1 ROYAL PHOTOGRAPHIC SOCIETY. PAST PRESIDENT 119171, WOOLHOPE NATURALISTS' FIELD CLUB. AUTHOR OF " THE OLD STRAIGHT TRACK." WITH A FOREWORD BY THE RT. REV. MARTIN LINTON SMITH D.D., D.S.O., LORD BISHOP OF HEREFORD. PRESIDENT, WOOLHOPE NATURALISTS' FIELD CLUB 1929 Illuilrated with One Hundred and Forty-two Photograph; by the Author "HOPE ON, HOPE EVER" PUTLEY. Frontispiece- ISSUED BY THE WOOLHOPE NATURALISTS' FIELD CLUB, HEREFORD LONDON : SIMPKIN MARSHALL, LTD, 1 930 FOREWORD. Mr. Alfred Watkins has honoured me with the request that I should write a Foreword to his book on Herefordshire Crosses, and with that request I gladly comply. Mr. Watkins has rendered untold service to future generations by his unsleeping watchfulness for relics of by-gone days, and his unwearying diligence and patient accuracy in recording them. This last volume which has come from his hand is worthy of the work which has preceded it. He has chosen a subject of great interest from many points of view ; he has made an exhaustive survey of his material, and has collected explanatory information from very varied sources, while his skill and taste as a photographer have enriched his record with illustrations of singular charm and beauty. It is to be hoped that the vandal age of wanton or careless destruction of such relics of the past has gone for ever. But be that as it may, this book forms an accurate, exhaustive, and interesting record of the Old Standing Crosses of the County.