The Celtic Cross
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Sign of the Son of Man.”
Numismatic Evidence of the Jewish Origins of the Cross T. B. Cartwright December 5, 2014 Introduction Anticipation for the Jewish Messiah’s first prophesied arrival was great and widespread. Both Jewish and Samaritan populations throughout the known world were watching because of the timeframe given in Daniel 9. These verses, simply stated, proclaim that the Messiah’s ministry would begin about 483 years from the decree to rebuild Jerusalem in 445BC. So, beginning about 150 BC, temple scribes began placing the Hebrew tav in the margins of scrolls to indicate those verses related to the “Messiah” or to the “Last Days.” The meaning of the letter tav is “sign,” “symbol,” “promise,” or “covenant.” Shortly after 150 BC, the tav (both + and X forms) began showing up on coins throughout the Diaspora -- ending with a flurry of the use of the symbol at the time of the Messiah’s birth. The Samaritans, in an effort to remain independent of the Jewish community, utilized a different symbol for the anticipation of their Messiah or Tahib. Their choice was the tau-rho monogram, , which pictorially showed a suffering Tahib on a cross. Since the Northern Kingdom was dispersed in 725 BC, there was no central government authority to direct the use of the symbol. So, they depended on the Diaspora and nations where they were located to place the symbol on coins. The use of this symbol began in Armenia in 76 BC and continued through Yeshua’s ministry and on into the early Christian scriptures as a nomina sacra. As a result, the symbols ( +, X and ) were the “original” signs of the Messiah prophesied throughout scriptures. -
The Celtic Revival in English Literature, 1760-1800
ZOh. jU\j THE CELTIC REVIVAL IN ENGLISH LITERATURE LONDON : HUMPHREY MILFORD OXFORD UNIVERSITY PRESS The "Bard The Celtic Revival in English Literature 1760 — 1800 BY EDWARD D. SNYDER B.A. (Yale), Ph.D. (Harvard) CAMBRIDGE HARVARD UNIVERSITY PRESS 1923 COPYRIGHT, 1923 BY HARVARD UNIVERSITY PRESS PRINTED AT THE HARVARD UNIVERSITY PRESS CAMBRIDGE, MASS., U. S. A. PREFACE The wholesome tendency of modern scholarship to stop attempting a definition of romanticism and to turn instead to an intimate study of the pre-roman- tic poets, has led me to publish this volume, on which I have been intermittently engaged for several years. In selecting the approximate dates 1760 and 1800 for the limits, I have been more arbitrary in the later than in the earlier. The year 1760 has been selected because it marks, roughly speaking, the beginning of the Celtic Revival; whereas 1800, the end of the century, is little more than a con- venient place for breaking off a history that might have been continued, and may yet be continued, down to the present day. Even as the volume has been going through the press, I have found many new items from various obscure sources, and I am more than ever impressed with the fact that a collection of this sort can never be complete. I have made an effort, nevertheless, to show in detail what has been hastily sketched in countless histories of literature — the nature and extent of the Celtic Revival in the late eighteenth century. Most of the material here presented is now pub- lished for the first time. -
Heraldry Examples Booklet.Cdr
Book Heraldry Examples By Khevron No color on color or metal on metal. Try to keep it simple. Make it easy to paint, applique’ or embroider. Blazon in layers from the deepest layer Per pale vert and sable all semy of caltrops e a talbot passant argent. c up to the surface: i v Field (color or division & colors), e Primary charge (charge or ordinary), Basic Book Heraldry d Secondary charges close to the primary, by Khevron a Tertiary charges on the primary or secondary, Device: An heraldic representation of youself. g Peripheral secondary charges (Chief,Canton,Border), Arms: A device of someone with an Award of Arms. n i Tertiary charges on the peropheral. Badge: An heraldic representation of what you own. z a Name field tinctures chief/dexter first. l Only the first word, the metal Or, B and proper nouns are capitalized. 12 2 Tinctures, Furs & Heraldic 11 Field Treatments Cross Examples By Khevron By Khevron Crosses have unique characteristics and specific names. Tinctures: Metals and Colors Chief Rule #1: No color upon another color, or metal on metal! Canton r r e e t t s i x e n - Fess - i D Or Argent Sable Azure Vert Gules Purpure S Furs Base Cross Latin Cross Cross Crosslet Maltese Potent Latin Cross Floury Counter-Vair Vair Vair in PaleVair-en-pointe Vair Ancient Ermine Celtic Cross Cross Gurgity Crosslet Fitchy Cross Moline Cross of Bottony Jerusalem A saltire vair in saltire Vair Ermines or Counter- Counter Potent Potent-en-pointe ermine Cross Quarterly in Saltire Ankh Patonce Voided Cross Barby Cross of Cerdana Erminois Field -
Celticism, Internationalism and Scottish Identity Three Key Images in Focus
Celticism, Internationalism and Scottish Identity Three Key Images in Focus Frances Fowle The Scottish Celtic Revival emerged from long-standing debates around language and the concept of a Celtic race, a notion fostered above all by the poet and critic Matthew Arnold.1 It took the form of a pan-Celtic, rather than a purely Scottish revival, whereby Scotland participated in a shared national mythology that spilled into and overlapped with Irish, Welsh, Manx, Breton and Cornish legend. Some historians portrayed the Celts – the original Scottish settlers – as pagan and feckless; others regarded them as creative and honorable, an antidote to the Industrial Revolution. ‘In a prosaic and utilitarian age,’ wrote one commentator, ‘the idealism of the Celt is an ennobling and uplifting influence both on literature and life.’2 The revival was championed in Edinburgh by the biologist, sociologist and utopian visionary Patrick Geddes (1854–1932), who, in 1895, produced the first edition of his avant-garde journal The Evergreen: a Northern Seasonal, edited by William Sharp (1855–1905) and published in four ‘seasonal’ volumes, in 1895– 86.3 The journal included translations of Breton and Irish legends and the poetry and writings of Fiona Macleod, Sharp’s Celtic alter ego. The cover was designed by Charles Hodge Mackie (1862– 1920) and it was emblazoned with a Celtic Tree of Life. Among 1 On Arnold see, for example, Murray Pittock, Celtic Identity and the Brit the many contributors were Sharp himself and the artist John ish Image (Manchester: Manches- ter University Press, 1999), 64–69 Duncan (1866–1945), who produced some of the key images of 2 Anon, ‘Pan-Celtic Congress’, The the Scottish Celtic Revival. -
Quintilian and the Jesuit Ratio Studiorum
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1939 Quintilian and the Jesuit Ratio Studiorum Joseph Robert Koch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Koch, Joseph Robert, "Quintilian and the Jesuit Ratio Studiorum" (1939). Master's Theses. 471. https://ecommons.luc.edu/luc_theses/471 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1939 Joseph Robert Koch ~' ------------------------------------------------. QUINTILIAN AND THE JESUIT RATIO STUDIORUM J by ., Joseph Robert Koch, S.J. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Loyola University. 1939 21- TABLE OF CONTENTS Chapter I Introduction 1 Chapter II Quintilian's Influence on 11 the Renaissance Educators Chapter III Quintilian's Ideal Orator 19 and the Jesuit Eloquentia Perfecta J " Chapter IV The Prelection 28 Chapter V Composition and Imitation 40 Chapter VI Enru.lation 57 Chapter VII Conclusion 69 A' ~J VITA AUCTORIS Joseph Robert Koch, S.J. was born in Cincinnati, Ohio, April 13, 1913. After receiving his elementary education at the Ursuline Academy he entered St. Xavier' High School, CinCinnati, in September, 1926. He grad uated from St. Xavier in June, 1930 and entered the Society of Jesus at Milford, Ohio, in August of th' " same year. -
FRATERNITY INSIGNIA the Postulant Pin Signifies to The
FRATERNITY INSIGNIA The Postulant pin signifies to the campus that a man has affiliated himself with Alpha Chi Rho. The symbol which appears on the pin is called the Labarum. It is a symbol that is made up of the Greek letters Chi and Rho. The Postulant pin is to be worn over your heart. A good way to remember the proper placement of the pin is to count three buttons down from the collar (of a dress shirt, for example) and three finger widths to the left of the button. Never wear your Postulant pin on the lapel of a jacket; keep it close to the heart. The same rules apply to the Brother's badge that a man receives upon initiation into Alpha Chi Rho. The Roman Emperor, Constantine, like most Romans, did not believe in Christianity. However, historians say that Constantine saw a Labarum in the sky on the night before a battle. He had the symbol placed on banners and shields, then recorded a furious victory over his foe. Constantine then converted to Christianity and made the Labarum the symbol of the Imperial Roman Army. Alpha Chi Rho makes use of two forms of the Labarum. The ancient form of the Labarum is the chief public form of the Fraternity. In addition to the postulant pin, the Labarum appears predominately on the Fraternity ensign (flag). The other form of the Labarum, its modified configuration, is very significant to the Ritual of the Fraternity. Also, it is the form used on the Brother's badge. The badge is made up of a modified Labarum mounted on an oval. -
English 393-Special Topics-Farina
The Celtic World ENGL 393 Professor Farina TuTh 2:30-3:45, Clark 200 The ancient Celts have fascinated many people who came after them—not only their own descendents but writers, artists, and historians from the 11th century to the present. These distant and somewhat enigmatic people have a strong hold on our own popular imagination: contemporary film, television, comic books, and romance fiction abound with Celtic-inspired fantasy. This course provides an introduction to the literature, art, and history of “Celtic” peoples before 1600: i.e. the Irish, Welsh, Scots, Cornish, and Bretons. “Celtic” is here in quotes because one of our main inquiries will be whether there was or is something like a truly pan-Celtic identity. In order to understand whether “Celticness” is an ancient or modern phenomenon, we will also discuss how the early Celts have been represented in later periods. Other topics to be discussed include: the Celtic hero (particularly Cú Chulain and King Arthur); the Celtic Otherworld; Bardic poetry; and Celtic Christianity. Required Texts: Early Irish Myths and Sagas, trans. Gantz (Penguin) The Tain, ed. Carson. (Penguin) The Mabinogi, ed. Ford (California) Gerald of Wales, The History and Topography of Ireland, trans. O’Meara (Penguin) Geoffrey of Monmouth, History of the Kings of Britain (Penguin) Marie de France, The Lais of Marie de France, trans. Burgess and Busby (Penguin) Heldris of Cornwall, Silence, trans. Roche-Mahdi (Michigan State) Note: Please be sure to get the editions that we will be using in class. You must have the required books with you when we discuss them in class. -
The Celtic Revival in Scotland Timetable
The Celtic Revival in Scotland Timetable Thursday 1 May 2014 1:00–1:30: Registration and Reception 1:30–1:50: Welcome and opening remarks Panel 1 Panel 2 2:00–2:30 Nicola Gordon Bowe, ‘Embroideries Liam Mac Mathúna, Douglas Hyde and out of old mythologies’: analogies between the wider world of the Gael inspiration and practice in the arts of the Celtic Revival in Dublin and Edinburgh 2:30–3:00 Sally Foster, Celtic collections and Wilson McLeod, Gaelic learners and the imperial connections: the V&A, language movement, 1870-1930 Scotland and the multiplication of plaster casts of ‘Celtic crosses’ 3:00–3:30 Elizabeth Cumming, Here Come the Rob Dunbar, Was there a Celtic Revival Celts! The Scottish National Pageant of in Canada? 1908 3:30–4:00 pm: Tea Panel 3 Panel 4 4:00–4:30 Stuart Eydmann, The harp as an Stuart Wallace, John Stuart Blackie and emblem of the Celtic Revival, with the Celtic Revival in Scotland particular reference to Scotland 4:30–5.15 John Purser, ‘The Lay of the Last Bernhard Maier, ‘Widening the Jacket’: Minstrel? Don’t count on it’: The Celtic John Stuart Blackie and Germany Revival in Scottish Classical Music 5:15–5:30: Break 5:30–6:30: Murdo Macdonald, The Art of the Scottish Celtic Revival Hawthornden Lecture Theatre, Scottish National Gallery 7:00–8:30: Drinks reception and private view of A Wide New Kingdom: The Celtic Revival in Scotland, Talbot Rice Gallery. Friday 2 May 2014 10:00–11:00: Donald Meek, The Celtic Revival and the beginnings of Celtic scholarship in Scotland Hawthornden Lecture Theatre, Scottish -
Religious Studies
RELIGIOUS STUDIES Religious Studies The Celtic Church in Ireland in the Fifth, Sixth and Seventh Centuries Unit AS 5 Content/Specification Section Page The Arrival of Christianity in Ireland 2 Evidence for the presence of Christianity in Ireland before the arrival of St. Patrick 6 Celtic Monasticism 11 Celtic Penitentials 17 Celtic Hagiography 21 Other Aspects of Human Experience Section 25 Glossary 42 RELIGIOUS STUDIES The Arrival of Christianity in Ireland © LindaMarieCaldwell/iStock/iStock/Thinkstock.com Learning Objective – demonstrate knowledge and understanding of, and critically evaluate the background to the arrival of Christianity in Ireland, including: • The political, social and religious background; • The arrival of and the evidence for Christianity in Ireland before Patrick; and • The significance of references to Palladius. This section requires students to explore: 1. The political, social and religious background in Ireland prior to the arrival of Christianity in Ireland. 2. Evidence of the arrival of Christianity in Ireland before Patrick (Pre-Patrician Christianity. 3. References to Palladius and the significance of these references to understanding the background to Christianity in Ireland before Patrick’s arrival. Early Irish society provided a great contrast to the society of the Roman Empire. For example, it had no towns or cities, no central government or no standard currency. Many Scholars have described it as tribal, rural, hierarchical and familiar. The Tuath was the basic political group or unit and was a piece of territory ruled by a King. It is estimated that there were about 150 such Tuath in pre – Christian Ireland. The basic social group was the fine and included all relations in the male line of descent. -
Violence and the Sacred in Northern Ireland
VIOLENCE AND THE SACRED IN NORTHERN IRELAND Duncan Morrow University of Ulster at Jordanstown For 25 years Northern Ireland has been a society characterized not so much by violence as by an endemic fear of violence. At a purely statistical level the risk of death as a result of political violence in Belfast was always between three and ten times less than the risk of murder in major cities of the United States. Likewise, the risk of death as the result of traffic accidents in Northern Ireland has been, on average, twice as high as the risk of death by political killing (Belfast Telegraph, 23 January 1994). Nevertheless, the tidal flow of fear about political violence, sometimes higher and sometimes lower but always present, has been the consistent fundamental backdrop to public, and often private, life. This preeminence of fear is triggered by past and present circumstances and is projected onto the vision of the future. The experience that disorder is ever close at hand has resulted in an endemic insecurity which gives rise to the increasingly conscious desire for a new order, for scapegoats and for resolution. For a considerable period of time, Northern Ireland has actively sought and made scapegoats but such actions have been ineffective in bringing about the desired resolution to the crisis. They have led instead to a continuous mimetic crisis of both temporal and spatial dimensions. To have lived in Northern Ireland is to have lived in that unresolved crisis. Liberal democracy has provided the universal transcendence of Northern Ireland's political models. Northern Ireland is physically and spiritually close to the heartland of liberal democracy: it is geographically bound by Britain and Ireland, economically linked to Western Europe, and historically tied to emigration to the United States, Canada, and the South Pacific. -
Heraldic Terms
HERALDIC TERMS The following terms, and their definitions, are used in heraldry. Some terms and practices were used in period real-world heraldry only. Some terms and practices are used in modern real-world heraldry only. Other terms and practices are used in SCA heraldry only. Most are used in both real-world and SCA heraldry. All are presented here as an aid to heraldic research and education. A LA CUISSE, A LA QUISE - at the thigh ABAISED, ABAISSÉ, ABASED - a charge or element depicted lower than its normal position ABATEMENTS - marks of disgrace placed on the shield of an offender of the law. There are extreme few records of such being employed, and then only noted in rolls. (As who would display their device if it had an abatement on it?) ABISME - a minor charge in the center of the shield drawn smaller than usual ABOUTÉ - end to end ABOVE - an ambiguous term which should be avoided in blazon. Generally, two charges one of which is above the other on the field can be blazoned better as "in pale an X and a Y" or "an A and in chief a B". See atop, ensigned. ABYSS - a minor charge in the center of the shield drawn smaller than usual ACCOLLÉ - (1) two shields side-by-side, sometimes united by their bottom tips overlapping or being connected to each other by their sides; (2) an animal with a crown, collar or other item around its neck; (3) keys, weapons or other implements placed saltirewise behind the shield in a heraldic display. -
The Mysterious World of Celtic Coins
The Mysterious World of Celtic Coins Coins were developed about 650 BC on the western coast of modern Turkey. From there, they quickly spread to the east and the west, and toward the end of the 5th century BC coins reached the Celtic tribes living in central Europe. Initially these tribes did not have much use for the new medium of exchange. They lived self-sufficient and produced everything needed for living themselves. The few things not producible on their homesteads were bartered with itinerant traders. The employ of money, especially of small change, is related to urban culture, where most of the inhabitants earn their living through trade or services. Only people not cultivating their own crop, grapes or flax, but buying bread at the bakery, wine at the tavern and garments at the dressmaker do need money. Because by means of money, work can directly be converted into goods or services. The Celts in central Europe presumably began using money in the course of the 4th century BC, and sometime during the 3rd century BC they started to mint their own coins. In the beginning the Celtic coins were mere imitations of Greek, later also of Roman coins. Soon, however, the Celts started to redesign the original motifs. The initial images were stylized and ornamentalized to such an extent, that the original coins are often hardly recognizable. 1 von 16 www.sunflower.ch Kingdom of Macedon, Alexander III the Great (336-323 BC) in the Name of Philip II, Stater, c. 324 BC, Colophon Denomination: Stater Mint Authority: King Alexander III of Macedon Mint: Colophon Year of Issue: -324 Weight (g): 8.6 Diameter (mm): 19.0 Material: Gold Owner: Sunflower Foundation Through decades of warfare, King Philip II had turned Macedon into the leading power of the Greek world.