Antique French Altar Corpus Christi Hardwood Cross & Base

Total Page:16

File Type:pdf, Size:1020Kb

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). The basic forms of the cross are the Latin cross with unequal arms (?) and the Greek 1 / 3 anticSwiss 01/10/2021 06:45:41 http://www.anticswiss.com cross (?) with equal arms, besides numerous variants, partly with confessional significance, such as the tau cross, the double-barred cross, triple-barred cross, cross- and-crosslets, and many heraldic variants, such as the cross potent, cross pattée, cross moline, cross fleury, etc. For a few centuries, the emblem of Christ was a headless T-shaped Tau cross rather than a Latin cross. Elworthy considered this to originate from pagan druids who made Tau crosses of oak trees stripped of their branches, with two large limbs fastened at the top to represent a man's arm; this was Thau or god. Our reference: A1028 https://www.anticswiss.com/en/fine-art-antiques/antique-french-altar-corpus-christi-hardwood-cross--base-18725 2 / 3 anticSwiss 01/10/2021 06:45:41 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • 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.
    [Show full text]
  • Th E Bells of St. M Ar
    GOD IS GOD IS FEBRUARY 2017 Dear Saint Mary's family, We are off to a good start for 2017. As I write this letter we are just three full weeks in to the new year and already so much is happening. We have held our first Annual Meeting together, and the response has been very posi- tive. At that meeting we were able to make amendments to the church’s By-Laws that will allow us to go forward with a smaller eight person Vestry, all of whom were elected unanimously by the members present at the meeting. At our February Vestry meeting we will vote for a Junior Warden, Treasurer, and Secretary. With that accomplished we will begin the process of looking at all of the different aspects of the way we at Saint Mary’s currently do things. The end goal of that process is to identify and eliminate any barriers to growth that might not have been considered, and to find ways to improve upon many of the things we are already doing well. To that end, please begin to pray to see if God may be calling you to participate in any of the ministries that currently exist at Saint Mary’s. This is going to be a fun and exciting time for us to bond and grow together as we seek to strengthen the teams and look at the ways they function. Ushers and Greeters, the Flower and Altar Guilds, Eucharistic Ministers and Visi- tors… Perhaps you have a special talent or hobby that could be used to the Glory of God and you have never considered how.
    [Show full text]
  • Chrismon Tree Ornaments
    Chrismon Tree Ornaments 1106 North Main Street Garden City, KS 67846 Chrismon Ornaments were originated and first made for use on the Christmas tree of Ascension Lutheran Church in Danville, Virginia, in 1957 by Mrs. Frances Kipps Spencer, a church member. The designs were monograms of and symbols for our Lord Jesus Christ. Because these designs have been used by his followers since biblical times, they are the heritage of all Christians and serve to remind each of us regardless of denomination of the One we follow. All Chrismon Ornaments are made in a combination of white and gold to symbolize the purity and majesty of the Son of God and the Son of Man. Please use this Chrismon booklet to teach others about our Lord Jesus Christ. Return the booklet to its original place so others can use as a form of discipleship as well. Thanks and enjoy! Alpha & Omega Bell Alpha and Omega are the first and last Bells have been used for centuries to call letters in the Greek alphabet. Used people to worship. They were mentioned together, they symbolize that Christians as early as in the 6th century. Before clocks believe Jesus is the beginning and the end a church bell was rung to tell people it was of all things. time to attend a wedding, funeral or other services. High church towers were built just so that the bells could be heard as far as possible. May the bells we hear remind us of God’s gift to us, the birth of Jesus. Anchor Cross Bottony Cross The Anchor Cross was used by early The cross always reminds us of Jesus’ Christians as a symbol of their faith when great gift to us through his death and they had to avoid recognition as Christians resurrection.
    [Show full text]
  • SYMBOLS Te Holy Apostles & Evangelists Peter
    SYMBOLS Te Holy Apostles & Evangelists Peter Te most common symbol for St. Peter is that of two keys crossed and pointing up. Tey recall Peter’s confession and Jesus’ statement regarding the Office of the Keys in Matthew, chapter 16. A rooster is also sometimes used, recalling Peter’s denial of his Lord. Another popular symbol is that of an inverted cross. Peter is said to have been crucifed in Rome, requesting to be crucifed upside down because he did not consider himself worthy to die in the same position as that of his Lord. James the Greater Tree scallop shells are used for St. James, with two above and one below. Another shows a scallop shell with a vertical sword, signifying his death at the hands of Herod, as recorded in Acts 12:2. Tradition states that his remains were carried from Jerusalem to northern Spain were he was buried in the city of Santiago de Compostela, the capital of Galicia. As one of the most desired pilgrimages for Christians since medieval times together with Jerusalem and Rome, scallop shells are often associated with James as they are often found on the shores in Galicia. For this reason the scallop shell has been a symbol of pilgrimage. John When shown as an apostle, rather than one of the four evangelists, St. John’s symbol shows a chalice and a serpent coming out from it. Early historians and writers state that an attempt was made to poison him, but he was spared before being sent to Patmos. A vertical sword and snake are also used in some churches.
    [Show full text]
  • The Cross and the Crucifix by Steve Ray
    The Cross and the Crucifix by Steve Ray Dear Protestant Friend: You display a bare cross in your homes; we display the cross and the crucifix. What is the difference and why? The cross is an upright post with a crossbeam in the shape of a “T”. A crucifix is the same, but it has Christ’s body (corpus) attached to the cross. As an Evangelical Protestant I rejected the crucifix—Christ was no longer on the cross but had ascended to heaven. So why do I now tremble in love at the site of a crucifix? Let’s examine the history and issues surrounding the two. I will start with the Old Testament and the Jews’ use of images and prohibition of idols. I know in advance that it is not a thorough study, but it will give a general overview of the issues. I will try to provide a brief overview of the Cross and the Crucifix, the origin, the history, and the differing perspectives of Catholic and Protestant. It will try to catch the historical flow and include the pertinent points. The outline is as follows: 1. The Three Main Protestant Objections to the Crucifix 2. Images and Gods in the Old Testament 3. Images and Images of Christ in the New Testament 4. The Cross in the First Centuries 5. The Crucifix Enters the Picture 6. The “Reformation” and Iconoclasm 7. Modern Anti-Catholics and the Crucifix 8. Ecumenical Considerations The Three Main Protestant Objections to the Crucifix Let me begin by defining “Protestant” as used in this article.
    [Show full text]
  • On the Physical Death of Jesus Christ
    On the Physical Death of Jesus Christ William D. Edwards, MD; Wesley J. Gabel, MDiv; Floyd E. Hosmer, MS, AMI Jesus of Nazareth underwent Jewish and Roman trials, was flogged, Talmud, and by the Jewish historian and was sentenced to death by crucifixion. The scourging produced deep Flavius Josephus, although the au¬ stripelike lacerations and appreciable blood loss, and it probably set the thenticity of portions of the latter is stage for hypovolemic shock, as evidenced by the fact that Jesus was too problematic.26 weakened to carry the crossbar (patibulum) to Golgotha. At the site of The Shroud of Turin is considered crucifixion, his wrists were nailed to the patibulum and, after the patibulum by many to represent the actual buri¬ was lifted onto the upright post (stipes), his feet were nailed to the stipes. al cloth of Jesus,22 and several publi¬ The major pathophysiologic effect of crucifixion was an interference with cations concerning the medical as¬ normal respirations. Accordingly, death resulted primarily from hypovolemic pects of his death draw conclusions shock and exhaustion asphyxia. Jesus' death was ensured by the thrust of a from this assumption."' The Shroud soldier's spear into his side. Modern medical interpretation of the historical of Turin and recent archaeological evidence indicates that Jesus was dead when taken down from the cross. findings provide valuable information (JAMA 1986;255:1455-1463) concerning Roman crucifixion prac¬ tices.2224 The interpretations of mod¬ ern writers, based on a knowledge of THE LIFE and teachings of Jesus of credibility of any discussion of Jesus' science and medicine not available in Nazareth have formed the basis for a death will be determined primarily by the first century, may offer addition¬ major world religion (Christianity), the credibility of one's sources.
    [Show full text]
  • 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.
    [Show full text]
  • Symbol of Conquest, Alliance, and Hegemony
    SYMBOL OF CONQUEST, ALLIANCE, AND HEGEMONY: THE IMAGE OF THE CROSS IN COLONIAL MEXICO by ZACHARY WINGERD Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON August 2008 Copyright © by Zachary Wingerd 2008 All Rights Reserved ACKNOWLEDGEMENTS I offer thanks to Dr. Dennis Reinhartz, Dr. Kenneth Philp, Dr. Richard Francaviglia, and Dr. Joseph Bastien who agreed to sit on my dissertation committee and guide my research and writing. Special thanks are given to Dr. Douglas Richmond who encouraged my topic from the very beginning and as the committee chair actively supported my endeavor. May 1, 2008 iii DEDICATED TO MY LOVING WIFE AND SONS Lindsey, Josh, and Jamie iv ABSTRACT SYMBOL OF CONQUEST, ALLIANCE, AND HEGEMONY: THE IMAGE OF THE CROSS IN COLONIAL MEXICO Zachary Wingerd, PhD. The University of Texas at Arlington, 2008 Supervising Professor: Douglas Richmond The universality of the cross image within the transatlantic confrontation meant not only a hegemony of culture, but of symbolism. The symbol of the cross existed in both European and American societies hundreds of years before Columbus. In both cultures, the cross was integral in religious ceremony, priestly decoration, and cosmic maps. As a symbol of life and death, of human and divine suffering, of religious and political acquiescence, no other image in transatlantic history has held such a perennial, powerful message as the cross. For colonial Mexico, which felt the brunt of Spanish initiative, the symbol of the cross penetrated the autochthonous culture out of which the independent nation and indigenous church were born.
    [Show full text]
  • He Sanctuary Series
    T S S HE ANCTUARY ERIES A Compilation of Saint U News Articles h ON THE g Saints Depicted in the Murals & Statuary of Saint Ursula Church OUR CHURCH, LIVE IN HRIST, A C LED BY THE APOSTLES O ver the main doors of St. Ursula Church, the large window pictures the Apostles looking upward to an ascending Jesus. Directly opposite facing the congregation is the wall with the new painting of the Apostles. The journey of faith we all make begins with the teaching of the Apostles, leads us through Baptism, toward altar and the Apostles guiding us by pulpit and altar to Christ himself pictured so clearly on the three-fold front of the Tabernacle. The lively multi-experiences of all those on the journey are reflected in the multi-colors of the pillars. W e are all connected by Christ with whom we journey, He the vine, we the branches, uniting us in faith, hope, and love connected to the Apostles and one another. O ur newly redone interior, rededicated on June 16, 2013, was the result of a collaboration between our many parishioners, the Intelligent Design Group (architect), the artistic designs of New Guild Studios, and the management and supervision of many craftsmen and technicians by Landau Building Company. I n March 2014, the Landau Building Company, in a category with four other projects, won a first place award from the Master Builders Association in the area of “Excellence in Craftsmanship by a General Contractor” for their work on the renovations at St. Ursula. A fter the extensive renovation to the church, our parish community began asking questions about the Apostles on the Sanctuary wall and wishing to know who they were.
    [Show full text]
  • Letter of Registration and Return July 1999
    Letter of Registration and Return July 1999 Unto the members of the Imperial College of Arms does Lord Nigel the Byzantine, Fleur-de-Lis King of Arms, send Greetings and Salutations! Fellow Heralds: There's a lot of ground to cover this month, so please bear with me. News I have good news and I have bad news. The good news is that, thanks to Sir James of March de Coirnoir, we have recovered a copy of the pre-Split Armorial. The bad news is that, thanks to Sir James of March de Coirnoir, we have recovered a copy of the pre-Split Armorial. It's good news because a lot of things that were lost in the Time of Great Sadness can now be entered into the current Armorial. It's bad news because that meant a heckuva lot more work for yours truly. That's why this LoRR is so late. However, that project is now complete. As part of the Armorial Project, I am including in this packet are several items: Armorial It's Here! It's Here! The first Armorial the Empire has seen since 1996! This is the complete listing as of 30 June 1999 of the Adrian Armorial, arranged in order by Game Name. Please look it over for any errors. We will publish corrections here in the LoRR. ©Adrian Empire, Inc. Page 1 of 1 http://www.adrianempire.org The Ordinary is not very far away now; we have scheduled release for the November Estates Meeting, if not sooner. The Ordinary will make conflict-checking a reality for you; you will be able to look up armory by what's actually on the device, and tell if someone has something close to what your presenter has.
    [Show full text]
  • Christian Cruciform Symbols and Magical Charaktères Luc Renaut
    Christian Cruciform Symbols and Magical Charaktères Luc Renaut To cite this version: Luc Renaut. Christian Cruciform Symbols and Magical Charaktères. Polytheismus – Monotheismus : Die Pragmatik religiösen Handelns in der Antike, Jun 2005, Erfurt, Germany. hal-00275253 HAL Id: hal-00275253 https://hal.archives-ouvertes.fr/hal-00275253 Submitted on 24 Apr 2008 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. CHRISTIAN CRUCIFORM SYMBOLS victory in Milvius Bridge, Constantine « was directed in a dream to cause AND MAGICAL CHARAKTÈRES the heavenly sign of God ( caeleste signum Dei ) to be delineated on the Communication prononcée dans le cadre du Colloque Polytheismus – Mono- shields of his soldiers, and so to proceed to battle. He does as he had been theismus : Die Pragmatik religiösen Handelns in der Antike (Erfurt, Philo- commanded, and he marks on the shields the Christ[’s name] ( Christum in sophische Fakultät, 30/06/05). scutis notat ), the letter X having been rotated ( transversa X littera ) and his top part curved in [half-]circle ( summo capite circumflexo ). »4 This As everyone knows, the gradual political entrance of Christian caeleste signum Dei corresponds to the sign R 5.
    [Show full text]
  • The Theosophical Seal by Arthur M. Coon the Theosophical Seal a Study for the Student and Non-Student
    The Theosophical Seal by Arthur M. Coon The Theosophical Seal A Study for the Student and Non-Student by Arthur M. Coon This book is dedicated to all searchers for wisdom Published in the 1800's Page 1 The Theosophical Seal by Arthur M. Coon INTRODUCTION PREFACE BOOK -1- A DIVINE LANGUAGE ALPHA AND OMEGA UNITY BECOMES DUALITY THREE: THE SACRED NUMBER THE SQUARE AND THE NUMBER FOUR THE CROSS BOOK 2-THE TAU THE PHILOSOPHIC CROSS THE MYSTIC CROSS VICTORY THE PATH BOOK -3- THE SWASTIKA ANTIQUITY THE WHIRLING CROSS CREATIVE FIRE BOOK -4- THE SERPENT MYTH AND SACRED SCRIPTURE SYMBOL OF EVIL SATAN, LUCIFER AND THE DEVIL SYMBOL OF THE DIVINE HEALER SYMBOL OF WISDOM THE SERPENT SWALLOWING ITS TAIL BOOK 5 - THE INTERLACED TRIANGLES THE PATTERN THE NUMBER THREE THE MYSTERY OF THE TRIANGLE THE HINDU TRIMURTI Page 2 The Theosophical Seal by Arthur M. Coon THE THREEFOLD UNIVERSE THE HOLY TRINITY THE WORK OF THE TRINITY THE DIVINE IMAGE " AS ABOVE, SO BELOW " KING SOLOMON'S SEAL SIXES AND SEVENS BOOK 6 - THE SACRED WORD THE SACRED WORD ACKNOWLEDGEMENT Page 3 The Theosophical Seal by Arthur M. Coon INTRODUCTION I am happy to introduce this present volume, the contents of which originally appeared as a series of articles in The American Theosophist magazine. Mr. Arthur Coon's careful analysis of the Theosophical Seal is highly recommend to the many readers who will find here a rich store of information concerning the meaning of the various components of the seal Symbology is one of the ancient keys unlocking the mysteries of man and Nature.
    [Show full text]