Runic Roods of Ruthwell and Bewcastle, W
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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. -
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 -
Comic-Ardboe-High-Cross.Pdf
This educational comic book resource is part of an initiative to mark important historical sites in Mid-Ulster. Sitting on the western shore of Lough Neagh, Ardboe High Cross is one of the finest examples of a high cross still standing in Ulster. Dating to around the 10th century, the cross is all that remains of a monastery once located on the site. Made of sandstone, the cross stands at 5.5 metres high and contains 22 separate sculpted panels portraying biblical stories. The cross has been a popular site for pilgrims and visitors for centuries. You can visit too. Ardboe High Cross is a State Care Monument managed by the Department for Communities. It is free to visit and open year-round. www.midulstercouncil.org Comic developed by: History of the Site Ardboe High Cross stands on 22 panels on each of the four sides of the cross depict stories from the Bible including the shore of Lough Neagh as a Old Testament scenes such as the temptation reminder of the significance of of Adam and Eve and Cain slaying Abel, a site with a history stretching as well as New Testament stories recalling the early life of Jesus Christ through to the back over 1000 years. crucifixion. The cross is all that remains of a monastery Ardboe was a centre for Christian worship and built in the 6th century that was later destroyed later became a medieval parish as evidenced in a fire. Yet afterwards, Ardboe remained an by a 17th-century church in the nearby important centre, with many Christians making graveyard. -
Widsith Beowulf. Beowulf Beowulf
CHAPTER 1 OLD ENGLISH LITERATURE The Old English language or Anglo-Saxon is the earliest form of English. The period is a long one and it is generally considered that Old English was spoken from about A.D. 600 to about 1100. Many of the poems of the period are pagan, in particular Widsith and Beowulf. The greatest English poem, Beowulf is the first English epic. The author of Beowulf is anonymous. It is a story of a brave young man Beowulf in 3182 lines. In this epic poem, Beowulf sails to Denmark with a band of warriors to save the King of Denmark, Hrothgar. Beowulf saves Danish King Hrothgar from a terrible monster called Grendel. The mother of Grendel who sought vengeance for the death of her son was also killed by Beowulf. Beowulf was rewarded and became King. After a prosperous reign of some forty years, Beowulf slays a dragon but in the fight he himself receives a mortal wound and dies. The poem concludes with the funeral ceremonies in honour of the dead hero. Though the poem Beowulf is little interesting to contemporary readers, it is a very important poem in the Old English period because it gives an interesting picture of the life and practices of old days. The difficulty encountered in reading Old English Literature lies in the fact that the language is very different from that of today. There was no rhyme in Old English poems. Instead they used alliteration. Besides Beowulf, there are many other Old English poems. Widsith, Genesis A, Genesis B, Exodus, The Wanderer, The Seafarer, Wife’s Lament, Husband’s Message, Christ and Satan, Daniel, Andreas, Guthlac, The Dream of the Rood, The Battle of Maldon etc. -
Hellenistic and Pharaonic Influences on the Formation of Coptic Identity
Scriptura 85 (2004), pp. 292-301 HELLENISTIC AND PHARAONIC INFLUENCES ON THE FORMATION OF COPTIC IDENTITY Annette Evans Department of Ancient Studies Stellenbosch University Abstract Conflicting descriptions of Coptic identity still exist today. The Copts regard themselves as those descendents of Pharaonic Egyptians who have retained their identity because of their Christian faith, in spite of Egypt having become a predominantly Islamic, Arab country. They claim to have “caught a glimpse of the Light of Christianity” before the birth of Christ. This article offers iconographical evidence to supplement an explanation of how the ancient Egyptian mythopoeic thinking, in combination with the syncretistic cultural environment of Hellenism, mediated this phenomenon. Today the Coptic Orthodox Church of Egypt represents “a return to the apostolic father type leading of the church”. Although pharaonic and gnostic influences appear to have contributed to their remarkable eusebeia, the Copts perceive themselves as having abided by the decisions of the first three Church Councils and have respected and upheld the canon. 1. Introduction The word Copt originated from the ancient Egyptian word for Memphis, Hah-ka-Ptah – the house or temple of the spirit of Ptah. With the suppression of the prefix and the suffix the stem kaPt or gypt remained, which was then corrupted to the Arabic Qibt (Atiya 1968:16). The Hellenes used Aiguptos for both Egypt and the Nile, and Aiguptoi was used by Origen to distinguish Egyptian Christians from Hellenes (Van der Vliet and Zonhoven 1998:117). The Copts have a unique identity: inseparable from their pharaonic past, yet intimately associated with the beginning of Christianity. -
Papers of Beatrice Mary Blackwood (1889–1975) Pitt Rivers Museum, University of Oxford
PAPERS OF BEATRICE MARY BLACKWOOD (1889–1975) PITT RIVERS MUSEUM, UNIVERSITY OF OXFORD Compiled by B. Asbury and M. Peckett, 2013-15 Box 1 Correspondence A-D Envelope A (Box 1) 1. Letter from TH Ainsworth of the City Museum, Vancouver, Canada, to Beatrice Blackwood, 20 May 1955. Summary: Acknowledging receipt of the Pitt Rivers Report for 1954. “The Museum as an institution seems beset with more difficulties than any other.” Giving details of the developing organisation of the Vancouver Museum and its index card system. Asking for a copy of Mr Bradford’s BBC talk on the “Lost Continent of Atlantis”. Notification that Mr Menzies’ health has meant he cannot return to work at the Museum. 2pp. 2. Letter from TH Ainsworth of the City Museum, Vancouver, Canada, to Beatrice Blackwood, 20 July 1955. Summary: Thanks for the “Lost Continent of Atlantis” information. The two Museums have similar indexing problems. Excavations have been resumed at the Great Fraser Midden at Marpole under Dr Borden, who has dated the site to 50 AD using Carbon-14 samples. 2pp. 3. Letter from TH Ainsworth of the City Museum, Vancouver, Canada, to Beatrice Blackwood, 12 June 1957. Summary: Acknowledging the Pitt Rivers Museum Annual Report. News of Mr Menzies and his health. The Vancouver Museum is expanding into enlarged premises. “Until now, the City Museum has truly been a cultural orphan.” 1pp. 4. Letter from TH Ainsworth of the City Museum, Vancouver, Canada, to Beatrice Blackwood, 16 June 1959. Summary: Acknowledging the Pitt Rivers Museum Annual Report. News of Vancouver Museum developments. -
Romans in Cumbria
View across the Solway from Bowness-on-Solway. Cumbria Photo Hadrian’s Wall Country boasts a spectacular ROMANS IN CUMBRIA coastline, stunning rolling countryside, vibrant cities and towns and a wealth of Roman forts, HADRIAN’S WALL AND THE museums and visitor attractions. COASTAL DEFENCES The sites detailed in this booklet are open to the public and are a great way to explore Hadrian’s Wall and the coastal frontier in Cumbria, and to learn how the arrival of the Romans changed life in this part of the Empire forever. Many sites are accessible by public transport, cycleways and footpaths making it the perfect place for an eco-tourism break. For places to stay, downloadable walks and cycle routes, or to find food fit for an Emperor go to: www.visithadrianswall.co.uk If you have enjoyed your visit to Hadrian’s Wall Country and want further information or would like to contribute towards the upkeep of this spectacular landscape, you can make a donation or become a ‘Friend of Hadrian’s Wall’. Go to www.visithadrianswall.co.uk for more information or text WALL22 £2/£5/£10 to 70070 e.g. WALL22 £5 to make a one-off donation. Published with support from DEFRA and RDPE. Information correct at time Produced by Anna Gray (www.annagray.co.uk) of going to press (2013). Designed by Andrew Lathwell (www.lathwell.com) The European Agricultural Fund for Rural Development: Europe investing in Rural Areas visithadrianswall.co.uk Hadrian’s Wall and the Coastal Defences Hadrian’s Wall is the most important Emperor in AD 117. -
The Intertextuality of Beowulf, Cynewulf and Andreas1
The departure of the hero in a ship: The intertextuality of Beowulf , Cynewulf and Andreas 1 Francis Leneghan University of Oxford This article identifies a new Old English poetic motif, ‘The Departure of the Hero in a Ship’, and discusses the implications of its presence in Beowulf , the signed poems of Cynewulf and Andreas , a group of texts already linked by shared lexis, imagery and themes. It argues that the Beowulf -poet used this motif to frame his work, foregrounding the question of royal succession. Cynewulf and the Andreas -poet then adapted this Beowulfian motif in a knowing and allusive manner for a new purpose: to glorify the church and to condemn its enemies. Investigation of this motif provides further evidence for the intertextuality of these works. Keywords : Old English poetry; Beowulf , Cynewulf; Andreas ; Anglo-Saxon literature 1. Introduction Scholars have identified a number of ‘motifs’, ‘themes’ or ‘type scenes’ in Old English poetry. Two of the best-known such motifs are ‘the beasts of battle’, typically featuring the carrion eagle, wolf and raven, anticipating or rejoicing in slaughter (Magoun 1955, Bonjour 1957, Griffith 1993), and ‘the hero on the beach’, wherein a hero is depicted with his retainers in the presence of a flashing light, as a sea-journey is completed (or begun), usually at dawn 1 I would like to thank Daniel Anlezark, Hugh Magennis, Richard North, Andy Orchard, Rafael Pascual and Daniel Thomas for their helpful comments on earlier versions of this article. Francis Leneghan, Selim24 (2019): 105 –132. ISSN 1132-631X / DOI https://doi.org/10.17811/selim.24.2019.105-134 106 Francis Leneghan (Crowne 1960: 368; Fry 1966, 1971).2 Broadening the focus to consider both Old English verse and prose, Mercedes Salvador Bello identified the ‘leitmotif’ of ‘the arrival of the hero in a ship’ in the Anglo-Saxon Chronicle and Beowulf , featuring “a recurrent thematic pattern which presents the story of the heroes (or the hero) who arrive from northern lands in a boat and become the ancestors of Anglo-Saxon dynasties” (1998: 214). -
Transactions Dumfriesshire and Galloway Natural History Antiquarian Society
Transactions of the Dumfriesshire and Galloway Natural History and Antiquarian Society LXXXIV 2010 Transactions of the Dumfriesshire and Galloway Natural History and Antiquarian Society FOUNDED 20th NOVEMBER, 1862 THIRD SERIES VOLUME LXXXIV Editors: ELAINE KENNEDY FRANCIS TOOLIS ISSN 0141-1292 2010 DUMFRIES Published by the Council of the Society Office-Bearers 2009-2010 and Fellows of the Society President Morag Williams MA Vice Presidents Dr A Terry, Mr J L Williams, Mrs J Brann and Mr R Copeland Fellows of the Society Mr J Banks BSc, Mr A D Anderson BSc, Mr J Chinnock, Mr J H D Gair MA, Dr J B Wilson MD, Mr K H Dobie, Mrs E Toolis and Dr D F Devereux Mr L J Masters and Mr R H McEwen — appointed under Rule 10 Hon. Secretary John L Williams, Merkland, Kirkmahoe, Dumfries DG1 1SY Hon. Membership Secretary Miss H Barrington, 30 Noblehill Avenue, Dumfries DG1 3HR Hon. Treasurer Mr L Murray, 24 Corberry Park, Dumfries DG2 7NG Hon. Librarian Mr R Coleman, 2 Loreburn Park, Dumfries DG1 1LS Hon. Editors Mr James Williams (until November 2009) Elaine Kennedy, Nether Carruchan, Troqueer, Dumfries DG2 8LY (from January 2010) Dr F Toolis, 25 Dalbeattie Road, Dumfries DG2 7PF Dr J Foster (Webmaster), 21 Maxwell Street, Dumfries DG2 7AP Hon. Syllabus Convener Mrs E Toolis, 25 Dalbeattie Road, Dumfries DG2 7PF Hon. Curators Joanne Turner and Siobhan Ratchford Hon. Outings Organisers Mr J Copland and Mr A Gair Ordinary Members Mrs P G Williams, Mr D Rose, Mrs C Iglehart, Mr A Pallister, Mrs A Weighill, Mrs S Honey CONTENTS Rosa Gigantea - George Watt, including ‘On the Trail of Two Knights’ by Girija Viraraghavan by Morag Williams ........................................................... -
Apostolic Discourse and Christian Identity in Anglo-Saxon Literature
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository APOSTOLIC DISCOURSE AND CHRISTIAN IDENTITY IN ANGLO-SAXON LITERATURE BY SHANNON NYCOLE GODLOVE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Charles D. Wright, Chair Associate Professor Renée Trilling Associate Professor Robert W. Barrett Professor Emerita Marianne Kalinke ii ABSTRACT “Apostolic Discourse and Christian Identity in Anglo-Saxon Literature” argues that Anglo-Saxon religious writers used traditions about the apostles to inspire and interpret their peoples’ own missionary ambitions abroad, to represent England itself as a center of religious authority, and to articulate a particular conception of inspired authorship. This study traces the formation and adaptation of apostolic discourse (a shared but evolving language based on biblical and literary models) through a series of Latin and vernacular works including the letters of Boniface, the early vitae of the Anglo- Saxon missionary saints, the Old English poetry of Cynewulf, and the anonymous poem Andreas. This study demonstrates how Anglo-Saxon authors appropriated the experiences and the authority of the apostles to fashion Christian identities for members of the emerging English church in the seventh and eighth centuries, and for vernacular religious poets and their readers in the later Anglo-Saxon period. iii ACKNOWLEDGMENTS I am indebted to many people for their help and support throughout the duration of this dissertation project. -
The Rise and Fall of Anglo-Saxon Runic Stone Monuments Runic Inscriptions and the Development of Sculpture in Early Medieval England
Runrön Runologiska bidrag utgivna av Institutionen för nordiska språk vid Uppsala universitet 24 Kopár, Lilla, 2021: The Rise and Fall of Anglo-Saxon Runic Stone Monu- ments. Runic Inscriptions and the Development of Sculpture in Early Medi- eval England. In: Reading Runes. Proceedings of the Eighth International Sym posium on Runes and Runic Inscriptions, Nyköping, Sweden, 2–6 September 2014. Ed. by MacLeod, Mindy, Marco Bianchi and Henrik Williams. Uppsala. (Run rön 24.) Pp. 143–156. DOI: 10.33063/diva-438873 © 2021 Lilla Kopár (CC BY) LILLA KOPÁR The Rise and Fall of Anglo-Saxon Runic Stone Monuments Runic Inscriptions and the Development of Sculpture in Early Medieval England Abstract The Old English runic corpus contains at least thirty-seven inscriptions carved in stone, which are concentrated geographically in the north of England and dated mainly from the seventh to the ninth centuries. The quality and content of the inscriptions vary from simple names (or frag- ments thereof) to poetic vernacular memorial formulae. Nearly all of the inscriptions appear on monumental sculpture in an ecclesiastical context and are considered to have served commemor- ative purposes. Rune-inscribed stones show great variety in terms of monument type, from name-stones, cross-shafts and slabs to elaborate monumental crosses that served different func- tions and audiences. Their inscriptions have often been analyzed by runologists and epigraphers from a linguistic or epigraphic point of view, but the relationship of these inscribed monuments to other sculptured stones has received less attention in runological circles. Thus the present article explores the place and development of rune-inscribed monuments in the context of sculp- tural production in pre-Conquest England, and identifies periods of innovation and change in the creation and function of runic monuments. -
Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations
258 CHAPTER 6 Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations Having seen the many and varied ways in which early Christian Anglo-Saxon architecture could articulate ideas of 'Rome', this chapter will turn to review the other public art form of the Anglo-Saxon landscape, the stone sculpture, to consider also its relationship with concepts of ‘Romanness’. This is an aspect that has emerged – more or less tangentially – from other scholarly analyses of the material, but it has not been used as a common denominator to interpret and understand Anglo-Saxon sculpture in its own right. In the course of the twentieth century, scholars from different disciplines have developed research questions often strictly related to their own circumstantial agendas or concerns when discussing this kind of material, and this has tended to affect and limit the information that could be gained. It is only recently that some more interdisciplinary approaches have been suggested which provide a fuller understanding of the artistic and cultural achievement conveyed through Anglo-Saxon sculpture. 6.1 The scholarship 6.1 a) Typology and Style1 Any discussion of Anglo-Saxon sculpture opens with an account of the work of W.G. Collingwood (1854-1932) 2 and the impact that it has had on the development of subsequent studies.3 As such, he is generally considered to have 1 For a recent and full discussion on the subject see the forthcoming work by A. Denton, An Anglo-Saxon Theory of Style: motif, mode and meaning in the art of eighth-century Northumbria (PhD, York, 2011); I am grateful to her for the chance of reading and discussing her work.