DOCSLIB.ORG

Rulers with a Heart for God

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rulers with a Heart for God JANUARY 16, 2019 SENATORS’ BIBLE STUDY • NEBRASKA STATE CAPITOL WEEK 1 The 2019 Nebraska Senate Series: “Rulers After God’s Own Heart—The Life of David” Rulers With a Heart for God INSIDE FAITH IN PUBLIC SERVICE Queen Elizabeth .............. 2 THE MESSIAH David’s Greater Son........3 SWEARING IN Chosen to Serve .............. 4 LONG LIVE THE KING? King by Decree or King in Fact? .................................. 5 VERSE OF THE WEEK 1 Samuel 16:7 .................. 6 ABOUT ® Capitol Ministries .......... 6 ueen Elizabeth—66 years, 11 months. Yes, she is the longest ruling monarch in British history, having served since the Year of our Lord 1952. To be Q exact, her privy & executive councils declared her queen February 6, 1952. She reigns as the Queen of England and the Supreme Governor of the Church of England. In a recent Christmas message she said, “At Christmas, our attention is drawn to the birth of a Baby some 2,000 years ago. It was the humblest of beginnings....His parents, Joseph and Mary, did not think they were important.” The 92-year-old observed that Jesus lived obscurely for most of His life, never traveled far, and yet, “billions of people” now follow His teaching and find in Him the guiding light of their lives, adding, “I’m one of them.”a Did all Brits cheer, “Long live the Queen!” after her wise words? Should all rulers follow after God? The Queen of England has chosen to follow after God, but what happens when God Himself chooses a ruler to reign in His name? In this 106th Legislature’s long session, we will take a long look at what it means to be rulers after God’s own heart. Today, we will focus with faith on the facts of how God chooses rulers. Rev. Perry M. Gauthier, V.D.M. a The Christmas Message: Queen Elizabeth II describes the Significance of Christmas, © 2018, Holy Fire Publishing; © The British Monarchy and © Geoffrey Waugh, author and editor. Weekly Bible Study During the 106th Legislature’s First Session SENATORS: 6:45-8:00 a.m., Wednesdays, Room To Be Announced. Hot Breakfast Served. STAFF: Noon, Wednesdays, Room To Be Announced. Catered Lunch & B.Y.O.BrownBag. Rulers With a Heart for God QUEEN ELIZABETH II We begin our session-long study of repast? How could Israel be great David’s life with his anointing by without Saul? Could she survive? Coronation June 2, 1953 the prophet Samuel to his future Tough times. Hard questions. kingship in the fledgling nation of Israel, in about 1023 B.C. Our text is Ü God was sad that Saul rejected famous: 1 Samuel 16:1-13. Its theme His divine rulership in Israel, but is “When God Chooses a Ruler.” God grieved the relational loss and moved out of His grief. Why? God, I. WHEN GOD CHOOSES in verse one, had selected (literally RULERS, HE BRINGS HOPE “seen”) the man for His plan for AND CHANGE godly hope in Israel. Few ancient nations anointed their kings, but “Succession versus Coronation” * 1 Samuel 16:1 God sent this prophet, judge, and Now the LORD said to Samuel, king-maker to the little town of 1. The Queen succeeded to the “How long will you grieve over Bethlehem with a curving ram’s Throne on February 6, 1952 on Saul, since I have rejected him the death of her father, King horn of royal oil corked with a wax from being king over Israel? seal. Israel’s next king was there in George VI. She waS in Kenya at Fill your horn with oil and go; waiting and incognito. Samuel had the time and became the firSt I will send you to Jesse the Sovereign in over 200 yearS to Bethlehemite, for I have already prophesied to King Saul: accede while abroad. selected a king for Myself among his sons.” 1 Samuel 13:14 2. Queen Elizabeth II waS crowned “Your kingdom shall not on June 2, 1953 in WeStminSter Our passage begins with God endure. The LORD has sought Abbey. Her MajeSty was the talking to Samuel about Samuel. out for Himself a man after His thirty-ninth Sovereign to be The most godly and revered person own heart.” crowned at WeStminSter Abbey. in Israel, the old prophet was sadly Samuel obediently left Ramah for 3. Westminster Abbey has been the stuck in mourning mode over God’s setting for every Coronation rejection of King Saul, Israel’s first Bethlehem, not “westward leading, since 1066. Before the Abbey and incumbent king. Samuel had a still proceeding, following yonder waS built, CoronationS were real liking for the headstrong hero- star,” but traveling straight south carried out wherever waS king—the people’s choice—for Saul for ten miles on the high north- convenient, taking place in Bath, was tall, dark, and handsome. south ridge road with an alibi and a Oxford, and Canterbury. Samuel had been suffering from the “young female of the herd” in tow. severing of that relationship. Ouch. * https://www.royal.uk/50-facts-about-queens-coronation-0 1 Samuel 16:2-3 Samuel said, “How can I go? Ü Politically speaking, Samuel was When Saul hears of it, he will also a judge in Israel (the last one in kill me.” And the LORD said, its civil history) and spent decades “Take a heifer with you and of faithful service leading the twelve say, ‘I have come to sacrifice to tribes’ loose confederacy. Samuel the LORD.’ 3You shall invite was heavily invested in the political- Jesse to the sacrifice, and I will socio-economic good of the nation. show you what you shall do; Israel’s chief enemies constantly and you shall anoint for Me the invaded from their Mediterranean one whom I designate to you.” coastal home. These “Sea People”– the Philistinesb–are seen in the book of Judges as incessant raiders Ü This difficult political change was and persecutors of Israel’s tribal a problem for Samuel; God wanted confederacy. They also controlled him to remember not to forget His all supplies of iron (and weapons). Word nor the revelation of His will. WHEN TOUGH EXPERIENCES Where’s the hope in this change? If AND TORN EMOTIONS DON’T tall Saul was no longer in political SEEM TO MATCH WHAT GOD’S power, would the Jabba-the-Hutt- WORD SAYS, RELY ON HIS Philistine-Wehrmacht devour little WORD, NOT YOUR EMOTIONS— Israel, dining on her as its final IN AND OUT OF THE CAPITOL. [ 2 ] SENATORS’ BIBLE STUDY • NEBRASKA STATE CAPITOL Samuel had a legitimate fear that No unsolved criminal mystery was THE GREATER SON OF DAVID the enthroned Saul would see his at hand there, but there were anointing a new king as the capital political implications. There was to THE MESSIAH offense of treason. The Lord gave be a change in the monarchy (not of Samuel a bona fide answer in case England’s Queen Elizabeth but) of the Bethlehemite men might ask Israel’s King Saul who had been on (which they did) and gossip (which the throne (not for 66 but) for 27 people often do), putting Samuel’s years. God had civil change in mind. life wrongly at risk before King Saul. God Himself also gives us an II. WHEN GOD CHOOSES important ethical principle here: RULERS, HE FOCUSES ON THE HEART IT IS NOT LYING TO GIVE TRUE, PARTIAL INFORMATION 1 Samuel 16:6 “The Suffering Servant” TO EVIL PEOPLE WHO WILL When [Jesse’s family] entered HARM YOU IF THEY HAD ACCESS [into Samuel’s presence, ~ ~ ~ TO MORE FACTS. Samuel] looked at Eliab and Isaiah 53:2-3 thought, “Surely the LORD’s Ü One’s violent enemies do not anointed is before Him.” 2For He grew up before Him like a necessarily deserve all the facts. tender shoot, Military generals know this. We will And like a root out of parched see this throughout David’s life as a Ü Jesse, his sons, and his little town ground; commanding officer in Israel’s oft- of Bethlehem, were in Judah’s tribe He haS no stately form or majesty warring armies and as a man who and territory. Jesse paraded them that we should look upon Him, spent years running for his very life as kingly candidates before the Nor appearance that we should be from an insane and violent leader. piercing prophetic eyes of white- attracted to Him. haired Samuel. Strutting up with 3He waS despised and forsaken of 1 Samuel 16:4-5 swag, naturally first, walking as men, Samuel did what the LORD said, kingly as possible, was the oldest, A man of SorrowS and acquainted and came to Bethlehem. And biggest son Eliab—tall, dark, and with grief; the elders of the city came handsome, but rejected by God. And like one from whom men hide trembling to meet him and their face said, “Do you come in peace?” Was he quarterback at Bethlehem He waS despised, and we did not 5He said, “In peace; I have College? Did he start on the Judean esteem Him. come to sacrifice to the LORD. All-star Team? It didn’t matter. Was Consecratec yourselves and his middle name Future? Even come with me to the sacrifice.” super-spiritual Samuel thought he He also consecrated Jesse and his sons and invited them to looked good as he waited for God’s the sacrifice. revelation as to which of Jesse’s sons would be Israel’s second king. The elders in the rural, little town of Bethlehem may have been 1 Samuel 16:7 trembling if they had heard that the But the LORD said to Samuel, mighty, civil Judge Samuel had just “Do not look at his appearance personally executed King Agag, a or at the height of his stature, violent, Amalekite war criminal.
Load more

Recommended publications
  • Euripides Scenes in Byzantine Art
    EURIPIDES SCENES IN BYZANTINE ART (PLATES 25-36) N EXT to Homer's Odyssey and Iliad no classical text has stimulated the imagina- tion in the representational arts of classical antiquity more than the dramas of Euripides. A few decades after they were written vase painters of the fourth century B.C. depicted significant moments of Euripidean plays, the two Iphigenias, the Medea, the Oenomauas,the HypsipylCe,the Andromeda and many others in complex compositions.1 Hardly a century later, at the beginning of Hellenism, the desire of the artists to represent the content of a single drama more fully than was possible in even the most complex vase paintings led to the invention of narrative picture cycles in which scene follows scene as the narration proceeds with constant repetition of the chief actors. It is significant that even in the earliest group of monuments on which this new principle of pictorial narration can most clearly be studied, the so-called Megarian bowls, illustrations of Euripidean dramas already rival those of Homeric poems for numerical superiority.2 In both methods, the monoscenic and the cyclic, illustrations from Euripides enjoy a rare popularity throughout the Hellenistic and Roman periods. Numerous Pompeian frescoes which seem to copy earlier panel paintings of great masters depict moments of highly dramatic tension such as the sudden recognition of Jason by Pelias, the brooding of Medea before the killing of her children, or Iphigenia's encounter with Orestes and Pylades,' scenes which undoubtedly are dependent on the Peliades, the Medea, and the Iphigenia Among the Taurians of Euripides.
    [Show full text]
  • The Byzantine Empire (Eastern Roman Empire) Latin
    The Byzantine Empire (Eastern Roman Empire) Latin Greek 667 BCE: Greek colonists founded Byzantium 324 CE: Constantine refounded the city as Nova Roma or Constantinople The fall of Rome in 476 ended the western half of Portrait of Constantine, ca. the Roman Empire; the eastern half continued as 315–330 CE. Marble, approx. 8’ the Byzantine Empire, with Constantinople as its 6” high. capital. Early Byzantine Art 6-8th c. The emperor Justinian I ruled the Byzantine Empire from 527 until 565. He is significant for his efforts to regain the lost provinces of the Western Roman Empire, his codification of Roman law, and his architectural achievements. Justinian as world conqueror (Barberini Ivory) Detail: Beardless Christ; Justinian on his horse mid-sixth century. Ivory. The Byzantine Empire , ca 600 Theocracy Government by divine guidance or by officials who are regarded as divinely guided. Justinian as world conqueror (Barberini Ivory), mid-sixth century. Ivory, 1’ 1 1/2” X 10 1/2”. Louvre, Paris. In Orthodox Christianity the central article of faith is the Christ blesses equality of the three aspects the emperor of the Trinity of Father, Son and Holy Spirit. Personificati All other versions of on of Christianity were considered Victory heresies. Personification of Earth Justinian as world conqueror (Barberini Ivory), mid-sixth Barbarians bearing tribute century. Ivory, 1’ 1 1/2” X 10 1/2”. Louvre, Paris. Comparison: Ara Pacis Augustae, Female personification (Tellus; mother earth?), panel from the east facade of the, Rome, Italy, 13–9 BCE. Marble, approx. 5’ 3” high. Comparison: Equestrian statue of Marcus Aurelius, from Rome, Italy, ca.
    [Show full text]
  • Illuminated Psalter Manuscripts Transcript
    Illuminated Psalter Manuscripts Transcript Date: Tuesday, 29 May 2012 - 1:00PM Location: Museum of London 29 May 2012 Illuminated Psalter Manuscripts Doctor Sally Dormer Notes: 1. All Psalm extracts below are taken from the Vulgate/King James version of the Bible. 2. Psalms were known by their opening phrase, rather than their number in the Middle Ages. Medieval Psalm numbers do not tally exactly with those in modern Bibles since some Psalms have been divided, others combined, in the post-medieval period. The first four verses of Psalm 95 (Psalm 96 in modern Bibles), encapsulate some of the sentiments expressed frequently in the 150 Old Testament Psalms, sentiments that ensured their popularity throughout the Middle Ages. “Sing ye to the Lord a new canticle: sing to the Lord, all the earth Sing ye to the Lord and bless his name: show forth his salvation from day to day Declare his glory among the Gentiles: his wonders among all people. For the Lord is great, and exceedingly to be praised: he is to be feared above all gods.” The Psalmist housed within a C in a 12th-century Glossed Psalter, now in Lambeth Palace Library, London, points emphatically at the opening of Psalm 95 (96). He directs our attention to the Psalm’s opening lines, which, as we have seen, urge the reader to praise God for His glory and extol Him as Saviour and worker of wonders (Plate 1). The 150 Psalms are a collection of canticles, or songs, composed in Hebrew, that were brought together in a piecemeal fashion over a period of seven centuries.
    [Show full text]
  • The Art and Patronage of Saint Louis of France
    The Art and Patronage of Saint Louis of France By Julia Collins (Master of Philosophy Faculty of Arts University of Glasgow) Christie’s Education, London. Master’s Programme September 2000 © Julia F. Collins ProQuest Number: 13818858 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818858 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 (GLASGOW ^ UNIVERoiTY .LIBRARY; as'7 CONTENTS Page Abstract 2 Acknowledgements 3 Chapter 1: Introduction 4 Chapter 2: The Sainte-Chapelle - a Capetian Manifesto 7 Chapter 3: Sculpture- the most influential medium of the century 18 Chapter 4: Ivories- Carriers of the style 22 Chapter 5: Manuscripts 24 Chapter 7: Conclusion 25 Catalogue 28 Catalogue Illustrations 51 List of comparative Illustrations 70 Comparative Illustrations 76 Glossary 122 Bibliography 125 Exhibition Catalogues 131 1 ABSTRACT This Exhibition focuses on the iconography Louis IX of France (Saint Louis) established in the Sainte-Chapelle in Paris and how this was reflected in other works he may have commissioned. This is placed in the context of the artistic and stylistic developments of the period.
    [Show full text]
  • The Joshua Roll: a Model Book
    THE JOSHUA ROLL: A MODEL BOOK Fannie Ouyang A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art. Chapel Hill 2018 Approved by: Dorothy Verkerk Cary Levine Tania String © 2018 Fannie Ouyang ALL RIGHTS RESERVED ii ABSTRACT Fannie Ouyang: The Joshua Roll: A Model Book (Under the direction of Dorothy Verkerk) The Joshua Roll (Rome, Biblioteca Apostolica Vaticana, Pal. Gr. 431) is a Byzantine illuminated manuscript most commonly dated to the tenth century. It is often compared to the Bayeux Tapestry or Roman triumphal columns due to its continuous narrative format. Stylistically, it is compared to the Paris Psalter (Paris, Bibliothèque Nationale de France, MS. gr. 139) because the two works display classical techniques. Scholars mostly discuss the roll regarding its contents – the illustrations and text – however, this thesis will shift the conversation towards the manuscript’s unusual scroll format, which had become uncommon by the tenth century. By this time, people had long since transitioned to the codex or book format. By conducting formal, iconographic, and contextual analyses, this paper will question the Joshua Roll’s role as an illuminated manuscript and propose an alternative function as a model book. iii TABLE OF CONTENTS List of Figures ................................................................................................................................. v Introduction ....................................................................................................................................
    [Show full text]
  • The Place of the St* Albans Psalter in Medieval
    The place of the St Albans Psalter in medieval Psalter illustration Item Type text; Thesis-Reproduction (electronic) Authors Jester, Linza Sue Bethea, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 21:37:34 Link to Item http://hdl.handle.net/10150/348275 THE PLACE OF THE ST* ALBANS PSALTER IN MEDIEVAL PSALTER ILLUSTRATION by Linza Sue Bethea Jester A Thesis Submitted to the Faculty of the DEPARTMENT OF ART . In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 7 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduc­ tion of this manuscript in whole, or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
    [Show full text]
  • Isaiah Through the C Enturies
    Through the Centuries Through Isaiah Wiley Blackwell Bible Commentaries Series Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn John Through the Centuries 1 & 2 Thessalonians Through Mark Edwards the Centuries Revelation Through the Centuries Anthony C. Thiselton Judith Kovacs and Christopher Six Minor Prophets Through Rowland the Centuries Judges Through the Centuries By Richard Coggins and Jin H. Han David M. Gunn Lamentations Through the Centuries Exodus Through the Centuries Paul M. Joyce and Diana Lipton Scott M. Langston James Through the Centuries Ecclesiastes Through the Centuries David Gowler Eric S. Christianson The Acts of the Apostles Through the Esther Through the Centuries Centuries Jo Carruthers Heidi J. Hornik and Mikeal C. Parsons Psalms Through the Centuries: Chronicles Through the Centuries Volume I Blaire French Susan Gillingham Isaiah Through the Centuries Galatians Through the Centuries John F. A. Sawyer John Riches 1 & 2 Samuel Through the Centuries Pastoral Epistles Through David M. Gunn the Centuries 1 & 2 Kings Through the Centuries Jay Twomey Martin O’Kane Through the Centuries Through Isaiah John F. A. Sawyer This edition first published 2018 © 2018 John Wiley & Sons Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions. The right of John F. A. Sawyer to be identified as the author of this work has been asserted in accordance with law.
    [Show full text]
  • Byzantine Emperors and Old Testament Kings
    University of Puget Sound Sound Ideas Summer Research 2011 Byzantine Emperors and Old Testament Kings: Contextualizing the Paris Psalter as a Product of Ninth and Tenth Century Byzantine Imperial Ideology Kelsey Eldridge [email protected] Follow this and additional works at: http://soundideas.pugetsound.edu/summer_research Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Eldridge, Kelsey, "Byzantine Emperors and Old Testament Kings: Contextualizing the Paris Psalter as a Product of Ninth and Tenth Century Byzantine Imperial Ideology" (2011). Summer Research. Paper 131. http://soundideas.pugetsound.edu/summer_research/131 This Article is brought to you for free and open access by Sound Ideas. It has been accepted for inclusion in Summer Research by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Byzantine Emperors and Old Testament Kings: Contextualizing the Paris Psalter as a Product of Ninth and Tenth Century Byzantine Imperial Ideology Kelsey M. Eldridge 1 Introduction The Paris Psalter is an outlier amongst Byzantine manuscripts due to its exceptional style and size. At 36 centimeters in height, it is larger than all but one known illuminated Psalter. 1 The Psalter’s fourteen full-page illuminations contain scenes from a cycle of the life of David and the Odes. Stylistically, the Psalter’s illuminations depict biblical themes in a classicized manner, using Graeco-Roman mythical motifs and compositions. Because of its classical style and unique attributes, the Paris Psalter eludes easy classification. Consequently, although it has been widely studied, no exact date of origin has yet been established to the Psalter.
    [Show full text]
  • Leeds Studies in English
    Leeds Studies in English Article: Robert Lawrence Schichler, 'Glæd man at Heorot: Beowulf and the Anglo-Saxon Psalter', Leeds Studies in English, n.s. 27, (1996), 49-68 Permanent URL: https://ludos.leeds.ac.uk:443/R/-?func=dbin-jump- full&object_id=121520&silo_library=GEN01 Leeds Studies in English School of English University of Leeds http://www.leeds.ac.uk/lse Glced Man at Heorot: Beowulf and the Anglo-Saxon Psalter Robert Lawrence Schichler In this essay, I examine a number of thematic parallels occurring in Beowulf and Anglo-Saxon psalter manuscripts. In particular, my examination focuses upon certain animal images - especially the hart - that appear to function in a similar fashion in both Beowulf and the Psalms. Such a comparative analysis enables a more complete understanding of specific images, while providing insight into the way cultural concepts were shared and expressed in the verbal and visual arts of the period. The Anglo-Saxon psalters under discussion here include the Harley Psalter (London, British Library, MS Harley 603), which was begun in Canterbury in the early eleventh century and thus serves as a good example of a richly illustrated manuscript under production in England at about the time that the Beowulf manuscript (BL, MS Cotton Vitellius A.xv, ff. 129[132]-198[201]) was being completed;1 the Paris Psalter (Paris, Bibliotheque Nationale, MS lat. 8824), in which a partial metrical version of the Psalms in Old English is preserved;2 and the Bury Psalter (Rome, Biblioteca Apostolica Vaticana, MS Reg. lat. 12), which contains stylistic and iconographic similarities to the Harley Psalter.3 Furthermore, in an effort to supplement my discussion of images in the incomplete Harley Psalter, I also look at certain of the illustrations in the Carolingian Utrecht Psalter (Utrecht, Universiteits- bibliotheek, MS 32), which was produced at Reims about A.D.
    [Show full text]
  • Depictions of King David in Renaissance and Baroque Art
    A Figure Study: Depictions of King David in Renaissance and Baroque Art Ashley Rothbart Honors Thesis AH 100: Art History Dr. Claire Lindgren Spring 2013 A Figure Study: Depictions of King David in Renaissance and Baroque Art Ashley Rothbart Beyond the pages of the Bible, King David remains alive in the imagination of readers and works of art. As shepherd, victor, and king, the character of David is multifaceted and complex as are his artistic depictions through the ages. In the Renaissance and Baroque periods, King David became a prominent subject in works of art and an Figure 1: Zanobi Strozzi, Initial B with King David in Prayer. allegory for contemporaneous history and culture. The life ca. 1450. Tempera, gold, and ink on parchment. 5 5/8 in. x 5 3/8 in. The Metropolitan Museum of Art, of King David was revived by artists that explored his New York. character with an analytical lens and delineated stories that span the scope of developing styles and modes of expression. Although David can previously be found in Medieval art such as manuscript illuminations and stained glass windows, beginning in the Renaissance this significant character of the Bible gained breadth and fervor. A forefather of Judaism and Christianity, King David is an Old Testament figure whose life experiences are richly described within the Bible. The story of King David appears in I Samuel 16 onward, the whole of II Samuel, and I Kings 1-2.* Traditionally attributed as the author of the Psalms, at least seventy-three psalms are indicated to be “Of David” (Clifford 773).
    [Show full text]
  • Nomination Form International Memory of the World Register
    Nomination form International Memory of the World Register Utrecht Psalter ID Code [2014-25] 1.0 Summary (max 200 words) Few illuminated manuscripts have been studied so intensively as the Utrecht Psalter. It is unique, with its deceptively Late Roman character, its 166 illustrations of the 150 psalms and 16 canticles, its revolutionary dynamic style, and its visual messages about proper rulership. On several accounts, the production of the Utrecht Psalter was a defining moment in Carolingian culture. It forms a crucial link between Late Roman art and its Carolingian 'translation'. Compared with earlier extant manuscripts, the rich palette of motifs displayed in the Utrecht Psalter is overwhelming. The illustrations reflect the violence and warfare of their own time, but are also meant for moral instruction, apparently for a (future) king. The Utrecht Psalter was the first visual ‘mirror of princes’. The Utrecht Psalter has left a lasting legacy. It was produced c. 830 in or near Reims in northern Francia, at time the heart of Western civilization. Its style and iconography directly influenced many manuscripts, in northern Francia in the 9th century, and in Canterbury from 1000 to 1200. No other illuminated manuscript has exercised such a profound artistic influence over such a long period of time. It is a key manuscript of Christian art, and deserves to be acknowledged as belonging to the memory of the world. 2.0 Nominator 2.1 Name of nominator (person or organization) Utrecht University 2.2 Relationship to the nominated documentary heritage Legal owner of the Utrecht Psalter 2.3 Contact person(s) (to provide information on nomination) Dr.
    [Show full text]
  • Byzantine Art
    1 Excerpted from Wilkins, et. al, Art Past, Art Present. New York: Harry N. Abrams, 1997, 164 – 173. BYZANTINE ART 4-19. Transfiguration of Christ, apse mosaic, Monastery of St. Catherine, Mount Sinai, Egypt. c. 560. The Monastery of St. Catherine is at the foot of Mount Sinai (see map, page 154), where, according to the Old Testament, God gave the Ten Commandments to Moses. Isolated in the Sinai Desert, the monastery, which has been in continuous use since the sixth century, is a repository of early manuscripts and other works of art (see fig. 4-21). Original patron of the monastery complex was the Byzantine emperor Justinian. In Christian tradition, the Transfiguration occurred when three apostles accompanied Christ to the top of a mountain. While they prayed, Christ was lifted up into the sky, surrounded by an aura of heavenly light, and appeared flanked by the Old Testament prophets Moses and Elijah (Matthew 17:1-13). The voice of God the Father was heard from a cloud: "This is my beloved Son: hear him. " In the mosaic of the transfiguration of Christ at the monastery at the base of Mount Sinai, Christ is represented on the axis surrounded by a mandorla (almond- shaped halo) of blue light, which emphasizes his resplendent white robes (fig. 4-19). Moses and Elijah symmetrically flank Christ, while the apostles below gesture with wondrous exclamation. The divinity of Christ is demonstrated in a scene with a spiritual emphasis that removes it from our physical world. No geographic details are given, and the event is bathed in a golden light symbolic of spiritual enlightenment.
    [Show full text]