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Great Cloud of Witnesses.Indd
A Great Cloud of Witnesses i ii A Great Cloud of Witnesses A Calendar of Commemorations iii Copyright © 2016 by The Domestic and Foreign Missionary Society of The Protestant Episcopal Church in the United States of America Portions of this book may be reproduced by a congregation for its own use. Commercial or large-scale reproduction for sale of any portion of this book or of the book as a whole, without the written permission of Church Publishing Incorporated, is prohibited. Cover design and typesetting by Linda Brooks ISBN-13: 978-0-89869-962-3 (binder) ISBN-13: 978-0-89869-966-1 (pbk.) ISBN-13: 978-0-89869-963-0 (ebook) Church Publishing, Incorporated. 19 East 34th Street New York, New York 10016 www.churchpublishing.org iv Contents Introduction vii On Commemorations and the Book of Common Prayer viii On the Making of Saints x How to Use These Materials xiii Commemorations Calendar of Commemorations Commemorations Appendix a1 Commons of Saints and Propers for Various Occasions a5 Commons of Saints a7 Various Occasions from the Book of Common Prayer a37 New Propers for Various Occasions a63 Guidelines for Continuing Alteration of the Calendar a71 Criteria for Additions to A Great Cloud of Witnesses a73 Procedures for Local Calendars and Memorials a75 Procedures for Churchwide Recognition a76 Procedures to Remove Commemorations a77 v vi Introduction This volume, A Great Cloud of Witnesses, is a further step in the development of liturgical commemorations within the life of The Episcopal Church. These developments fall under three categories. First, this volume presents a wide array of possible commemorations for individuals and congregations to observe. -
Who's Who at the Rodin Museum
WHO’S WHO AT THE RODIN MUSEUM Within the Rodin Museum is a large collection of bronzes and plaster studies representing an array of tremendously engaging people ranging from leading literary and political figures to the unknown French handyman whose misshapen proboscis was immortalized by the sculptor. Here is a glimpse at some of the most famous residents of the Museum… ROSE BEURET At the age of 24 Rodin met Rose Beuret, a seamstress who would become his life-long companion and the mother of his son. She was Rodin’s lover, housekeeper and studio helper, modeling for many of his works. Mignon, a particularly vivacious portrait, represents Rose at the age of 25 or 26; Mask of Mme Rodin depicts her at 40. Rose was not the only lover in Rodin's life. Some have speculated the raging expression on the face of the winged female warrior in The Call to Arms was based on Rose during a moment of jealous rage. Rose would not leave Rodin, despite his many relationships with other women. When they finally married, Rodin, 76, and Rose, 72, were both very ill. She died two weeks later of pneumonia, and Rodin passed away ten months later. The two Mignon, Auguste Rodin, 1867-68. Bronze, 15 ½ x 12 x 9 ½ “. were buried in a tomb dominated by what is probably the best The Rodin Museum, Philadelphia. known of all Rodin creations, The Thinker. The entrance to Gift of Jules E. Mastbaum. the Rodin Museum is based on their tomb. CAMILLE CLAUDEL The relationship between Rodin and sculptor Camille Claudel has been fodder for speculation and drama since the turn of the twentieth century. -
Pedigree of the Wilson Family N O P
Pedigree of the Wilson Family N O P Namur** . NOP-1 Pegonitissa . NOP-203 Namur** . NOP-6 Pelaez** . NOP-205 Nantes** . NOP-10 Pembridge . NOP-208 Naples** . NOP-13 Peninton . NOP-210 Naples*** . NOP-16 Penthievre**. NOP-212 Narbonne** . NOP-27 Peplesham . NOP-217 Navarre*** . NOP-30 Perche** . NOP-220 Navarre*** . NOP-40 Percy** . NOP-224 Neuchatel** . NOP-51 Percy** . NOP-236 Neufmarche** . NOP-55 Periton . NOP-244 Nevers**. NOP-66 Pershale . NOP-246 Nevil . NOP-68 Pettendorf* . NOP-248 Neville** . NOP-70 Peverel . NOP-251 Neville** . NOP-78 Peverel . NOP-253 Noel* . NOP-84 Peverel . NOP-255 Nordmark . NOP-89 Pichard . NOP-257 Normandy** . NOP-92 Picot . NOP-259 Northeim**. NOP-96 Picquigny . NOP-261 Northumberland/Northumbria** . NOP-100 Pierrepont . NOP-263 Norton . NOP-103 Pigot . NOP-266 Norwood** . NOP-105 Plaiz . NOP-268 Nottingham . NOP-112 Plantagenet*** . NOP-270 Noyers** . NOP-114 Plantagenet** . NOP-288 Nullenburg . NOP-117 Plessis . NOP-295 Nunwicke . NOP-119 Poland*** . NOP-297 Olafsdotter*** . NOP-121 Pole*** . NOP-356 Olofsdottir*** . NOP-142 Pollington . NOP-360 O’Neill*** . NOP-148 Polotsk** . NOP-363 Orleans*** . NOP-153 Ponthieu . NOP-366 Orreby . NOP-157 Porhoet** . NOP-368 Osborn . NOP-160 Port . NOP-372 Ostmark** . NOP-163 Port* . NOP-374 O’Toole*** . NOP-166 Portugal*** . NOP-376 Ovequiz . NOP-173 Poynings . NOP-387 Oviedo* . NOP-175 Prendergast** . NOP-390 Oxton . NOP-178 Prescott . NOP-394 Pamplona . NOP-180 Preuilly . NOP-396 Pantolph . NOP-183 Provence*** . NOP-398 Paris*** . NOP-185 Provence** . NOP-400 Paris** . NOP-187 Provence** . NOP-406 Pateshull . NOP-189 Purefoy/Purifoy . NOP-410 Paunton . NOP-191 Pusterthal . -
The Cathedral and the Museum for African Art Partner to Present a Major Exhibition of Works by Jane Alexander
Spring 2013 1047 Amsterdam Avenue Volume 13 Number 60 at 112th Street New York, NY 10025 (212) 316-7540 stjohndivine.org Spring2013 at the Cathedral The Cathedral and the Museum for African Art Partner to Present A Major Exhibition of Works by Jane Alexander SPOTLIGHT ON CATHEDRAL ARTS ane Alexander’s sculptures—human-animal hybrids, Alexander’s art raises issues that are integral to the mission denizens of dream and nightmare, evocative of of the Cathedral, and we are pleased to have the chance to everything from Hieronymus Bosch to ancient display her work. Her specific focus on the animal as commentary Egyptian art, African sculpture, and surrealist film— on, or metaphor for, the human, is also something Cathedral will visit the Cathedral this spring. The Museum audiences are familiar with. From Ralph Lee’s puppets, the for African Art (africanart.org) is presenting Jane St. Francis Day Blessing of the Animals, and the 2011 antelope- J Alexander: Surveys (from the Cape of Good Hope), skull installation The Council of Pronghorn to The Inferno’s often a traveling exhibition of works by one of the most important bestial demons, the Cathedral has an affinity for both real and South African artists working today. The exhibition is the first symbolic animals. These creatures serve as spiritual guides major North American survey of the artist’s tableaux, sculptures, and oppressed beings, representative of that which we know and photomontages, and contains work spanning 15 years. intimately, but can only articulate through ritual and art. The exhibition opens at the Cathedral on April 18 and runs The exhibition is adapted to suit each venue to which it travels. -
University Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
A Structural Analysis of Constantin Brancusi's
A STRUCTURAL ANALYSIS OF CONSTANTIN BRANCUSI'S STONE SCULPTURE by LESLIE ALLAN DAWN B.A., M.A., University of Victoria A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Art History We accept this thesis as conforming to the required standard © LESLIE ALLAN DAWN UNIVERSITY OF BRITISH COLUMBIA October 1982 All rights reserved. This thesis may not be reproduced in whole or in part3 by mimeograph or other means3 without the permission of the author. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Ws>TQg.»? CF E)g.T The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date (3/81) i i ABSTRACT It has long been recognized by Sidney Geist and others that Constantin Brancusi's stone work, after 1907, forms a coherent totality in which each component depends on its relationship to the whole for its significance; in short, the oeuvre comprises a rigorous sculptural language. Up to the present, however, formalist approaches have proven insufficient for decodifying the clear design which can be intuited in the language. -
The Intersection Between Nationalism and Religion in The
ABSTRACT Title of Document: The Intersection Between Nationalism and Religion: The Burghers of Calais of Auguste Rodin in the French Third Republic Jung-Sil Lee, Doctor of Philosophy, 2009 Directed By: Professor June Hargrove, Department of Art History and Archaeology As a republican, Auguste Rodin (1840-1917) conveyed political ideology in his public sculpture, but due to his interest in religion and spirituality, his interpretations differed from contemporary artists. He grafted national myths and symbols onto Catholicism and its rituals to facilitate the sacralization of the Republic. Yet, the tension between Catholicism and republicanism in his work persisted because of his religiosity and his adherence to secularism. Rodin’s conflict and compromise between the two fields were not only his personal dilemma, but also that of the Third Republic. This dissertation focuses on how Rodin internalized republican ideology in his public sculpture, and how he appropriated Catholic ritual to promote political messages. In spite of the republican government’s constant struggle to separate from Catholic domination, Catholicism was so deeply imbedded in French culture, Rodin recognized this complex paradigm which he co-opted to construct an ideological matrix for his public work. Aware of the powerful social role of religion, the First Republic tried to create a new religion based on deistic tradition, The Cult of Supreme Being, to unite all French people who were severely divided by factions, languages, and regionalism. This precedent tradition further proved the importance of religion’s social reach in constructing national sentiment. Based on research in Rodin museums in Paris and Meudon in 2004 and 2007, this study examines how Rodin merged Catholic practices and contemporary social ideologies into the fiber of nationalist identity that served to reconcile political oppositions in France and to heal wounded civic pride after the French defeat in the Franco-Prussian War. -
Holy Women, Holy Men: Celebrating the Saints Is the Fruit of the Committee’S Careful and Painstaking Work
Holy Women, Holy Men Celebrating the Saints Conforming to General Convention 2009 Copyright © 2010 i The Church Pension Fund. For review and trial use only. Copyright © 2010 by The Church Pension Fund Portions of this book may be reproduced by a congregation for its own use. Commercial or large scale reproduction, or reproduction for sale, of any portion of this book or of the book as a whole, without the written permission of Church Publishing Incorporated is prohibited. ISBN 978-0-89869-637-0 ISBN 978-0-89869-662-2 (Kindle) ISBN 978-0-89869-678-3 (E-book) 5 4 3 2 1 Church Publishing Incorporated 445 Fifth Avenue New York, NY 10016 ii Copyright © 2010 The Church Pension Fund. For review and trial use only. Blessed feasts of blessed martyrs, holy women, holy men, with affection’s recollections greet we your return again. Worthy deeds they wrought, and wonders, worthy of the Name they bore; we, with meetest praise and sweetest, honor them for evermore. Twelfth century Latin text, translated John Mason Neale #238, The Hymnal 1982 Copyright © 2010 iii The Church Pension Fund. For review and trial use only. This resource has been many years in development, and it represents a major addition to the calendar of saints for the Episcopal Church. We can be grateful for the breadth of holy experience and wisdom which shine through these pages. May that light enlighten your life and the lives of those with whom you worship! —The Most Rev. Katharine Jefferts Schori, Presiding Bishop of the Episcopal Church iv Copyright © 2010 The Church Pension Fund. -
The Fragment As a Manifestation of Non-Finito in Auguste Rodin's
The Fragment as a Manifestation of Non-Finito in Auguste Rodin’s Oeuvre A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of the Arts By Sarah Bartram May, 2016 Thesis written by Sarah Bartram B.A., The University of Akron, 2014 M.A., Kent State University, 2016 Approved by _____________________________________ Albert Reischuck, MA, Advisor ____________________________________ Christine Havice, Ph.D., Director, School of Art _____________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of Arts TABLE OF CONTENTS LIST OF FIGURES…………………………………..…………………………………..iv ACKNOWLEDGEMENTS...……………………………………………………………vii I. INTRODUCTION……………..………………………………………………………..1 II. NON-FINITO, MICHELANGELO, AND RODIN’S WORKSHOP………………….6 III. THE AMPUTATED FORM……………………………………..………………..…19 IV. THE ISOLATED BODY PART.…………………………………………………....30 V. ASSEMBLAGES………………………………..……………………………………39 VI. CONCLUSION………………………………………………………………………55 BIBLIOGRAPHY………………………………………………………………………..56 FIGURES……………………………………………………………………..………….61 iii LIST OF FIGURES Figure Artist, Title, Date Page 1. Auguste Rodin, The Walking Man,1907,………………………………………...…..60 2. Auguste Rodin, Danaïd,1889. ……………………………………………………....60 3. Auguste Rodin, Fugit Amor, ca. 1885, Marble carved ca. 1892-1894………..…......61 4. Auguste Rodin, I Am Beautiful, modeled 1885……………………………………...61 5. Auguste Rodin, St. John the Baptist, 1878……………………………………..……62 6. Auguste Rodin, The Shade, modeled 1881-1886…………………………………….62 -
OVID, METAMORPHOSES 10 – Theoi Classical Texts
OVID, METAMORPHOSES 10 - Theoi Classical Texts Library http://www.theoi.com/Text/OvidMetamorphoses10.html METAMORPHOSES BOOK 10, TRANSLATED BY BROOKES MORE ORPHEUS AND EURYDICE [1] Veiled in a saffron mantle, through the air unmeasured, after the strange wedding, Hymen departed swiftly for Ciconian land; regardless and not listening to the voice of tuneful Orpheus. Truly Hymen there was present during the festivities of Orpheus and Eurydice, but gave no happy omen, neither hallowed words nor joyful glances; and the torch he held would only sputter, fill the eyes with smoke, and cause no blaze while waving. The result of that sad wedding, proved more terrible than such foreboding fates. While through the grass delighted Naiads wandered with the bride, a serpent struck its venomed tooth in her soft ankle—and she died.— [11] After the bard of Rhodope had mourned, and filled the highs of heaven with the moans of his lament, determined also the dark underworld should recognize the misery of death, he dared descend by the Taenarian gate down to the gloomy Styx. And there passed through pale-glimmering phantoms, and the ghosts escaped from sepulchres, until he found Persephone and Pluto, master-king of shadow realms below: and then began to strike his tuneful lyre, to which he sang:—"O deities of this dark world beneath the earth! this shadowy underworld, to which all mortals must descend! If it can be called lawful, and if you will suffer speech of strict truth (all the winding ways of Falsity forbidden) I come not down here because of curiosity to see the glooms of Tartarus and have no thought to bind or strangle the three necks of the Medusan Monster, vile with snakes. -
Sculpture and the Museum Edited by Christopher R
Sculpture and the Museum Edited by Christopher R. Marshall, University of Melbourne, Australia Subject/Object: New Studies in Sculpture November 2011 234 x 156 mm 286 pages Hardback 978-1-4094-0910-6 £55.00 Includes 63 b&w illustrations Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations. Contents Subject/Object: new studies in sculpture, Lisa Le Feuvre; Sculpture and the museum, from starry skies to tropical haze, Christopher R. -
THE MAKING of RODIN 18 May – 21 November 2021
THE EY EXHIBITION: THE MAKING OF RODIN 18 May – 21 November 2021 LARGE PRINT GUIDE CONTENTS Concourse.................................................................................... 4 Room 1 ............................................................................ 9 The Age of Bronze ......................................................... 9 Room 2 ........................................................................... 13 The EY Exhibition: The Making of Rodin ......................... 13 The Thinker ................................................................... 17 The Walking Man .......................................................... 23 Whiteness ..................................................................... 26 Balzac ........................................................................... 32 Rose Beuret ................................................................... 34 Room 3 ............................................................................ 36 Movement and Fluidity ................................................. 36 Room 4 ............................................................................. 50 Helen von Nostitz .......................................................... 50 Ohta Hisa (Hanako) ........................................................ 56 2 Room 5 ............................................................................. 64 Camille Claudel ............................................................. 64 Giblets .........................................................................