Saint Mary Magdalene: the Growth of a Legend
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Contact United Methodist Church May 2017
North Bethesda Contact United Methodist Church May 2017 Volume 46, Issue 5 6:30 AM Easter Sunrise Service Thirty-eight folks arrived for a lovely sunrise service. Ken Ow used a recording of a trumpet playing “Christ the Lord is Risen Today” on his phone, then amplified it through his bullhorn! Pastor Jeff started with the greeting and service. Karina Mobley did a superb job as the “Child of the Resurrection,” recounting her views of Palm Sunday, Good Friday, and Easter morning. Valerie Blane, as Mary, Jesus’ mother, told listeners highlights of Jesus’ life and the fulfillment of God’s promise with the resurrection. The delightfully yummy breakfast featured Natalie McManus’ famous egg casserole, Mark’s muffins and pastries, Virginia’s selection of cut fruits and special dip, as well as tea, coffee, and juice. Thanks to Ed Swanson for taking care of the chairs. Valerie Blane 10:00 AM Easter Morning Worship Service A joyous Easter celebration started with Tony’s trumpet piece on the organ, followed by bells on the organ. Truly, one could almost see the bell ringers! The altar was full of beautiful flowers and fragrant scents. A fresh, bright white drape hung from the cross. People wore smiles. Some children wore hats! (Do you remember back in the day when all females wore new hats for Easter?) The choir sang Randall Thompson’s “Alleluia,” an incredibly glorious piece, whose harmonies are intricately woven into insistent praise and thanksgiving. Liturgist Merlyn Vemury read the Easter story. Pastor Jeff gave a sermon on the empty tomb. We took a moment to bless Jennifer Fellows who left for a solo trip to Utah to visit her mother. -
Pre-Raphaelites: Texts
Clil Matrials 1848 - 1910: the Pre Raphaelites Class: 4cc !2 Tools !3 SHORT ART HISTORY VOCABULARY (specific lexicon) ARCHEOLOGY Archeologia: archeology a.C. e d.C.: BC and AC → ex.: the statue was realized in the first quarter of the 5th century BC Mummia: mummy Sarcofago: sarcophagus Maschera funeraria: funerary mask Riti funebri: funeral rites Defunto: deceased Larario: domestic shrine Oggetti: items Arti decorative: decorative arts Acropoli: acropolis Il reperto è giunto fino a noi in buono stato/intatto: the item has come down to us in good conditions/ intact PAINTING Quadro: painting Miniatura (manoscritto miniato): illumination o miniature (illuminated manuscript) Arazzo: tapestry Vetrata: stained glass window Mosaico: mosaic Disegno: drawing Incisione: engraving Artefatti: artifacts Testimonianza artistica: artistic statement Pezzo d’arte: artpiece Pala d’altare: altarpiece Capolavoro: masterpiece Olio/tempera su tavola/tela: oil/tempera on panel/canvas Acquerello: water-colour Affresco: fresco [dipingere ad affresco: to paint in fresco] [plurale: frescoes] Dipinto murale: wall painting Encausto: encaustic Matita: pencil Pennello: brush Pennellata (spessa, frammentata, filamentosa, precisa): (thick, detached, long, precise) brushstroke Tavolozza: palette Contorno: outline Macchie di colore: patches of colour Dettaglio caratteristico: feature Disegno preparatorio: underdrawing !4 Prospettiva: perspective Lacerto: fragment Tracce (di colore): traces (of paint) Composizione (accademica, classica, insolita, equilibrata, caratterizzata -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
Saint Mary Magdalene
saint mary magdalene - relic tour Martha was the first to say, “Lord, I have believed that thou art Christ the Son of February 20 - March 22, 2013 the living God, who art come into this world” (John 11:27). Martha was witness to Jesus resurrection of her brother Lazarus (John 11:39-44). Martha’s relics are in Collégiale Sainte-Marthe in Tarascon. Early Christian Saints of God Mark Friedman and Janet Vogt A piece of the tibia of St. Mary Magdalene Saints of God, we stand be - fore you. This we ask you, pray for us. Ho - ly men and ho - ly wom - en, in your good - ness pray for us. 1. St. Ma - ry, God’s moth - er, our moth - er, 2. St. Jo-seph, St. Pe - ter, St. An - drew, 3. St. Mat - thew, St. Si - las, St. Bar - na - bas, 4. St. Mar - tha, St. Max-i-min, St. Ma-ry Sal-o-me, 1. All an - gels in heav - en, 1-4. pray for us. 2. St. Steph - en, St. Paul, 3. St. Luke, St. Ce-do-ni-us, 4. St. La - za - rus, St. Mar - tha, 1-4. pray for us. Ho - ly men and ho - ly wom - en, The Three Marys at the Empty Tomb Mary Magdalene, Mary Jacobe and Mary Salome 1. so ho - ly, 2. St. Law-rence, 3. St. Ma-ry Ja- co- be, pray for us. us. 4. St. Ma-ry Mag-da-lene. 1-4. in your good - ness, pray for us. us. 2, 4. Save us, Lord, from sin and ev - ‘ry A piece of the tibia of St. -
And Type the TITLE of YOUR WORK in All Caps
LEONARDO DA VINCI’S SAINT JEROME IN THE WILDERNESS: AN IMAGE OF SPIRITUAL BEAUTY by LINDSAY MARIE COX (Under the Direction of Shelley Zuraw) ABSTRACT Leonardo da Vinci’s Saint Jerome is an unconventional representation of a religious figure. Renaissance saints were typically endowed with appropriate physical markers such as beauty and grace; however, Jerome is haggard and aged. This paper will endeavor to reveal the importance of Leonardo’s unusual aesthetic choices as well as illuminate the congruencies between the Saint Jerome and Donatello’s Penitent Magdalen. Donatello’s sculpture, which features a similarly haggard and elderly Magdalen, represents a critical prototype for Leonardo’s Saint Jerome. This paper will also argue that these two works are images of the perfect penitent. The saints’ weathered and emaciated exteriors emphasize their humanity and transform them into emblems of wisdom and redemption. In both the Saint Jerome and the Penitent Magdalen, there is an important message about the beauty, determination, and strength of the human soul. INDEX WORDS: Leonardo da Vinci, Saint Jerome, penitent, haggard, old age, Donatello, Mary Magdalen, spiritual beauty, divine illumination, humanity LEONARDO DA VINCI’S SAINT JEROME IN THE WILDERNESS: AN IMAGE OF SPIRITUAL BEAUTY by LINDSAY MARIE COX B.A., Georgia Southern University, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Lindsay Marie Cox All Rights Reserved LEONARDO DA VINCI’S SAINT JEROME IN THE WILDERNESS: AN IMAGE OF SPIRITUAL BEAUTY by LINDSAY MARIE COX Major Professor: Shelley Zuraw Committee: Alisa Luxenberg Stefaan Van Liefferinge Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 ACKNOWLEDGEMENTS I am very grateful to my mother, father, and sister for their endless enthusiasm and support throughout my continuing education. -
This Book Reconsiders and Revises Our Understanding of Pre-Raphaelite
Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information PRE-RAPHAELITE PAINTING AND NINETEENTH-CENTURY REALISM This book reconsiders and revises our understanding of Pre-Raphaelite painting: its philosophy of art, its sources, its cohesiveness, and its relationship to the broader context of contemporary European Realism. Challenging several long-standing be- liefs about the PRB, which is often characterized as a disparate group who pursued divergent, even antithetical, goals, Marcia Werner proposes that the Pre-Raphaelites developed and shared an artistic philosophy comprehensive enough to embrace all of their differences. Werner reconstructs this credo through careful study of writings by Pre-Raphaelite artists and their associates. She also examines unexplored and neglected contemporary intellectual and philosophical sources, particularly those of John Stuart Mill and Thomas Carlyle, whose works are shown to be critical to an understanding of Pre-Raphaelite painting. Supporting her ideas through sustained analyses of key works, the author also argues that John Ruskin’s importance to the Pre-Raphaelites has been misunderstood and overstated. Marcia Werner is Adjunct Associate Professor of Art History at Temple University in Philadelphia. © Cambridge University Press www.cambridge.org Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information Pre-Raphaelite Painting and Nineteenth-Century -
The Golden Legend and Chaucer's Physician's Tale and Second Nun's Tale Mary Ann Ponder Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1977 The Golden Legend and Chaucer's Physician's Tale and Second Nun's Tale Mary Ann Ponder Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Ponder, Mary Ann, "The Golden Legend and Chaucer's Physician's Tale and Second Nun's Tale" (1977). Retrospective Theses and Dissertations. 14362. https://lib.dr.iastate.edu/rtd/14362 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The -Golden Legend and Chaucer's Physician's Tale and Second Nun's Tale by Mary Ann Ponder A Thes,^ Submitted to the Graduate Faculty in Partial Fulfillment of The Requirements for the Degree of MASTER OF ARTS Major: English ADDrovefl t Signatures have been redacted for privacy Iowa State University Ames^ Iowa 1977 11 TABLE OF CONTENTS Page INTRODUCTION 1 THE GOLDEN LEGEND 7 CHAUCER'S SECOND NUN'S TALE AND PHYSICIAN'S TALE I9 NOTES 35 BIBLIOGRAPHY 39 1 INTRODUCTION A survey of Chaucer scholarship in the past fifty years reveals an unwarranted lack of attention to those of the Canterbury Tales commonly known as the "religious tales," Once labeled thus, these tales do not often elicit further critical analysis by scholars. -
Mary Magdalene: Her Image and Relationship to Jesus
Mary Magdalene: Her Image and Relationship to Jesus by Linda Elaine Vogt Turner B.G.S., Simon Fraser University, 2001 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Liberal Studies Program Faculty of Arts and Social Sciences © Linda Elaine Vogt Turner 2011 SIMON FRASER UNIVERSITY Fall 2011 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for "Fair Dealing." Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Linda Elaine Vogt Turner Degree: Master of Arts (Liberal Studies) Title of Project: Mary Magdalene: Her Image and Relationship to Jesus Examining Committee: Chair: Dr. June Sturrock, Professor Emeritus, English ______________________________________ Dr. Michael Kenny Senior Supervisor Professor of Anthropology ______________________________________ Dr. Eleanor Stebner Supervisor Associate Professor of Humanities, Graduate Chair, Graduate Liberal Studies ______________________________________ Rev. Dr. Donald Grayston External Examiner Director, Institute for the Humanities, Retired Date Defended/Approved: December 14, 2011 _______________________ ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. -
Hesterna Rosa , Found , Hamlet and Ophelia , and Mary Magdalene
This work has been reproduced on behalf of the author for web publication with minor corrections and formatting changes, and the addition of hyperlinks to images of paintings and illustrations mentioned in the text. Readers wishing to refer to this essay should use the original place of publication: Bentley, D.M.R. “Dante Gabriel Rossetti as Disegnatore: Hesterna Rosa, Found, Hamlet and Ophelia, and Mary Magdalene at the Door of Simon the Pharisee,” Journal of Pre-Raphaelite Studies NS 18 (Fall 2009): 41-67. DANTE GABRIEL ROSSETTI AS DISEGNATORE: HESTERNA ROSA, FOUND, HAMLET AND OPHELIA, AND MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE D.M.R. BENTLEY He showed me many designs for pictures: they tossed about everywhere in the room; the floor at one end of the room was covered with them, and with books… He taught me to have no fear or shame of my own ideas, to design perpetually. — Edward Burne-Jones remembering Dante Rossetti (qtd in Georgiana Burne-Jones 1:130, 149) In its entries for “design” as a noun and as a verb, the Oxford English Dictionary traces the origin of the word in both lexical categories to the Renaissance Italian disegno and its cognates, which denote activities and their outcomes that are both representational and intellectual: to design or to make a design is to realize a rational concept (plot, purpose, intention) in a visual form that is often preliminary to a final image. In Painting and Experience in Fifteenth-Century Italy, Michael Baxandall further clarifies the meaning of disegno with reference to Cennino Cennini’s Il Libro dell’Arte (1437), where it is associated with “pencil, lines, the representation of edges, [and] perspective” and distinguished from colorire and its associations (“brush, tones, the representation of surfaces, [and] rilievo”) in a “dichotomy … [that] made drawings and painting … the ‘foundation of the art of painting’” as it would be “taught and … observed” for centuries to come in Europe (139-40). -
The Easter Verses of the Three Marys a Medieval Short Play for Eastertide
The Easter Verses of the Three Marys A medieval short play for Eastertide This short drama is one of the oldest and most important pieces of drama in Europe. The written version dates from the 12th Century and is recorded in a manuscript kept at Vic in Spain. The drama is an enhanced version of the encounter between Mary and the Angel at the tomb on Easter morning recorded in the gospels. This play has been performed at Eastertime for centuries and is still has great power today. By tradition, the three Marys who buy ointment and go to the tomb to anoint the body of Jesus: Mary Magdalene, Mary Jacobe (the mother of James) and Mary Salome. In this version, I imagine Mary Jacobe as the motherly, practical type; Mary Salome as younger, elegant, wanting the best; and Mary Magdalene as overwhelmed by grief and finding it almost impossible to go to the tomb but impelled to do so. In Spanish versions of the drama, Mary Magdalene carries a jar of expensive ointment, Mary Jacobe carries a broom, and Mary Salome carried an incense burner (small thurible). The merchant is an East End barrowboy, probably minding the stall while his master is away, wheeling and dealing to get a good price but also sensitive to the women’s grief. The angel is strong, straightforward, unshowy, his declaration that Christ is risen convinces and draws us in. The repeated refrain ‘How great is our grief’ needs to be carefully handled so it doesn’t become melodramatic. It needs to be heartfelt and spoken differently each time it occurs. -
What Should We Say About Mary?
What Should We Say about Mary? As Protestants show new interest in the mother of Christ, they often think they need to have something to say about Mary, rather than to her. Why not begin with the first words spoken both to and about Mary from God’s own messenger, “Greetings, favored one! The Lord is with you” (Luke 1:28)? If we offer this as an address, rather than a Christian Reflection theological proposition, we might begin to understand more fully A Series in Faith and Ethics what it means to honor Mary. Prayer Scripture Reading: Luke 1:26-45 Meditation † Focus Articles: The Archangel was not foretelling the future by saying “The Lord is with thee,” but was declaring what he saw happening invisibly Mary and the Women at that time. Perceiving that divine and human gifts of grace were from Galilee to be found in Mary, and that she was adorned with all the gifts (Women and the Church, pp. of the Holy Spirit, he truly proclaimed her full of grace. He saw 50-57) that she had already received to dwell within her the One in whom are all these treasures of grace….Even if other women may What Should We Say be extolled, no other can be magnified with the surpassing glory about Mary? of the Virgin Mother of God. (Women and the Church, pp. Gregory Palamas (1296-1359) 88-93) Reflection “But when the fullness of time had come, God sent his Son, born of a woman,” the Apostle Paul wrote, “so that we might receive adoption as children” of God (Galations 4:4-5). -
Western University London Canada Department of English English
Western University London Canada Department of English English 4420F: The Pre-Raphaelites Unless otherwise indicated, all texts are in Rossetti’s Collected Poetry and Prose. Ed. Jerome McGann. Not all the poems listed under a given date will be covered in the same amount of detail, but they will be given prominence if they are selected by one or more members of the seminar as the focus of a short essay. Members of the seminar are encouraged to range widely in Rossetti’s work, both literary and artistic, and incorporate their findings and insights into our discussions. Owing to the overlaps between and among different strains of Rossetti’s work, the readings after the Fall Study Break provide considerable flexibility Seminar Schedule and Readings: September 10 Preamble September 17 Introduction Readings: Pugin, Collinson, Stephens, Ruskin (handouts) September 24 Introduction “Mary’s Girlhood (For a Picture)” October 1 Marian Paintings and Poems Readings: “Filii Filia,” “Mary’s Girlhood (For a Picture),” “For a Virgin and Child by Hans Memmelink,” “For a Marriage of St. Catherine by the Same,” “Ave,” “The Passover of the Holy Family (For a Drawing,” “Sudden Light,” “For ‘Our Lady of the Rocks’ by Leonardo da Vinci” October 8 Pre-Raphaelite Manifestos Readings: “Old and New Art,” ‘Hand and Soul” October 15 Early Poems Readings: “My Sister’s Sleep,” “The Blessed Damozel,” “The Burden of Nineveh,” “The Staff and Scrip,” “A Lsst Confession,” “The Bride’s Prelude” October 22 The “Fallen Woman” Readings: “The Honeysuckle,” “Found (For a Picture),” “Mary Magdalene at the Door of Simon the Pharisee (For a Drawing),” “Jenny” October 29 The Femme Fatale Readings: “The Card-Dealer,” “Troy Town,” “Body’s Beauty,” “Eden Bower,” “The Orchard Pit” (both prose and poem), “Pandora (For a Picture),” “Lilith.