A Symboi in Philately : Thè Cross of Lorraine PER VLIEGTUIG PAR
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Memorandum of the Secretariat General on the European Flag Pacecom003137
DE L'EUROPE - COUNCIL OF EDMFE Consultative Assembly Confidential Strasbourg,•15th July, 1951' AS/RPP II (3) 2 COMMITTEE ON RULES OF PROCEDURE AND PRIVILEGES Sub-Committee on Immunities I MEMORANDUM OF THE SECRETARIAT GENERAL ON THE EUROPEAN FLAG PACECOM003137 1.- The purpose of an Emblem There are no ideals, however exalted in nature, which can afford to do without a symbol. Symbols play a vital part in the ideological struggles of to-day. Ever since there first arose the question of European, organisation, a large number of suggestions have more particularly been produced in its connection, some of which, despite their shortcomings, have for want of anything ;. better .been employed by various organisations and private ' individuals. A number of writers have pointed out how urgent and important it is that a symbol should be adopted, and the Secretariat-General has repeatedly been asked to provide I a description of the official emblem of the Council of Europe and has been forced to admit that no such emblem exists. Realising the importance of the matter, a number of French Members of Parliament^ have proposed in the National Assembly that the symbol of the European Movement be flown together with the national flag on public buildings. Private movements such as'the Volunteers of Europe have also been agitating for the flying of the European Movement colours on the occasion of certain French national celebrations. In Belgium the emblem of the European Movement was used during the "European Seminar of 1950" by a number of *•*: individuals, private organisations and even public institutions. -
He Sanctuary Series
T S S HE ANCTUARY ERIES A Compilation of Saint U News Articles h ON THE g Saints Depicted in the Murals & Statuary of Saint Ursula Church OUR CHURCH, LIVE IN HRIST, A C LED BY THE APOSTLES O ver the main doors of St. Ursula Church, the large window pictures the Apostles looking upward to an ascending Jesus. Directly opposite facing the congregation is the wall with the new painting of the Apostles. The journey of faith we all make begins with the teaching of the Apostles, leads us through Baptism, toward altar and the Apostles guiding us by pulpit and altar to Christ himself pictured so clearly on the three-fold front of the Tabernacle. The lively multi-experiences of all those on the journey are reflected in the multi-colors of the pillars. W e are all connected by Christ with whom we journey, He the vine, we the branches, uniting us in faith, hope, and love connected to the Apostles and one another. O ur newly redone interior, rededicated on June 16, 2013, was the result of a collaboration between our many parishioners, the Intelligent Design Group (architect), the artistic designs of New Guild Studios, and the management and supervision of many craftsmen and technicians by Landau Building Company. I n March 2014, the Landau Building Company, in a category with four other projects, won a first place award from the Master Builders Association in the area of “Excellence in Craftsmanship by a General Contractor” for their work on the renovations at St. Ursula. A fter the extensive renovation to the church, our parish community began asking questions about the Apostles on the Sanctuary wall and wishing to know who they were. -
Coloma Catholic Life
Series 2 Newsletter 37 27th June 2021 Coloma Catholic Life. Pope Francis Prayer Intention for June: The Beauty of Marriage. Feast Day of St Peter & Paul – 29th June ‘Let us pray for young people who are preparing for marriage with the The feast of St Peter and Paul is a holyday of obligation, meaning it is a day on which Catholics are expected to attend Mass and rest from work and support of a Christian community: recreation. When the day falls during the working week they are called may they grow in love, with ‘working holy days’ and may mean the faithful cannon observe the edict to generosity, faithfulness and rest and refrain from work. Therefore, churches provide the opportunity to patience.’ attend Mass on the eve of the feast at a vigil Mass or at a time outside of working hours. The Bishops’ Conference of England and Wales is strongly Video: advocating all Catholics to return to public worship in their parish church. https://www.vaticannews.va/en/p Where there is hesitancy live streaming of mass can be found here: ope/news/2021-06/pope-francis- https://www.churchservices.tv/timetable/ june-2021-prayer-intetion-beauty- marriage.html St. Peter Peter's original name was Simon. Christ Himself Tweet: ‘Sister, brother, let Jesus gave him the name Cephas or Peter when they first look upon and heal your heart. And met and later confirmed it. This name change was if you have already felt His tender meant to show both Peter's rank as leader of the gaze upon you, imitate Him; do as apostles and the outstanding trait of his character He does. -
{DOWNLOAD} Cross
CROSS PDF, EPUB, EBOOK James Patterson | 464 pages | 29 Apr 2010 | Headline Publishing Group | 9780755349401 | English | London, United Kingdom Cross Pens for Discount & Sales | Last Chance to Buy | Cross The Christian cross , seen as a representation of the instrument of the crucifixion of Jesus , is the best-known symbol of Christianity. For a few centuries the emblem of Christ was a headless T-shaped Tau cross rather than a Latin cross. Elworthy considered this to originate from Pagan Druids who made Tau crosses of oak trees stripped of their branches, with two large limbs fastened at the top to represent a man's arm; this was Thau, or god. John Pearson, Bishop of Chester c. In which there was not only a straight and erected piece of Wood fixed in the Earth, but also a transverse Beam fastened unto that towards the top thereof". There are few extant examples of the cross in 2nd century Christian iconography. It has been argued that Christians were reluctant to use it as it depicts a purposely painful and gruesome method of public execution. The oldest extant depiction of the execution of Jesus in any medium seems to be the second-century or early third-century relief on a jasper gemstone meant for use as an amulet, which is now in the British Museum in London. It portrays a naked bearded man whose arms are tied at the wrists by short strips to the transom of a T-shaped cross. An inscription in Greek on the obverse contains an invocation of the redeeming crucified Christ. -
Izydora Dąmbska SYMBOL
Izydora Dąmbska SYMBOL Originally published as ”Symbol,” Studia Semiotyczne 12 (1982), 125–132. Translated by Magdalena Tomaszewska. The word ”symbol” (Gr. συµβoλoν´ , Lat. symbolum) has many senses. Origi- nally, symbol was understood as an identification sign, especially one created from two pieces of one object (e.g. a ring) divided with this purpose in view. Later, it could refer to any type of signitive objects — Goclenius writes: ”Symbola accipiuntur pro indiciis significantibus animo aliquid, ut loquuntur, intimantibus.” 1 The term ”symbol” also covered certain legal acts, agreements and ritual professions of faith. This sense has survived till today in such Polish names as ”symbol apostolski” ( the Apostoles’ Creed ; Lat. Symbolum Apostolorum ), ”symbol nicejski” ( the Nicene Creed ; Lat. Symbolum Nicaenum ), ”symbol trydencki” ( the Trent Creed ; Lat. Symbolum Tridentinum ). 2 Also, contemporary semiotics offers various conceptions of symbol. There are logical and mathematical symbols in science, quality sym- bols in technology and industry, religious symbols, symbols in poetry and art, symbols and symbolism in night dreams. A number one is the symbol of truth in Boolean algebra, and the symbol of an object’s high quality in technology. However, it is also said that the Cross of Lorraine became the symbol of the Resistance in France, while a skeleton has been a symbol of death for ages. There are symbols that are emotionally neutral (introduced 1Lexicon Philosophicum Graecum , Marchioburgi 1615: 215. 2The relationship between this -
Crosses of the Red Cross of Constantine Presentation by P
Grand Imperial Conclave of the Masonic and Military Order of the Red Cross of Constantine, and the Orders of the Holy Sepulchre and of St. John the Evangelist for England and Wales and its Divisions and Conclaves Crosses of the Red Cross of Constantine Presentation by P. Kt. A. Briggs Div. Std. B.(C) and P. Kt. M.J. Hamilton Div. Warden of Regalia Warrington Conclave No. 206 November 16th 2011 INTRODUCTION Constantine's Conversion at the Battle of Milvian Bridge 312ad. MANY TYPES OF CROSSES These are just a few of the hundreds of designs of crosses THE RED CROSS • Red Cross of Constantine is the Cross Fleury - the most associated cross of the Order • With the Initials of the words ‘In Hoc Signo Vinces’ • Greek Cross (Cross Imissa – Cross of Earth • Light and Life Greek words for “light” and “life”. • Latin Cross THE VICTORS CROSS The Conqueror's or Victor's cross is the Greek cross with the first and last letters of "Jesus" and "Christ" on top, and the Greek word for conquerer, nika, on the bottom. • Iota (Ι) and Sigma (Σ) • I & C -The first and last letters of Jesus (ΙΗΣΟΥΣ). • X & C -The first and last letters of Christ (XPIΣTOΣ) The Triumphant Cross is a cross atop an orb. The cross represents Christianity and the orb (often with an equatorial band) represents the world. It symbolises Christ's triumph over the world, and prominent in images of Christ as Salvator Mundi - the Saviour of the World. THE CHI-RHO CROSS • The Chi-Rho emblem can be viewed as the first Christian Cross. -
16088-Chars-For-Emoji-Provisional.Pdf
Characters Proposed for Emoji=Provisional To: UTC From: Emoji Subcommittee Date: 2016-04-21 Emoji_ Emoji_ Emoji_ Code Name Char LG Microsoft Samsung Presentation Modifier_Base Direction_Base U+2605 BLACK STAR ★ Provisional U+2607 LIGHTNING ☇ Provisional U+2608 THUNDERSTORM ☈ Provisional U+2609 SUN ☉ Provisional U+260A ASCENDING NODE ☊ Provisional U+260B DESCENDING NODE ☋ Provisional U+260C CONJUNCTION ☌ Provisional U+260D OPPOSITION ☍ Provisional U+260F WHITE TELEPHONE ☏ Provisional U+2610 BALLOT BOX ☐ Provisional U+2612 BALLOT BOX WITH X ☒ Provisional U+2616 WHITE SHOGI PIECE ☖ Provisional U+2617 BLACK SHOGI PIECE ☗ Provisional U+2619 REVERSED ROTATED FLORAL HEART BULLET ☙ Provisional 1 U+261A BLACK LEFT POINTING INDEX ☚ Provisional U+261B BLACK RIGHT POINTING INDEX ☛ Provisional U+261C WHITE LEFT POINTING INDEX ☜ Provisional Provisional U+261E WHITE RIGHT POINTING INDEX ☞ Provisional Provisional U+261F WHITE DOWN POINTING INDEX ☟ Provisional Provisional U+2621 CAUTION SIGN ☡ Provisional U+2624 CADUCEUS ☤ Provisional U+2625 ANKH ☥ Provisional U+2627 CHI RHO ☧ Provisional U+2628 CROSS OF LORRAINE ☨ Provisional U+2629 CROSS OF JERUSALEM ☩ Provisional U+262B FARSI SYMBOL ☫ Provisional U+262C ADI SHAKTI ☬ Provisional U+262D HAMMER AND SICKLE ☭ Provisional U+263B BLACK SMILING FACE ☻ Provisional U+263C WHITE SUN WITH RAYS ☼ Provisional U+263D FIRST QUARTER MOON ☽ Provisional U+263E LAST QUARTER MOON ☾ Provisional U+263F MERCURY ☿ Provisional 2 U+2640 FEMALE SIGN ♀ Provisional U+2641 EARTH ♁ Provisional U+2642 MALE SIGN ♂ Provisional U+2643 -
The Merovingian Dynasty with Their King Dagobert II Presents An
On an article by Tracy R Twyman To read Tracy R Twyman’s full article, please refer to the internet. The Merovingian dynasty with their king Dagobert II presents an important spiritual link between Jesus Christ and the Cathar endeavour to restore genuine Christianity a few centuries later. The history of the Merovingian dynasty spans the history of human kind. Just as the dynasty was at the shaping of World’ events, so World’s events shaped the dynasty’s fate. The first phase of humanity has concluded and the Merovingian story stands as the archetype of societal evolution reflected through a significant blood line. The Cathar Testament explains the principles in theory, whilst focusing on the Soul. Using an article by Tracy R. Twyman, I have pinpointed some of the pivotal stages against the Merovingian story traced through legends from the times of Atlantis. My comments do not represent the views of Tracy R Twyman. The adaptation is a working tool for students of the Cathar Testament. My comments are in brackets. To read Tracy R Twyman’s full article, please refer to the internet. Corascendea 17.03.2013. The Myth: The Frankish King Dagobert II, and the Merovingian dynasty from which he came, have been romantically mythologized in the annals of both legend and mystical pseudo-history. The mystique that surrounds them includes attributions of divine origin from Atlantis. They were described as the descendants of Mary Magdalene and Jesus Christ, while legends talk of their powers, even of the magical powers of their regalia. The Merovingian race originated with a civilization far more ancient than recorded history, from which came all of the major arts and sciences. -
Guide to Saints and Symbols in Stained Glass
Guide to Saints and Symbols in Stained Glass In churches and chapels, stained glass windows help create the sense of a sacred space. Stained glass windows of the saints can provide worshipers with inspirational illustrations of the venerated. The various saints may be depicted in stained glass either symbolically or in scenes from their lives. One of the challenges facing church designers, building committees and pastors doing church construction or remodeling is finding the right stained Saint Matthew Saint Mark glass images for your church or chapel. Panel #1001 Panel #1000 To help you, Stained Glass Inc. offers the largest selection of stained glass in the world. You will find Stained Glass Inc. windows to be of the finest quality, affordable and custom made to the size and shape of your window. If your church or organization is looking for a stained glass window of a saint, we can help. Not all the saints are listed here. If you are looking for a particular saint and you don’t find him or her listed here, just contact us, we can create a stained glass artwork for you. Saint Luke Saint John Panel #1005 Panel #1006 4400 Oneal, Greenville, TX • Phone: (903) 454-8376 [email protected] • www.StainedGlassInc.com To see more Saints in stained glass, click here: http://stainedglassinc.com/religious/saints-and-angels/saints.html The following is a list of the saints and their symbols in stained glass: Saint Symbol in Stained Glass and Art About the Saint St. Acathius may be illustrated in Bishop of Melitene in the third century. -
The Unicode Standard, Version 4.1 This File Contains an Excerpt from the Character Code Tables and List of Character Names for the Unicode Standard, Version 4.1
Miscellaneous Symbols Range: 2600–26FF The Unicode Standard, Version 4.1 This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 4.1. Characters in this chart that are new for The Unicode Standard, Version 4.1 are shown in conjunction with any existing characters. For ease of reference, the new characters have been highlighted in the chart grid and in the names list. This file will not be updated with errata, or when additional characters are assigned to the Unicode Standard. See http://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See http://www.unicode.org/Public/4.1.0/charts/ for a complete archived file of character code charts for Unicode 4.1. Disclaimer These charts are provided as the on-line reference to the character contents of the Unicode Standard, Version 4.1 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this excerpt file, please consult the appropriate sections of The Unicode Standard, Version 4.1, at http://www.unicode.org/versions/Unicode4.1.0/, including sections unchanged in The Unicode Standard, Version 4.0 (ISBN 0-321-18578-1), as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, and #34, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available on-line. See http://www.unicode.org/ucd/ and http://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation. -
The Migration of an Emblem Through the Example of the Cross of Burgundy
The migration of an emblem through the example of the cross of Burgundy by Patrice de La Condamine Abstract The choice for the subject of this paper, The migration of an emblem through the example of the cross of Burgundy, needs an explanation. The purpose of this subject is double. The first one, as the first part of the title indicates, is to show the migration of the emblems, showing that they follow the movements of populations. The second purpose is to explain this reality through an example: the cross of Burgundy. This choice seems to be all the more appropriate since the country which welcomes us was one of the first to receive this emblem on its ter - ritory, in historic circumstances that everybody knows. The story could begin with Once upon a time, there was a cross... The Burgundian native land I do not pretend to know everything about the origins of the cross of Burgundy, how - ever I can talk about its history. First, its name ‘Cross of Burgundy’ does not let any doubt 1 about its origin: Burgundy, the actual region situated in the east of France. On the graphic aspect, it’s a saltirewise cross, called a Saint-Andrew’s cross 2, which is particular, as on the edges of its four limbs some small branch-like offshoots from the main cross can be noticed. That is why this emblem is also called “croix écotée”, 6 in The saltire of Burgundy French. Originally, it represented two crossed tree trunks of which the branches had been cut off, so that only the sawn-off ends remained. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke.