Personal Recollections of Joan of Arc
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A Many-Storied Place
A Many-storied Place Historic Resource Study Arkansas Post National Memorial, Arkansas Theodore Catton Principal Investigator Midwest Region National Park Service Omaha, Nebraska 2017 A Many-Storied Place Historic Resource Study Arkansas Post National Memorial, Arkansas Theodore Catton Principal Investigator 2017 Recommended: {){ Superintendent, Arkansas Post AihV'j Concurred: Associate Regional Director, Cultural Resources, Midwest Region Date Approved: Date Remove not the ancient landmark which thy fathers have set. Proverbs 22:28 Words spoken by Regional Director Elbert Cox Arkansas Post National Memorial dedication June 23, 1964 Table of Contents List of Figures vii Introduction 1 1 – Geography and the River 4 2 – The Site in Antiquity and Quapaw Ethnogenesis 38 3 – A French and Spanish Outpost in Colonial America 72 4 – Osotouy and the Changing Native World 115 5 – Arkansas Post from the Louisiana Purchase to the Trail of Tears 141 6 – The River Port from Arkansas Statehood to the Civil War 179 7 – The Village and Environs from Reconstruction to Recent Times 209 Conclusion 237 Appendices 241 1 – Cultural Resource Base Map: Eight exhibits from the Memorial Unit CLR (a) Pre-1673 / Pre-Contact Period Contributing Features (b) 1673-1803 / Colonial and Revolutionary Period Contributing Features (c) 1804-1855 / Settlement and Early Statehood Period Contributing Features (d) 1856-1865 / Civil War Period Contributing Features (e) 1866-1928 / Late 19th and Early 20th Century Period Contributing Features (f) 1929-1963 / Early 20th Century Period -
The General Stud Book : Containing Pedigrees of Race Horses, &C
^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view. -
Joan of Arc in History and in Shaw Department of Enclish
Joan of Arc in history and in Shaw Item Type text; Thesis-Reproduction (electronic) Authors Covey, Jewyl Monica, 1925- 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 30/09/2021 14:04:43 Link to Item http://hdl.handle.net/10150/551296 JOAN OF ARC IN HISTORY AND IN SHAW by Jewyl Covey A Thesis Submitted to the Faculty of the DEPARTMENT OF ENCLISH In Partial Fulfillment of the Requirements For the Degree of . ^ MASTER OF ARTS In the Graduate College UNIVERSITY OF ARIZONA 1957 3 flu to -too S'? 3fi 5 od &Ovd n s i 1 3 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 ttiis thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quota tion from or reproduction 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 their judgment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Soldiers' Wives in the Hundred Years
Soldiers’ Wives in the Hundred Years War Anne Curry In January 2006 the Daily Telegraph reported the sale in New York of an eight- eenth-century gold box, embossed with the arms of the city, which had been presented along with the freedom of the city to Thomas Gage, commander-in- chief of the British Army in North America in 1773.1 At that point, the report continued, Gage was ‘deeply in love with his American wife’ – Margaret Kemble from New Brunswick – who had given him eleven children.2 Two years later, Gage was a ‘broken man … estranged from Margaret for ever after she put the land of her birth before her husband and handed his military secrets to Paul Revere’. Gage had planned to send 800 men to Concord with the aim of seizing two revolutionary leaders, Samuel Adams and John Hancock, and destroying the weapons which they had been building up at Lexington and Concord. But, being forewarned, Revere famously rode to advise them of Gage’s plan. The rest, as they say, is history. Gage immediately suspected his wife since, other than his fellow officer, she was the only person he had told of his plans. He banished her to England, and although he also returned home six months later, the couple never spoke again. Margaret Gage later ‘confided to a close friend that her feelings were those spoken by Lady Blanche in Shakespeare’s King John’: The sun’s overcast with blood; fair day adieu! Which is the side that I must go withal? I am with both … Whoever wins, on that side shall I lose.3 1 Daily Telegraph, Friday 20 January 2006, p. -
From Crecy to Agincourt and Beyond the Hundred Years War (1337 –1453)
2/28/2019 From Crecy to Agincourt and Beyond The Hundred Years War (1337 –1453) Battles of the Hundred Years War Name Date Winner Battle of Cadsand 1337 E Naval Battle of Sluys 24 June, 1340 E Battle of Auberoche 1345 E Siege of Calais 1346 E Battle of Crecy 26 August 1346 E Battle of Saint‐Pol‐de‐Leon 1346 E Battle of La Roche‐Derrien 1347 E Battle of Saintes 1351 E Battle of Ardres 1351 F Battle of Mauron 1352 Anglo‐Breton Battle of Poitiers Sept.19 1356 E Battle of Auray Sept. 29, 1364 E Battle of Navarrette (Najera) 3 April, 1367 E Battle of Montiel 1369 F Battle of Chiset(Chizai) 1373 F Siege of Harfleur 18 Aug. ‐22 Sept. 1415 E Battle of Agincourt 25 October, 1415 E Siege of Rouen July 1418 – Jan. 1419 E Battle of Bauge March 21, 1421 F/S Battle of Cravant July 31, 1423 E Battle of Verneuil (Vernuil) August 17, 1423 E Battle of St. James March 6, 1426 E Battle of Jargeau June 11‐12, 1429 E Battle of Beaugency 16‐17 June, 1429 F Siege of Orleans 1428‐1429 F Battle of Patay 18 June 1429 F Siege of Compiegne 1430 F Battle of Gerbevoy 1435 F Battle of Formigny April 15, 1450 F Battle of Castillon July 17, 1453 F 1 2/28/2019 The Hundred Years War (1337‐1453) The basic cause of the Hundred Years War was the dynastic quarrel that began with the conquest of England by William of Normandy which resulted in a state that existed on both sides of the English Channel. -
Saint Joan Timeline Compiled by Richard Rossi
1 Saint Joan Timeline Compiled by Richard Rossi A certain understanding of the historical background to Saint Joan is necessary to fully understand the various intricacies of the play. As an ocean of ink has been spilled by historians on Joan herself, I shall not delve too deeply into her history, keeping closely to what is relevant to the script. My dates, which may not necessarily match those that Shaw used, are the historically accepted dates; where there is discrepancy, I have notated. In some cases, I have also notated which characters refer to certain events in the timeline. There is a great deal of history attached to this script; the Hundred Years War was neither clean nor simple, and Joan was, as The Inquisitor says, “...crushed between these mighty forces, the Church and the Law.” 1st Century: Saint Peter founds the Catholic Church of Rome. (Warwick mentions St. Peter) 622: Establishment of Mohammad’s political and religious authority in Medina. (Cauchon mentions the prophet) 1215: The Waldensian movement, founded by Peter Waldo around 1170, is declared heretical at the Fourth Lateran Council. The movement had previously been declared heretical in 1184 at the Synod of Verona, and in 1211 80+ Waldensians were burned at the stake at Strausbourg. This was one of the earliest proto-Protestant groups and was very nearly destroyed. 1230’s: Establishment of the Papal Inquisition, which would later prosecute the trial against Joan of Arc. (Mentioned by Warwick. This is the same inquisition mentioned throughout the script) 1328: Charles IV of France dies without a male heir, ending the Capetian Dynasty and raising some very serious questions regarding the right of inheritance. -
JOAN of ARC Dy Herself and Her Witnesses 1994 Edition with a New Cover Published by SCARBOROUGH HOUSE Lanham, MD 20706
JOAN OF ARC Dy Herself and Her Witnesses 1994 edition with a new cover published by SCARBOROUGH HOUSE Lanham, MD 20706 REGINE PERNOUD A SCARBOROUGII BOOK REISSUE 1982 First Stein and Day Paperback edition 1969 TranslateJ from the French hy EJwarJ Hyams First published in the United States of America by STEIN AND DAY / Publishers, 1966 This translation copyright Cl Macdonald & Co (Publishers) Ltd., 1964 First published in the French language in 1962 as Jeanne d'Arc par elle-mlme 1'1 par ses temoins Copyright Cl 1962 by Editions du Seuil All rights reserved Printed in the United States of America Library or Con&re!! Catalo.:ln& In Publication nata Pernoud, Regine, 1909· Joan or Arc by herseU and her witnesses. "A Scarborough book." Translation or: Jeanne d'Arc par elle-meme et par ses temoins. Includes index. I. Joan, or Arc, Saint, 1412-1431. 2. Christian saints-France-Biography. I. Title. DC103.P3783 19R2 944'.026'0924 [B] 82-19312 ISBN 0-8128-1260-3 (pbk.) SCARBOROUGH HOUSE Lanham • New York • London ----:1 ~.--.., --~, ---' --'. :=..=J ~ 9 REHABILITATION On October 24, 1430, while Joan was still a prisoner at Beaurevoir, the Duke of Burgundy had been forced to raise the siege of Com picgne, that town having heen relieved by a French army commanded by the Comte de Vcndome and the Marshal de lloussac. The olTensi ve operations which the duke had been able to prepare, thanks to the imprudent truces signed by Charles VII, had not been as profitable as he had hoped. In 143 I there were more French successes, chieOy owin~ 10 lhe ener~y of La Hire, who had been appointed captain-general ill Normandy immediately after the taking of Louviers in December 1429, and of the sire de Barbazan in Champagne. -
Joan of Arc As Prisonnière De Guerre1
1 Joan of Arc as prisonnière de guerre1 Abstract Contrary to what has been previously claimed, the birth of the French term prisonnier de guerre dates back to long before the early seventeenth century. The corpus of documents which form the foundation of this article includes some sixty occurrences of the term (in French or Latin) over a period of more than a century, the earliest dating to 1357. In contrast with previous studies on the status of prisoners of war which have tended to rely on a modern conception of the term, this present investigation focuses on contemporary perceptions of those who were designated prisonniers de guerre in the later middle ages. The significance of this discussion is demonstrated in particular through the case of Joan of Arc, who, perhaps surprisingly, was considered a prisonnière de guerre by the English. In her case – which was by no means an exception to the general rule – the status of prisonnier de guerre derived from the property rights which her ‘master’ (or captor) enjoyed over her. It did not involve any protection of the prisoner her (or him) self. Contemporary debates around the status of prisonniers de guerre, when such questions were raised, were focused on the rights of the master. Perhaps is it more appropriate not to speak of the status prisoner of war but rather the status of the master of the prisoner of war. Keywords: Joan of Arc, Prisoner of war, Ransom, Property right, Combatant status 1 I would like to express my deep gratitude to Professor Anne Curry who provided generous and useful advice throughout the process of building up this argument. -
Joan of Arc 1
Joan of Arc 1 CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. Joan of Arc The Project Gutenberg EBook of Joan of Arc, by Ronald Sutherland Gower This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Joan of Arc Author: Ronald Sutherland Gower Release Date: October 24, 2005 [EBook #16933] Language: English Joan of Arc 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK JOAN OF ARC *** Produced by Suzanne Lybarger, Jeannie Howse and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) [Illustration: TOUR COUDRAY--CHINON.] JOAN OF ARC BY LORD RONALD GOWER, F.S.A. A TRUSTEE OF THE NATIONAL PORTRAIT GALLERY WITH TEN ILLUSTRATIONS SEVEN ETCHINGS AND THREE PHOTO-ETCHINGS LONDON JOHN C. NIMMO 14 KING WILLIAM STREET, STRAND MDCCCXCIII DEDICATION. My mother had what the French call a culte for the heroine whose life I have attempted to write in the following pages. It was but natural that one who loved and admired all that is good and beautiful and high-minded should have a strong feeling of admiration for the memory of Joan of Arc. On the pedestal of the bronze statue, which my mother placed in her house at Cliveden, are inscribed those words which sum up the life and career of the Maid of Orleans:-- '_La grande pitié qu'il y avait au royaume de France._' Thinking that could my mother have read the following pages she would have approved the feeling which prompted me to write them, I inscribe this little book to her beloved memory. -
Guiderq> Educators
*?i i<\ T Guide rQ> Educators • • The remarkable • • . • -. •. story of one young woman who lived and m^m irtitfir her country eould be free. Two-Part Mini-Series Airim ay, May 16, 1999 an Tuesday, May 18, 1999, 9:00-11:00 PM, ET/PT. Check local \'r* Tips for Using the JOAN OF ARC Educators' Guide and Website There are endless ways to create exciting lessons around the mini- series JOAN OF ARC. Here are some ideas to help you get started. Synopsis Before Viewing: Joan of Arc's humble roots begin in Domremy, in south • Review the SYNOPSES to familiarize ern France, during the Hundred Years' War. Joan's your students with the stories and father almost kills her at birth because he believes a characters in JOAN OF ARC. daughter cannot do the man's work that is needed. • Participate in the interactive ONLINE DISCUSSION with "Joan However, Joan is spared and grows up a clever and of Arc," to develop an understand defiant child, always seeking equal privilege to her ing about her place in history. brothers. Her life—and the fate of her country—begins • Assign JOAN OF ARC for viewing to change when she experiences visions and voices of as enrichment, homework, or extra credit. Saints Catherine, Michael, and Margaret. At 16, Joan After Viewing: leaves her family and village on her divine mission to • Use the DISCUSSION QUESTIONS help the Dauphin Charles gain his crown and, thus, and STUDENT ACTIVITIES in this unite France against its English enemies. guide to direct purposeful viewing and extend student investigation. -
Saint Joan Script Glossary Compiled by Richard Rossi Italicized Definitions Have an Accompanying Picture Scene I
1 Saint Joan Script Glossary Compiled by Richard Rossi Italicized definitions have an accompanying picture Scene I Meuse River: During the time of the play, this roughly North/South river indicated the border between the Holy Roman Empire and the Kingdom of France. Approximately the red line, with Lorraine as the tan county at the bottom right, and Champagne on the left. Lorraine: The Duchy of Upper Lorraine, ruled by the dynasty of Gérard de Châtenois, was de facto independent from the 10th to 15th centuries. Intersected by the Meuse and Moselle rivers, it had a great deal of trade and information passing through, which made it an enticing target. In 1431, a mere two years after the start of Saint Joan, the Duchy was ceded to the House of Anjou, specifically René I, from whom it was incorporated into France in 1480. Champagne: Under the rule of the Counts of Champagne until 1284, the marriage of Philip the Fair and Joan I of Navarre brought it under the royal domain. During the High Middle Ages (1000-1300), the County of Champagne was one of the most powerful fiefs in France, home to the largest financial and commercial markets in Western Europe. 2 Vaucouleurs Castle: The main defense of “the town that armed Joan of Arc” and the residence of Robert de Baudricourt. The unruined structures, including the gothic chapel on the right, were rebuilt during the 18th century. Robert de Baudricourt: (1400-1454) minor French nobility, the son of the chamberlain of the Duke of Bar (Liebald de Baudricourt).