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THE TOWN HALL Station on the Route Charlemagne Table of Contents
THE TOWN HALL Station on the Route Charlemagne Table of contents Route Charlemagne 3 Palace of Charlemagne 4 History of the Building 6 Gothic Town Hall 6 Baroque period 7 Neo-Gothic restoration 8 Destruction and rebuilding 9 Tour 10 Foyer 10 Council Hall 11 White Hall 12 Master Craftsmen‘s Court 13 Master Craftsmen‘s Kitchen 14 “Peace Hall“ (Red Hall) 15 Ark Staircase 16 Charlemagne Prize 17 Coronation Hall 18 Service 22 Information 23 Imprint 23 7 6 5 1 2 3 4 Plan of the ground floor 2 The Town Hall Route Charlemagne Aachen‘s Route Charlemagne connects significant locations around the city to create a path through history – one that leads from the past into the future. At the centre of the Route Charlemagne is the former palace complex of Charlemagne, with the Katschhof, the Town Hall and the Cathedral still bearing witness today of a site that formed the focal point of the first empire of truly European proportions. Aachen is a historical town, a centre of science and learning, and a European city whose story can be seen as a history of Europe. This story, along with other major themes like religion, power, economy and media, are all reflected and explored in places like the Cathedral and the Town Hall, the International Newspaper Museum, the Grashaus, Haus Löwenstein, the Couven-Museum, the Axis of Science, the SuperC of the RWTH Aachen University and the Elisenbrunnen. The central starting point of the Route Charlemagne is the Centre Charlemagne, the new city museum located on the Katschhof between the Town Hall and the Cathedral. -
Christ's Crucifixion: the Case of the Crown of Thorns
Christ’s Crucifixion: The Case of the Crown of Thorns Christ’s Crucifixion: The Case of the Crown of Thorns As the Easter weekend passes here in Prague, the postcard photographs and paintings of Christ are everywhere, seen available to buy at the markets and local stalls or plastered on street walls across the city. We are all familiar with the image – Christ, pinned to the wooden cross, limply hanging in a position of suffering, head hung low with the prickly, painful Crown of Thorns piercing his temples. It is a haunting presentation of Christ’s sacrifice to humanity, the harrowing crown depicted as the mocking sign of monarchical rule of the Son of God. This image of the crowned Christ has endured through history, an emblem of affective piety, the crown itself serving as a painful reminder of his cause. But where did this image of Christ crowned in thorns originate and how has it become one of the most enduring depictions of Jesus in visual history? Dr. Emily Davenport Guerry’s compelling lecture titled Passion Relics and Patrons between Paris and Prague sought to answer this question as the eighth lecture in the ‘Medieval Conceptual Conflicts and Contrasts: Text and Image’ series held in the Faculty of Arts on Wednesday 12th of April. Dr. Davenport Guerry is a current lecturer in Medieval History at the University of Kent, Compiled Apr 1, 2019 10:18:50 PM by Document Globe ® 1 as has taught at Oxford and York in the past, with a special interest in relic culture and Christian iconography. -
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
The Trial by Fire of Peter Bartholomew: a Case Study in Medieval Social Conflict' Kostick, Conor
'The trial by fire of Peter Bartholomew: a case study in medieval social conflict' Kostick, Conor Citation Kostick, C. (2012). 'The trial by fire of Peter Bartholomew: a case study in medieval social conflict'. Leidschrift : Met Het Kruis Getekend, 27(December), 21-40. Retrieved from https://hdl.handle.net/1887/73165 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded from: https://hdl.handle.net/1887/73165 Note: To cite this publication please use the final published version (if applicable). The trial by fire of Peter Bartholomew: a case study in medieval social conflict Conor Kostick If Omnipotent God talked to this man face to face, and Saint Andrew revealed the Holy Lance to him when he was keeping vigil, let him walk through the fire unhurt; but if this is a lie let him and the Lance he will carry in his hand be consumed by fire. 1 The ordeal by fire of Peter Bartholomew during the course of the First Crusade (1096-1099) is one of the more dramatic examples of a medieval trial by ordeal. Much discussed by historians of the crusades, it deserves wider attention as a case study of a particular type of legal case: one where contending political and social factions agree to put their dispute to a test, a test whose outcome they then attempt to influence. Despite the canonical hesitancy over the legitimacy of the practice of the ordeal, 2 at the time of the First Crusade the trial by ordeal was a powerful tradition, invoked especially in circumstances where other evidence was lacking.3 In his An Introduction to English Legal History, however, J.H. -
From Charlemagne to Hitler: the Imperial Crown of the Holy Roman Empire and Its Symbolism
From Charlemagne to Hitler: The Imperial Crown of the Holy Roman Empire and its Symbolism Dagmar Paulus (University College London) [email protected] 2 The fabled Imperial Crown of the Holy Roman Empire is a striking visual image of political power whose symbolism influenced political discourse in the German-speaking lands over centuries. Together with other artefacts such as the Holy Lance or the Imperial Orb and Sword, the crown was part of the so-called Imperial Regalia, a collection of sacred objects that connotated royal authority and which were used at the coronations of kings and emperors during the Middle Ages and beyond. But even after the end of the Holy Roman Empire in 1806, the crown remained a powerful political symbol. In Germany, it was seen as the very embodiment of the Reichsidee, the concept or notion of the German Empire, which shaped the political landscape of Germany right up to National Socialism. In this paper, I will first present the crown itself as well as the political and religious connotations it carries. I will then move on to demonstrate how its symbolism was appropriated during the Second German Empire from 1871 onwards, and later by the Nazis in the so-called Third Reich, in order to legitimise political authority. I The crown, as part of the Regalia, had a symbolic and representational function that can be difficult for us to imagine today. On the one hand, it stood of course for royal authority. During coronations, the Regalia marked and established the transfer of authority from one ruler to his successor, ensuring continuity amidst the change that took place. -
The Developmentof Early Imperial Dress from the Tetrachs to The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Development of Early Imperial Dress from the Tetrarchs to the Herakleian Dynasty General Introduction The emperor, as head of state, was the most important and powerful individual in the land; his official portraits and to a lesser extent those of the empress were depicted throughout the realm. His image occurred most frequently on small items issued by government officials such as coins, market weights, seals, imperial standards, medallions displayed beside new consuls, and even on the inkwells of public officials. As a sign of their loyalty, his portrait sometimes appeared on the patches sown on his supporters’ garments, embossed on their shields and armour or even embellishing their jewelry. Among more expensive forms of art, the emperor’s portrait appeared in illuminated manuscripts, mosaics, and wall paintings such as murals and donor portraits. Several types of statues bore his likeness, including those worshiped as part of the imperial cult, examples erected by public 1 officials, and individual or family groupings placed in buildings, gardens and even harbours at the emperor’s personal expense. -
VIVERE MILITARE EST from Populus to Emperors - Living on the Frontier Volume I
VIVERE MILITARE EST From Populus to Emperors - Living on the Frontier Volume I BELGRADE 2018 VIVERE MILITARE EST From Populus to Emperors - Living on the Frontier INSTITUTE OF ARCHAEOLOGY MONOGRAPHIES No. 68/1 VIVERE MILITARE EST From Populus to Emperors - Living on the Frontier VOM LU E I Belgrade 2018 PUBLISHER PROOFREADING Institute of Archaeology Dave Calcutt Kneza Mihaila 35/IV Ranko Bugarski 11000 Belgrade Jelena Vitezović http://www.ai.ac.rs Tamara Rodwell-Jovanović [email protected] Rajka Marinković Tel. +381 11 2637-191 GRAPHIC DESIGN MONOGRAPHIES 68/1 Nemanja Mrđić EDITOR IN CHIEF PRINTED BY Miomir Korać DigitalArt Beograd Institute of Archaeology, Belgrade PRINTED IN EDITORS 500 copies Snežana Golubović Institute of Archaeology, Belgrade COVER PAGE Nemanja Mrđić Tabula Traiana, Iron Gate Institute of Archaeology, Belgrade REVIEWERS EDITORiaL BOARD Diliana Angelova, Departments of History of Art Bojan Ðurić, University of Ljubljana, Faculty and History Berkeley University, Berkeley; Vesna of Arts, Ljubljana; Cristian Gazdac, Faculty of Dimitrijević, Faculty of Philosophy, University History and Philosophy University of Cluj-Napoca of Belgrade, Belgrade; Erik Hrnčiarik, Faculty of and Visiting Fellow at the University of Oxford; Philosophy and Arts, Trnava University, Trnava; Gordana Jeremić, Institute of Archaeology, Belgrade; Kristina Jelinčić Vučković, Institute of Archaeology, Miomir Korać, Institute of Archaeology, Belgrade; Zagreb; Mario Novak, Institute for Anthropological Ioan Piso, Faculty of History and Philosophy Research, -
4 Fig. 1) Crown Molded Onto the Forehead. Larger Number of Thorns
4 fig. 1) Crown molded onto the forehead. Larger number of thorns in contact with the bone. THE CORONATION OF THORNS IN THE LIGHT OF THE SHROUD* SEBASTIANO RODANTE, M.D. In this study we will objectively examine the blood clots on the forehead and the nape of the neck, caused by the crown of thorns, as they appear in the black and white photo of the Holy Shroud; dark blood on the white background (figs. 2 & 3). In order to better understand the location of the clots and the direction of the blood flows toward right** or left** in respect to the observer, let us imagine the imprinted sheet unfolded (fig. 4). Putting oneself at A, looking toward the head, the blood from the wound in the R side is at C, i.e. at the R of the observer. Therefore on the frontal imprint, everything which we see on our R corresponds to the R of the Crucified, and the direction of the blood flows toward the R or toward the L of the observer corresponds, in effect, to the R or the L of the Crucified. Putting ourselves at B however, looking toward the feet, the imprint of the R shoulder is at D; i.e. at the L of the observer. Thus the dorsal imprint is laterally reversed. This being granted, we will study the puncture lesions caused on the head by the crown of thorns. For many years I have observed the sindonic Face in the life-size photo made by Giuseppe Enrie in 1931. -
Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily
2018 V From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily Christopher Mielke Article: From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily From Her Head to Her Toes: Gender-Bending Regalia in the Tomb of Constance of Aragon, Queen of Hungary and Sicily Christopher Mielke INDEPENDENT SCHOLAR Abstract: This article re-examines József Deér’s claim that the crown uncovered in the tomb of Constance of Aragon (d. 1222) was originally her husband’s. His argument is based entirely on the shape of the crown itself, and ignores the context of her burial and the other idiosyncrasies of Frederick II’s burial provisions at Palermo Cathedral. By examining the contents of the grave of Constance, and by discussing patterns related to the size of medieval crowns recovered from archaeological context, the evidence indicates that this crown would have originally adorned the buried queen’s head. Rather than identifying it as a ‘male’ crown that found its way into the queen’s sarcophagus as a gift from her husband, this article argues that Constance’s crown is evidence that as a category of analysis, gender is not as simple as it may appear. In fact, medieval crowns often had multiple owners and sometimes a crown could be owned, or even worn, by someone who had a different gender than the original owner. This fact demonstrates the need for a more complex, nuanced interpretation of regalia found in an archaeological context. -
2019-1059 Resolution to Stand in Solidarity with the People of Paris
STUDENT SENATE BILL 2019-1059 TITLE: Resolution to Stand in Solidarity with the People of Paris and the Christian Community AUTHORS: Colin Solomon, Senator Sophia Bond SPONSORS: Catholic Gators, Senator Nick Meyer, Senator Solmaz Karimi, Senator Gabi Zlatanoff, Senator Jessica Martinez, Senator Anthony Portugues, Senator Rebecca Ragan, Senator Gabbi Hernandez, Senator Casey Witte, Christina Pugliese, Senator Lindsay Kaighin, Senator Brady Alexander, Allocations Committee Chairwoman Katie Hernandez, Senator Brianna Adan, Senator Noah Wright WHEREAS, the Notre-Dame de Paris Catholic cathedral on the Île de la Cité in Paris has been a recognizable symbol of Paris and the French nation since its completion in 13451; and, WHEREAS, alongside the Sacré-Cœur Basilica, the Notre-Dame de Paris has been a holy pilgrimage site for the world’s Christians in Paris since its construction2; and, WHEREAS, the Western facade, spire, rose windows, and flying buttresses of the Notre-Dame de Paris cathedral are some of the most famed examples of French Gothic architecture in the world3,4; and, WHEREAS, the Notre-Dame de Paris has been home to many of the world’s religious artifacts and works of art including the crown of thorns worn by Jesus of Nazareth during his crucifixion, the tunic of St. Louis, and various paintings5; and, WHEREAS, the Notre-Dame de Paris cathedral has stood witness to over 850 years of French history, including the coronation of Napoléan Bonaparte, the French Revolution, World War I, and World War II, the latter of which included the -
Draft 5 for Printing
Jan Milí č of Kroměř íž and Emperor Charles IV: Preaching, Power, and the Church of Prague Eleanor Janega UCL Thesis Submitted for the degree of PhD in History 1 I, Eleanor Janega, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in my thesis. 2 Abstract During the second half of the fourteenth century Jan Milí č of Krom ěř íž became an active and popular preacher in Prague. The sermons which he delivered focused primarily on themes of reform, and called for a renewal within the church. Despite a sustained popularity with the lay populace of Prague, Milí č faced opposition to his practice from many individual members of the city’s clergy. Eventually he was the subject of twelve articles of accusation sent to the papal court of Avignon. Because of the hostility which Milí č faced, historians have most often written of him as a precursor to the Hussites. As a result he has been identified as an anti-establishment rabble-rouser and it has been assumed that he conducted his career in opposition to the court of the Emperor Charles IV. This thesis, over four body chapters, examines the careers of both Milí č and Charles and argues that instead of being enemies, the two men shared an amicable relationship. The first chapter examines Milí č’s career and will prove that he was well-connected to Charles and several members of his court. It will also examine the most common reasons given to argue that Charles and Milí č were at odds, and disprove them. -
Press Relation: City Museum at Fembo's House
Press release 23.11.2016 City of Nuremberg Municipal Museums Contact: PR department Hirschelgasse 9-11 City Museum at Fembo’s House 90403 Nuremberg Tel.: +49 (0)911 / 2 31-54 20 Fax: +49 (0)911 / 2 31-1 49 81 Nuremberg's only surviving large Late Renaissance merchant's house [email protected] – halfway up the hill to the Imperial Castle – invites visitors to . experience a trip through the city's past. Priceless original rooms, City Museum at the Fembohaus staged settings and audio plays bring 950 years of Nuremberg's Burgstraße 15 history to life. The museum's Exhibition Forum, with its changing 90403 Nürnberg Tel.: +49 (0)9 11 / 2 31-25 95 presentations, is a showcase for the city's history, art and culture. Fax: +49 (0)9 11 / 2 31-25 96 stadtmuseum-fembohaus@ For centuries, Nuremberg had been at the center of German and European stadt.nuernberg.de history. It was one of the most powerful imperial cities of the Holy Roman Empire and was the city most frequently visited by German emperors and museen.nuernberg.de kings. Trade and crafts brought Nuremberg wealth, power, and recognition. By the fourteenth century, the city had developed into a flourishing trade center. Nuremberg merchants had extensive international trade connections, maintained branch offices all over Europe, and were represented at all trade fairs and markets. During the German Renaissance, Nuremberg was home to famed artist Albrecht Dürer and Europe's largest printer-publisher, Anton Koberger. In 1525, Nuremberg was one of the first major German cities to introduce Lutheran Reformation.