The Commissioning of Artwork for Charterhouses During the Middle Ages
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Paris History Early History Julius Caesar Conquered Paris in 52 BC It
Paris History Early History Julius Caesar conquered Paris in 52 B.C. It was then a fishing village, called Lutetia Parisiorum (the Parisii were a Gallic tribe), on the Île de la Cité. Under the Romans the town spread to the left bank and acquired considerable importance under the later emperors. The vast catacombs under Montparnasse and the baths (now in the Cluny Mus.) remain from the Roman period. Legend says that St. Denis, first bishop of Paris, was martyred on Montmartre (hence the name) and that in the 5th cent. St. Geneviève, the patron saint of Paris, preserved the city from destruction by the Huns. On several occasions in its early history Paris was threatened by barbarian and Norman invasions, which at times drove the inhabitants back to the Île de la Cité. Clovis I and several other Merovingian kings made Paris their capital; under Charlemagne it became a center of learning. In 987, Hugh Capet, count of Paris, became king of France. The Capetians firmly established Paris as the French capital. The city grew as the power of the French kings increased. In the 11th cent. the city spread to the right bank. During the next two centuries—the reign of Philip Augustus (1180–1223) is especially notable for the growth of Paris—streets were paved and the city walls enlarged; the first Louvre (a fortress) and several churches, including Notre-Dame, were constructed or begun; and the schools on the left bank were organized into the Univ. of Paris. One of them, the Sorbonne, became a fountainhead of theological learning with Albertus Magnus and St. -
The Loss of Constantinople and Imagining Crusade at the Fifteenth-Century Court of Burgundy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at New York University TheLossofConstantinopleandImagining CrusadeattheFifteenth-Century CourtofBurgundy David Joseph Wrisley* This article concerns aspects of the manuscript production of the fifteenth-century EuropeancourtofBurgundyduringthereignofthedukePhiliptheGood(1419–67)and theperformancesofpower,identityandprophecyinthedocumentscreatedatthatcourt. Manyworksfoundinthatcourt’slibrary,eithercommissionedbythedukehimselforby noble families close to the court, had to do with the idea of crusading, both past and future,whichhadgrownverycomplexbythefourteenthandfifteenthcenturies.1Those works recast a past of contact and conflict in the Mediterranean in a variety of modes (fiction,eyewitness,history,geography)andthroughspecificideologicallenses.Textual performances in Burgundy have multiple functions: they reactivate and reinvent a centuries-oldEuropeanconceptofcrusade,theyinscribeducalpretensionsaspartof,but alsodistinctfrom,theirFrenchroyallineage,andtheyhelptoarticulatepartofthestate- buildingprojectoftheyoungValoisdynasty.Inthisway,thecourtofBurgundyespecially underPhiliptheGoodoccupiesanimportantandconspicuousplaceinalongtraditionof crusadepropaganda. The relationships between the constitution of a ducal library, the collection, reproduction and illumination of numerous manuscripts by a highly professionalized * David Joseph Wrisley is an Assistant Professor in the Civilization Sequence Program at the American UniversityofBeirut. ThisarticleoriginatedinapaperwrittenforaMellonSeminarinthehistoryofPre-ModernIslamgivenby -
Marketing Fragment 6 X 10.Long.T65
Cambridge University Press 0521853591 - The Cambridge History of Warfare Edited by Geoffrey Parker Index More information Index Abrams, Creighton (American general, aircraft carriers, 251; American (1930s), Vietnam War), 381 320; American (World War II), 356; Actium, battle of (31 BC), 427 Japanese (World War II), 355 Adrianople; battle of (AD 378), 63; Aisne offensive (1918), 283, 305 most fought-over town in history, Aix-la-Chapelle, treaty of (1748), 183, 427 184 Aelian (Tactics), 4, 157, 417, 431 Alans, 64 Aemilius Paulus (Roman general), 40 Alba, duke of, 5, 152, 155 Aeschylus on the Persian wars, 23, 25 Alberich (German withdrawal, 1917), Aetius (Roman general), 62, 63 298 Afghanistan’s democratic election. See Alberti, Leon Battista, on angled also al-Qaeda; Laden, Osama Bin, defences, 106 407 Alexander the Great, 3, 71, 98, 418 Agesilaus (Spartan general), 26, 37 Alexius (east Roman emperor), 79 aggression in the western military Alfonso X of Castile (Siete Partidas), 99 tradition, 6, 10, 414, 416, 418, Alfred the Great, 72, 76 425 Algerian War (1954–62), 372–374 Agincourt, battle of (1415), 88, 89 Algonkians, 139 agrarian warfare, 25, 30; Bronze-Age, Aljubarrota, battle of (1385), 85 18; hoplite, 18, 19, 21, 22; Roman Allerheim, battle of (1645), 160 militias, 49 Alma, battle of (1854), 222 air attacks; Gulf War, 392; Six Day War, Almagro, Diego de (Spanish 386; Vietnam War, 377–378, 380, conquistador), 139, 140 381; World War I, 309; World War al-Qaeda, 412. See also Laden, Osama II, 334, 351, 354, 357, 364; Yom Bin, 403; America strikes back, Kippur War, 387 406–412; America under attack, Air Corps Tactical School (USA), 319 403–406; Madrid explosion, 411 air defence,319, 387, 392; British Alvarez de Toledo, Don Fernando. -
Broader Horizons of the Hundred Years War the Hundred Years Wars: Not One but Many
PART ONE BROADER HORIZONS OF THE HUNDRED YEARS WAR THE HUNDRED YEARS WARS: NOT ONE BUT MANY Kelly DeVries Loyola College When the English King Edward III (1327–1377) launched his major invasions of France in 1339 and again in 1340, it was ostensibly to recover his crown as king of France, a crown which had been legalisti- cally “stolen” from him in 1328 when, despite being the closest heir to the dead king, Charles IV (1322–1328), he was declared ineligible to receive it because this royal descent was gained through a woman. The throne instead was given to a cousin, Philip of Valois, who was then crowned as King Philip VI of France (1328–1350). This action is recognized by most historians as the rst blow struck in what would become known as “The Hundred Years War.” The initial military action taken by Edward would lead in 1339 to a geographically-extensive, but ultimately-impotent campaign fought across the northern French counties of Cambrai, Vermandois, and Thiérarche. There followed in 1340 a major English naval victory at Sluys, counterbalanced by the unsuccessful siege of Tournai. The idea that two nations could ght a war lasting more than a cen- tury, as France and England did in the last two centuries of the Middle Ages, seems to most modern military historians to be the very de\ nition of the words “medieval warfare.” And yet, in de ning the Hundred Years War in this manner, these same historians have misconstrued the con ict by narrow-mindedly focusing upon the ghting between those two kingdoms. -
Ng Rabbit.Indd
IJUH 6 The International Journal of Urologic History© www.ijuh.org Rabbit Uroscopy and the Virgin Mary with Christ Child Casey K. Ng*, E. Darracot Vaughan, Erich Meyerhoff From the Department of Urology (CKN, EDV, EM), Weil Cornell Medical College, New York, New York *Correspondence: Southern California Permanente Medical Group, 13652 Cantara Street, Panorama City, California; e-mail: [email protected] Introduction: The depiction of a rabbit with a urinary matula on the same page with the Virgin Mary and the Christ child in a medieval text, the Book of Hours, has raised interests among art and medical historians. We will describe the complex interplay between the rabbit, the matula, and the Virgin Mary. Sources: We studied the original illuminated texts from the medieval (ca. 1475) Book of Hours archived in the Morgan Library, New York. We reviewed articles and historical publications from art history and medical literature. Results: The Book of Hours was composed for use by lay people who wished to incorporate elements of monasticism into their devotional life. There was often an amalgamation of religious and secular themes within these illustrated texts. The use of uroscopy to diagnose ailments was prevalent and popular during the Middle Ages and the depiction of a matula was not uncommon in medieval manuscripts. As a result, the urine fl ask came to be identifi ed with and used as a symbol of the physician, much like the caduceus is today. From the fourth century to modernity, the rabbit has been an averter of evil and bringer of good luck. Rabbits functioned as motifs in many medieval manuscripts. -
Into Great Silence Discussion Guide
www.influencefilmclub.com Into Great Silence Discussion Guide Director: Philip Gröning Year: 2005 Time: 169 min You might know this director from: The Policeman’s Wife (2013) Into Great Silence Love, Money, Love (2000) Philosophie (1998) Die Terroristen! (1992) Sommer (1988) FILM SUMMARY In 1984, director Philip Gröning wrote to the Carthusian monks with a proposal to film a documentary on their unique life of secluded spirituality at the magnificently austere Grande Chartreuse monastery, located deep in the remoteness of the French Alps. Sixteen years later, he received an unlikely reply in which he was invited to film if he was still interested. Ordinarily visitors are not permitted at the monastery, so Gröning accepted under the stringent terms that he would live and work as the monks do, in silence, filming only in his free time. Over a six month period, the director filmed the daily routine of the monks as they live by the Carthusian statutes, which calls for the solitary contemplation of the holy in order to unite one’s life to charity and purity of heart. Devout in this endeavor, each of these men spend their days studying scripture and praying in the seclusion of their own living quarters, only venturing out to complete their portion of the daily chores or to convene for communal worship. Though they appear grateful for their asceticly spiritual lifestyle, to the outside onlooker it may appear more an exercise in mental endurance than a modus of divine deliverance. Bathed in natural light and the reverberating hymns that provide a haunting aural counterbalance to the overbearing silence that pervades the film, Gröning’s documentation of the Carthusians is an entrancing meditation on time, devotion, faith and contemplation itself. -
Johan Maelwael
Johan Maelwael 34 l COLLECT Een Nijmegenaar in Bourgondië In 2005 werd in Museum Valkhof de vroege Nederlandse schilderkunst geëerd met linkerpagina Johan Maelwael & Henry Bellechose, een tentoonstelling over de gebroeders Van Limburg. De meest meeslepende anek- ‘Madonna met Kind engelen en vlinders’, Dijon, ca.1415, Berlijn, Ge- dote over hen is dat twee van de drie broers in november 1399 door Brabantse mi- mäldegalerie. litanten werden gegijzeld in Brussel. De tieners werden na een gevangenschap van meer dan een half jaar vrijgelaten omdat Filips de Stoute, de hertog van Bourgondië, het losgeld voor de jongens betaalde. Dit deed hij omdat hun oom zeer verdienstelijk werk voor hem had verricht en dat in de toekomst zou blijven doen. Deze geprezen oom was Johan Maelwael (ca. 1370-1415). Dit najaar organiseert het Rijksmuseum de eerste tentoonstelling die draait om deze schilder. TEKST: JOCHEM VAN EIJSDEN aelwael werd geboren rond 1370 in Nij- megen als telg van een van de meest Als leider van het atelier hoefde Maelwael zich niet Mvermaarde schildersfamilies in de Noor- delijke Nederlanden. De familienaam is in het alleen bezig te houden met de daadwerkelijke uitvoering Middelnederlands een blijk van waardering voor hun professionele kunde: ‘hij die goed schildert’, van de kunstobjecten in het kartuizerklooster. een uiting die ook werd onderschreven door het hertogelijke hof van Gelre. Nadat vader Willem Maelwael en oom Herman schilderwerk voor de Zo inspecteerde hij samen met zijn beeldhouwende stad Nijmegen hadden uitgevoerd, werkten zij van Hollandse evenknie Claus Sluter ook de stukken 1386 tot 1397 een behoorlijk aantal keer voor de die door andere kunstenaars werden aangeleverd, hertog van Gelre. -
English Monks Suppression of the Monasteries
ENGLISH MONKS and the SUPPRESSION OF THE MONASTERIES ENGLISH MONKS and the SUPPRESSION OF THE MONASTERIES by GEOFFREY BAS KER VILLE M.A. (I) JONA THAN CAPE THIRTY BEDFORD SQUARE LONDON FIRST PUBLISHED I937 JONATHAN CAPE LTD. JO BEDFORD SQUARE, LONDON AND 91 WELLINGTON STREET WEST, TORONTO PRINTED IN GREAT BRITAIN IN THE CITY OF OXFORD AT THE ALDEN PRESS PAPER MADE BY JOHN DICKINSON & CO. LTD. BOUND BY A. W. BAIN & CO. LTD. CONTENTS PREFACE 7 INTRODUCTION 9 I MONASTIC DUTIES AND ACTIVITIES I 9 II LAY INTERFERENCE IN MONASTIC AFFAIRS 45 III ECCLESIASTICAL INTERFERENCE IN MONASTIC AFFAIRS 72 IV PRECEDENTS FOR SUPPRESSION I 308- I 534 96 V THE ROYAL VISITATION OF THE MONASTERIES 1535 120 VI SUPPRESSION OF THE SMALLER MONASTERIES AND THE PILGRIMAGE OF GRACE 1536-1537 144 VII FROM THE PILGRIMAGE OF GRACE TO THE FINAL SUPPRESSION 153 7- I 540 169 VIII NUNS 205 IX THE FRIARS 2 2 7 X THE FATE OF THE DISPOSSESSED RELIGIOUS 246 EPILOGUE 273 APPENDIX 293 INDEX 301 5 PREFACE THE four hundredth anniversary of the suppression of the English monasteries would seem a fit occasion on which to attempt a summary of the latest views on a thorny subject. This book cannot be expected to please everybody, and it makes no attempt to conciliate those who prefer sentiment to truth, or who allow their reading of historical events to be distorted by present-day controversies, whether ecclesiastical or political. In that respect it tries to live up to the dictum of Samuel Butler that 'he excels most who hits the golden mean most exactly in the middle'. -
Circumscribing European Crusading Violence Susanna A
Ursinus College Digital Commons @ Ursinus College History Faculty Publications History Department 2018 'Not Cruelty But Piety': Circumscribing European Crusading Violence Susanna A. Throop Ursinus College, [email protected] Follow this and additional works at: https://digitalcommons.ursinus.edu/history_fac Part of the Christianity Commons, Ethics in Religion Commons, European History Commons, History of Christianity Commons, History of Religion Commons, Islamic Studies Commons, Islamic World and Near East History Commons, Medieval History Commons, and the Medieval Studies Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Throop, Susanna A., "'Not Cruelty But Piety': Circumscribing European Crusading Violence" (2018). History Faculty Publications. 8. https://digitalcommons.ursinus.edu/history_fac/8 This Book Chapter is brought to you for free and open access by the History Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in History Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 ‘Not Cruelty but Piety’: Circumscribing European Crusading Violence Susanna A. Throop Traditionally the crusading movement has been distinguished from other forms of Christian violence motivated or justified in religious terms. In the western world, innumerable books and articles discuss ‘the crusades’ or ‘the crusading movement’ as discrete entities. The crusades, so the narrative goes, began firmly in 1096 when an armed, penitential expedition set out to Jerusalem in response to the 1095 appeal of Pope Urban II, and ended less conclusively at some point before the onset of modernity. Meanwhile, in a broader global context and across a wider range of media, some continue to invoke the crusades as explanation for ongoing geopolitical conflict. -
Into Great Silence Discussion Guide
www.influencefilmclub.com Into Great Silence Discussion Guide Director: Philip Gröning Year: 2005 Time: 169 min You might know this director from: The Policeman’s Wife (2013) Into Great Silence Love, Money, Love (2000) Philosophie (1998) Die Terroristen! (1992) Sommer (1988) FILM SUMMARY In 1984, director Philip Gröning wrote to the Carthusian monks with a proposal to film a documentary on their unique life of secluded spirituality at the magnificently austere Grande Chartreuse monastery, located deep in the remoteness of the French Alps. Sixteen years later, he received an unlikely reply in which he was invited to film if he was still interested. Ordinarily visitors are not permitted at the monastery, so Gröning accepted under the stringent terms that he would live and work as the monks do, in silence, filming only in his free time. Over a six month period, the director filmed the daily routine of the monks as they live by the Carthusian statutes, which calls for the solitary contemplation of the holy in order to unite one’s life to charity and purity of heart. Devout in this endeavor, each of these men spend their days studying scripture and praying in the seclusion of their own living quarters, only venturing out to complete their portion of the daily chores or to convene for communal worship. Though they appear grateful for their asceticly spiritual lifestyle, to the outside onlooker it may appear more an exercise in mental endurance than a modus of divine deliverance. Bathed in natural light and the reverberating hymns that provide a haunting aural counterbalance to the overbearing silence that pervades the film, Gröning’s documentation of the Carthusians is an entrancing meditation on time, devotion, faith and contemplation itself. -
Souveraineté De La Lumière Provençale Jacques Lepage
Document generated on 10/01/2021 7:02 a.m. Vie des arts Souveraineté de la lumière provençale Jacques Lepage Number 45, Winter 1967 URI: https://id.erudit.org/iderudit/58343ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Lepage, J. (1967). Souveraineté de la lumière provençale. Vie des arts, (45), 18–23. Tous droits réservés © La Société La Vie des Arts, 1967 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ zmtmz JW ^H r**$tï" 4 «>• V 9 P "Kl 4m VS Mff< EJKI <m •BH • Comment expliquer l'unité profonde de la peinture en Provence aux XlVe et XVe siècles? Comment, sinon en évoquant ce qu'elle fut au XIXe: Cézanne et Van Gogh doivent nous rendre sensible ce qui s'est passé cinq siècles auparavant lorsque Siennois, Français, Catalans, Anglais, mêlèrent leur savoir et leurs humeurs, leurs goûts et leurs techniques dans ces villes-creusets que furent Avignon et Aix. Cézanne désira peindre comme un "Parisien"; Van Gogh abordait la Provence avec un héritage nordique. Rien de commun entre ces prémisses et l'œuvre qu'ils nous ont livrée. -
Renaissance Art Reconsidered / an Anthology of Primary Sources ; Ed
Contents Notes on Contributors xiii Preface xv Introduction 1 PART I: MAKING RENAISSANCE ART 3 Drawing and Workshop Practice 5 1.1.1 Cennino Cennini on drawing 6 1.1.2 Alberti on drawing figures 8 1.1.3 Francesco Squarcione details the drawing regime for his pupils 9 1.1.4 Gerard Horenbout takes on two apprentices 10 1.1.5 A master's duty of care for his apprentices 13 1.1.6 Leonardo da Vinci on drawing 15 1.1.7 Diirer gives drawings as gifts and uses them to pay day-to- day expenses 18 1.1.8 Diirer lists the qualities required to be a painter 22 1.1.9 Joachim Camerarius praises Diirer's drawings 23 Linear Perspective 29 1.2.1 Cennino Cennini's method for depicting buildings in a painting 30 1.2.2 Alberti and the earliest written description of single-point perspective 31 1.2.3 Lorenzo Ghiberti lists the sources for perspective 41 1.2.4 Filarete's method for making drawings of buildings 43 1.2.5 Piero della Francesca's perspective for painters 47 vi Contents 1.2.6 Manetti's descriptions of Brunelleschi's experiments 49 1.2.7 Leonardo da Vinci on single-point and aerial perspective 51 Sculpture 59 1.3.1 PosthumouPosthumouss inventorinventory oof TourTournan i sculptop r Colart le Cat 60 Michelozzo and Donatelllla are contractettdd tto makmakee ththee PPratr o 1.3.2 62 Pulpit Pulpit 65 1.3.3 ReporReport to on nDonatello' Donatellos sprogres pg s on the Prato pulpit 1.3.4 Thee BrusselBrusselss painterspainters'' guilguiildd claimli s exclusivxclusive rightrightss to market painted workks of art 66 1.3.5 Extracts from De StatuaS by Leon Battista