ABOUT the Middle of the Thirteenth Century the Dean and Chapter of St
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The Antiphonary of Bangor and Its Musical Implications
The Antiphonary of Bangor and its Musical Implications by Helen Patterson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Helen Patterson 2013 The Antiphonary of Bangor and its Musical Implications Helen Patterson Doctor of Philosophy Graduate Department of Music University of Toronto 2013 Abstract This dissertation examines the hymns of the Antiphonary of Bangor (AB) (Antiphonarium Benchorense, Milan, Biblioteca Ambrosiana C. 5 inf.) and considers its musical implications in medieval Ireland. Neither an antiphonary in the true sense, with chants and verses for the Office, nor a book with the complete texts for the liturgy, the AB is a unique Irish manuscript. Dated from the late seventh-century, the AB is a collection of Latin hymns, prayers and texts attributed to the monastic community of Bangor in Northern Ireland. Given the scarcity of information pertaining to music in early Ireland, the AB is invaluable for its literary insights. Studied by liturgical, medieval, and Celtic scholars, and acknowledged as one of the few surviving sources of the Irish church, the manuscript reflects the influence of the wider Christian world. The hymns in particular show that this form of poetical expression was significant in early Christian Ireland and have made a contribution to the corpus of Latin literature. Prompted by an earlier hypothesis that the AB was a type of choirbook, the chapters move from these texts to consider the monastery of Bangor and the cultural context from which the manuscript emerges. As the Irish peregrini are known to have had an impact on the continent, and the AB was recovered in ii Bobbio, Italy, it is important to recognize the hymns not only in terms of monastic development, but what they reveal about music. -
Quality Silversmiths Since 1939. SPAIN
Quality Silversmiths since 1939. SPAIN www.molina-spain.com - ARTIMETAL - PROCESSIONALIA 2014-2015 Quality Silversmiths since 1939. SPAIN ARTISTIC SILVER INDEXINDEX Presentation ......................................................................................... Pag. 1-12 ARTISTIC SILVER - ARTIMETAL ARTISTICPresentation SILVER & ARTIMETAL Pag. 1-12 ChalicesChalices && CiboriaCiboria ........................................................................... Pag. 13-6713-52 MonstrancesCruet Sets & Ostensoria ...................................................... Pag. 68-7853 TabernaclesJug & Basin,........................................................................................... Buckets Pag. 79-9654 AltarMonstrances accessories & Ostensoria Pag. 55-63 &Professional Bishop’s appointments Crosses ......................................................... Pag. 97-12264 Tabernacles Pag. 65-80 PROCESIONALIAAltar accessories ............................................................................. Pag. 123-128 & Bishop’s appointments Pag. 81-99 General Information ...................................................................... Pag. 129-132 ARTIMETAL Chalices & Ciboria Pag. 101-115 Monstrances Pag. 116-117 Tabernacles Pag. 118-119 Altar accessories Pag. 120-124 PROCESIONALIA Pag. 125-130 General Information Pag. 131-134 Quality Silversmiths since 1939. SPAIN www.molina-spain.com Luis Molina Acedo, S.A. Justo Dorado, 12 28040 Madrid, Spain Product design: Luis Molina Acedo, S.A. CHALICES & CIBORIA Our silversmiths combine -
A History and Description of Mediaeval Art Work in Copper, Brass And
Dear Reader, This book was referenced in one of the 185 issues of 'The Builder' Magazine which was published between January 1915 and May 1930. To celebrate the centennial of this publication, the Pictoumasons website presents a complete set of indexed issues of the magazine. As far as the editor was able to, books which were suggested to the reader have been searched for on the internet and included in 'The Builder' library.' This is a book that was preserved for generations on library shelves before it was carefully scanned by one of several organizations as part of a project to make the world's books discoverable online. Wherever possible, the source and original scanner identification has been retained. Only blank pages have been removed and this header- page added. The original book has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books belong to the public and 'pictoumasons' makes no claim of ownership to any of the books in this library; we are merely their custodians. Often, marks, notations and other marginalia present in the original volume will appear in these files – a reminder of this book's long journey from the publisher to a library and finally to you. Since you are reading this book now, you can probably also keep a copy of it on your computer, so we ask you to Keep it legal. -
I. a Humanist John Merbecke
Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation. -
Cbcs Spring 20.Pdf
TM Dear Friends, We are pleased to introduce the 2020 Church Supply Spring Sudbury Brass™, the oldest church sanctuary furnishing firm Supplement Catalog. Please use this in addition to our annual in the United States, has added new products across most 2019-2020 Church Supply Catalog for all of your ordering needs. product lines in addition to all your favorite classic Sudbury offerings on pages 45-51. Be sure to check out our newest This spring, we’ve added nearly 200 new products from your 10-minute prayer candles from Will & Baumer® and specially ™ ™ favorite brands; R.J. Toomey , Cambridge , Celebration designed candle holder. The candle holder fits into existing ™ ® ® ™ Banners , Robert Smith , Will & Baumer and Sudbury Brass . votive glass and holds the 10 minute prayer candle upright and burns clean leaving no mess to cleanup. R.J. Toomey™, the industry leader in clergy vestments and accessories, is pleased to announce additions to the customer As always, thank you for making Christian Brands™ a partner favorite Coronation and Avignon collections, as well as the in your business. If there is anything we can do to help, first introduction of the new Monreale Collection. Choose from please feel free to contact us anytime. dozens of new chasubles, dalmatics, stoles, albs, surplices, paraments, mass linens and so much more. See pages 4-15 for Best regards, the complete R.J. Toomey™ selection of new offerings. Celebration Banners™ has quickly become the industry leader in high quality worship banners for all occasions. This season Chris Vallely [email protected] we are excited to introduce our new Sacred Image Retractable Banners, as well as a new mix of modern and traditional designs in the best-selling banner sizes and styles. -
Places of Prayer in the Monastery of Batalha Places of Prayer in the Monastery of Batalha 2 Places of Prayer in the Monastery of Batalha
PLACES OF PRAYER IN THE MONASTERY OF BATALHA PLACES OF PRAYER IN THE MONASTERY OF BATALHA 2 PLACES OF PRAYER IN THE MONASTERY OF BATALHA CONTENTS 5 Introduction 9 I. The old Convent of São Domingos da Batalha 9 I.1. The building and its grounds 17 I. 2. The keeping and marking of time 21 II. Cloistered life 21 II.1. The conventual community and daily life 23 II.2. Prayer and preaching: devotion and study in a male Dominican community 25 II.3. Liturgical chant 29 III. The first church: Santa Maria-a-Velha 33 IV. On the temple’s threshold: imagery of the sacred 37 V. Dominican devotion and spirituality 41 VI. The church 42 VI.1. The high chapel 46 VI.1.1. Wood carvings 49 VI.1.2. Sculptures 50 VI.2. The side chapels 54 VI.2.1. Wood carvings 56 VI.3. The altar of Jesus Abbreviations of the authors’ names 67 VII. The sacristy APA – Ana Paula Abrantes 68 VII.1. Wood carvings and furniture BFT – Begoña Farré Torras 71 VIII. The cloister, chapter, refectory, dormitories and the retreat at Várzea HN – Hermínio Nunes 77 IX. The Mass for the Dead MJPC – Maria João Pereira Coutinho MP – Milton Pacheco 79 IX.1. The Founder‘s Chapel PR – Pedro Redol 83 IX.2. Proceeds from the chapels and the administering of worship RQ – Rita Quina 87 X. Popular Devotion: St. Antão, the infante Fernando and King João II RS – Rita Seco 93 Catalogue SAG – Saul António Gomes SF – Sílvia Ferreira 143 Bibliography SRCV – Sandra Renata Carreira Vieira 149 Credits INTRODUCTION 5 INTRODUCTION The Monastery of Santa Maria da Vitória, a veritable opus maius in the dark years of the First Republic, and more precisely in 1921, of artistic patronage during the first generations of the Avis dynasty, made peace, through the transfer of the remains of the unknown deserved the constant praise it was afforded year after year, century soldiers killed in the Great War of 1914-1918 to its chapter room, after century, by the generations who built it and by those who with their history and homeland. -
THE DISSEMINATION and RECEPTION of the ORDINES ROMANI in the CAROLINGIAN CHURCH, C.750-900
THE DISSEMINATION AND RECEPTION OF THE ORDINES ROMANI IN THE CAROLINGIAN CHURCH, c.750-900 Arthur Robert Westwell Queens’ College 09/2017 This dissertation is submitted for the degree of Doctor of Philosophy 2 Arthur Robert Westwell Thesis Summary: The Dissemination and Reception of the Ordines Romani in the Carolingian Church, c.750- 900. The ordines romani are products of a ninth-century attempt to correct liturgy across Europe. Hitherto, scholarship has almost exclusively focused on them as sources for the practices of the city of Rome, narrowly defined, disregarding how they were received creatively and reinterpreted in a set of fascinating manuscripts which do not easily fit into traditional categories. This thesis re- envisages these special texts as valuable testimonies of intent and principle. In the past few decades of scholarship, it has been made very clear that what occurred under the Carolingians in the liturgy did not involve the imposition of the Roman rite from above. What was ‘Roman’ and ‘correct’ was decided by individuals, each in their own case, and they created and edited texts for what they needed. These individuals were part of intensive networks of exchange, and, broadly, they agreed on what they were attempting to accomplish. Nevertheless, depending on their own formation, and the atmosphere of their diocese, the same ritual content could be interpreted in numerous different ways. Ultimately, this thesis aims to demonstrate the usefulness of applying new techniques of assessing liturgical manuscripts, as total witnesses whose texts interpret each other, to the ninth century. Each of the ordo romanus manuscripts of the ninth century preserves a fascinating glimpse into the process of working out what ‘correct’ liturgy looked like, by people intensely invested in that proposition. -
Sacrificium Laudis
Western Rite to the rather bare Prayer Book Liturgy, so the AB THE SAINT MARK’S was created as an immense enrichment of the Daily Offi ce of Catholic-minded Anglicans. Many High Churchmen and Anglo-Catholics had pro- duced similar Daily Offi ce books long before the publication of the AB. Some of these publications were rather eclectic in their compilation, drawing from medieval English, continen- ION tal Roman (Tridentine), and Eastern Orthodox usages. Most L of these books were actually diurnals – containing seven “day MAY 2003 VOLUME CXXVIII, NO. 5 hours” and excluding the eighth, night vigil offi ce of Matins. These publications provided the translators and compilers of An Unoffi cial Newsletter of S. Mark’s Parish, the AB with models and inspiration. Denver, Colorado for Members only The AB, however, was the fi rst complete Anglo-Catholic Daily Offi ce book, containing all seven of the day hours as well as the vigil offi ce of Matins. The AB is a careful, accurate and beautiful rendering of the prayers, lessons, antiphons, and responsories of the Breviarium Romanum. The SACRIFICIUM translation of the Psalter is that of the endur- ingly beautiful Coverdale Psalter of the Book LAUDIS of Common Prayer. Likewise many of the Collects are the versions which derive The Anglican Breviary and from the Book of Common Prayer. Most the Ancient Western of the Scriptural lessons, antiphons Orthodox Divine Offi ce and responsories are taken from the Authorised Version translation of 1611 BY READER BENJAMIN JOSEPH (“King James”) (except for certain ANDERSEN, B.PHIL. instances where the Vulgate and Septuagint refl ect a more traditional INTRODUCTION catholic and orthodox interpreta- tion). -
English Ground Floor
English Ground floor Romanesque art [Artistic style] The Romanesque is a style of art that was produced in West- ern Europe’s feudal kingdoms in the Middle Ages from about the end of the 10th century to the opening decades of the 13th century. It is an artistic style with a common aesthetic language that was to be found throughout Christian Europe and beyond, from Cape Finisterre to the Holy Land and from Scandinavia to the Mediterranean. Indeed, the Romanesque was one of the first international art styles. 1st floor Art, architecture and painting Our little country, Andorra, has preserved a number of iso- lated Romanesque churches which are scattered through- out our territory. These structures are dominated by a little semicircular apse that is oriented to the east (with a few exceptions), symbolically pointing to the rising sun. The apse is where the altar is located, making it the focal point of worship in the church. A triumphal arch separates the apse –as the place reserved for God– from the nave, which is the place for the faithful. These churches have an austere appearance and a great simplicity, standing out for the uniformity of their masonry walls built with usually unhewn local stone set in lime mortar. The walls are decorated with Lombard bands, formed by simple blind arcades on the exterior of the building beneath the roof, as at Sant Miquel d’Engolasters, combining with saw-toothed friezes as at Sant Esteve d’Andorra la Vella, or lesenes (also known as pilaster strips) on the apse, as at Sant Romà de les Bons, and on the bell tower, as at Santa Colo- ma, Sant Joan de Caselles, Santa Eulàlia d’Encamp. -
Natlon Hu B««N Ifinohiiil Cm Cllr U Nctind 66*312 BARR, FS . P .A
Thl* itlii »natlon hu b««n ■IfinOhiiil cMcllr u nctind 66*312 BARR, F.S. P .A ., Sister M. Cyrtlla. 1929- TH E L A U D E FRANCESCA NE A N D T H E DISCI P LIN A TI OF THIRTEENTH CENTURY UM BRIA A N D TUSCANY: A C R IT IC A L STUDY OF THE CORTONA CODEX 91. (VOLUMES I AND I I ) (S tu d ie s in Music, No. 2 1 ). The Catholic University of Am erica, Ph.D., 1965 Music University Microfilms, Inc.. Ann A rb o r. Michigan Copyright by ster M. CyrI I la Borr, F.S.P.A. 1966 THE CATHOLIC UNIVERSITY OF AMERICA Stuoies in Music No. 21 THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 A DISSERTATION Submitted to the Faculty of the Graduate School of Arts and Sciences Of the Catholic University of America In Partial Fulfillment of tne Requirements For the Degree Doctor of Philosophy by Sister M. Cyri I la Barr, F.S.P.A, Washington, D. C. 1965 This dissertation was conducted under the direction of Tkovn(x/> os Major Professor and was approved by ( j t and /C '- y ^ _______ os readers THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 VOLUME I PREFACE Italian music of the middle ages followed a somewhat d if ferent course than did that of northern Europe and England. -
TRADITIO S'füdies in ANCIENT and MEDIEVAL HISTORY, THOUGHT, and RELIGION
c> TRADITIO S'fÜDIES IN ANCIENT AND MEDIEVAL HISTORY, THOUGHT, AND RELIGION Editors EDWIN A. QUAIN CHARLES H. LOHR RICHARD E. DOYLE R. E. KASKE ELIZABETH A. R. BROWN Editors Emeriti STEPHAN KUTTNER ANSELM STRITTMATTER BERNARD M. PEEBLES VOLUME XXXI FORDHAM UNIVERSITY PRESS NEW YORK 1975 MEDIEVAL LITURGICAL BOOKS AT AROUCA, BRAGA, EVORA, LISBON, AND PORTO: SOME PROVISIONAL INVENTORIES Some of the information presented in this catalogue is taken, with a minimum of critical assessment, from sources which must be considered unreliable. A perusal will quickly reveal that the inventories vary in thoroughness and that a few indeed are incomplete. Why then the temerity to publish material which in some respects is inaccurate, inconsistent, and unfinished? Very few published catalogues describe liturgical books in as much detail as is included here and the libraries of Portugal, in common with those of the rest of Europe and North Amertca,! have no catalogues which offer more than a) the type of book (occasionally inaccurate), b) the century (often inaccurate), c) the number of folios, d) the size (often expressed by the approximations of folio or octavo, etc., and e) occasionally, the provenance or Use. This article is accurate as to a), c), d), and can sometimes improve on b) and e). Moreover, it lists the main sections of each book so that the user (and more particularly the user who does not have the book to hand) can tell whether or not his Bre- viary includes the Kalendar, or the Sanctorale, and so on. Most of the inventories also list the contents of each section, giving the folio number on which begin the main feasts of the year, and the main Offices of the saints. -
Humbert of Romans Commentary on the Dominican Constitutions
Humbert de Romans, OP c. 1200-1277 The Fifth Master General of the Order of Preachers Commentary on the Dominican Constitutions translated by Albert G. Judy, OP, MSL, PhD i ii Introduction Humbert of Romans – Life – Chronology Humbert was born around 1200, in the French town of Romans-sur-Isère, south of Lyon. Having completed the study of arts (philosophy) at Paris, he began advanced studies in canon law. He was caught up in the charisma of the new Order of Preachers, which was drawing the most talented and idealistic of young Parisian scholars to its evangelical lifestyle and mission. The story is told how he approached his mentor in canon law, the Paris Master Hugh of St. Cher to notify him of his intention to join the Dominicans. Hugh not only supported Humbert, but followed his student to the Dominicans three months later. Historians agree on Humbert’s basic dates.1 He entered the Dominican novitiate at Paris in November of 1224. After ordination he taught theology in the Dominican priory at Lyon, and soon was elected to leadership roles, first as prior of the convent (c. 1237), and then as prior provincial of the province of Rome (c. 1241-1246). At a crucial historical period for the Order he was chosen as provincial of the province of France (1246-1254). In 1254, the General Chapter of Budapest elected him the fifth master general of the Order. He served in that office for eleven years. He resigned his post in 1263. He died in 1277, and is buried at Valence, near Romans, his birthplace.