Pope Joan by Andrew Matzner
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Holy Wars: the Origins and Effects of the Crusades
HOLY WARS: THE ORIGINS AND EFFECTS OF THE CRUSADES HELEN STEELE In the late 11th century, circumstances converged to This culminated in the Investiture Controversy which create the Crusades, the series of military expeditions to made relations between pope Gregory VII and Henry IV so fight the armies of Islam in the Holy Land. Papal interest poor that Gregory excommunicated the Emperor. In the in expanding the influence of the Vatican in secular light of these problems and the continuing furore over the matters in Western Europe and in gaining influence in the reforms of the church he had encouraged, Gregory was Eastern Roman Empire caused first Gregory VII then unable to persuade the nobility of Europe to go on Urban II to call for crusades against the moslems. In a Crusade, although he did try. In 1074, he wrote: “a pagan society wracked with violence, the possibility of sending race [has] overcome the Christians and with horrible restless landless knights to fight for the Cross – and for cruelty had devastated everything almost to the walls of precious land – in the East, seemed an extra benefit. Constantinople […] If we love God and wish to be Individual reasons for crusading varied: deep piety, recognized as Christians, […] we should lay down our military adventurism, the lure of absolution and desire to lives to liberate them” (Thatcher, “Gregory VII”). Gregory appease the church all seemed to be factors; as the was a great inspiration to the next pope Urban II and crusades passed, the intent of many of the crusaders doubtless Urban was thinking of his mentor when he became more secular and less pious and this culminated in devised his own call for a crusade. -
The Presentation of the Virgin in the Temple
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Paolo di Giovanni Fei Sienese, c. 1335/1345 - 1411 The Presentation of the Virgin in the Temple 1398-1399 tempera on wood transferred to hardboard painted surface: 146.1 × 140.3 cm (57 1/2 × 55 1/4 in.) overall: 147.2 × 140.3 cm (57 15/16 × 55 1/4 in.) Samuel H. Kress Collection 1961.9.4 ENTRY The legend of the childhood of Mary, mother of Jesus, had been formed at a very early date, as shown by the apocryphal Gospel of James, or Protoevangelium of James (second–third century), which for the first time recounted events in the life of Mary before the Annunciation. The iconography of the presentation of the Virgin that spread in Byzantine art was based on this source. In the West, the episodes of the birth and childhood of the Virgin were known instead through another, later apocryphal source of the eighth–ninth century, attributed to the Evangelist Matthew. [1] According to this account of her childhood, Mary, on reaching the age of three, was taken by her parents, together with offerings, to the Temple of Jerusalem, so that she could be educated there. The child ascended the flight of fifteen steps of the temple to enter the sacred building, where she would continue to live, fed by an angel, until she reached the age of fourteen. [2] The legend linked the child’s ascent to the temple and the flight of fifteen steps in front of it with the number of Gradual Psalms. -
Christopher White Table of Contents
Christopher White Table of Contents Introduction .................................................................................................................................................. 4 Peter the “rock”? ...................................................................................................................................... 4 Churches change over time ...................................................................................................................... 6 The Church and her earthly pilgrimage .................................................................................................... 7 Chapter 1 The Apostle Peter (d. 64?) : First Bishop and Pope of Rome? .................................................. 11 Peter in Rome ......................................................................................................................................... 12 Yes and No .............................................................................................................................................. 13 The death of Peter .................................................................................................................................. 15 Chapter 2 Pope Sylvester (314-335): Constantine’s Pope ......................................................................... 16 Constantine and his imprint .................................................................................................................... 17 “Remembering” Sylvester ...................................................................................................................... -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
A BRIEF HISTORY of the PAPACY by John Judy (Written Mid-April
A BRIEF HISTORY OF THE PAPACY By John Judy (Written mid-April 2005 for “Big News.”) MICHAEL Any day now the College of Cardinals will be choosing a new Pope. White smoke will billow out into Saint Peter's Square signaling that the Holy Mother Church has discovered fire. I'm kidding. The Catholic Church has long since acknowledged the existence of fire and has used it on more than a few occasions. If you don't believe me, ask a heretic. If you can find one! (Did I mention John Paul II once issued a formal apology to Prometheus? True story...) In any case, we Big News Catholics don't want the rest of you sinners to spend the next week in complete ignorance of our glorious heritage and the intricate, infallible goings- on of our higher-ups. With that in mind we now present a brief history of the papacy, or, as we call it: "The Vatican Highlight Reel!" MATT There have been 265 Popes since Jesus chose Saint Peter to be the rock on which he founded his church in 32 A.D. SAINT PETER Numero Uno, baby! Pearly gates in the house! MATT According to Catholic tradition, Peter brought Christianity to Rome although it was there well before Peter arrived. SAINT PETER We were in previews out of town, man. MATT And once he was in Rome, Peter didn't serve as any kind of bishop or leader. SAINT PETER It was casual. Why you doggin' me, Boo? MATT Saint Sixtus, the seventh Pope, was the first Pope known to be the son of a Priest. -
Duomo (The Cathedral)
Guide to Siena and the Senese: www.siena-guide.com DUOMO (THE CATHEDRAL) Although the Duomo is in full use as Siena’s cathedral, it is also treated as a tourist attraction and entry is by ticket, which can be purchased from the ticket office by the Museum of the OPA. Separate tickets are needed for the Baptistery and Crypt, even though they are part of the Duomo. A three-day combined ticket that allows you entry to the Baptistery, Crypt, OPA museum and Oratorio San Bernardino (the latter not always open) is very good value. Within the Duomo there are wooden barriers herding tourists around in a circuit and away from the famous pavements. Duomo, Crypt and Baptistery are usually open from 10.30, but entry to the Duomo depends on what religious services are taking place. Go early to avoid the masses. This is one of Italy's great cathedrals, but as a building curiously unsatisfactory; indeed to many hideously ugly. Ruskin, in the 1880s, described it as "every way absurd - over-cut, overstriped, over- crocketed, over-gabled, a piece of costly confectionary, and faithless vanity". William Beckford, in the 18th century, wrote of his visit to Siena: "Here my duty of course was to see the cathedral, and I got up much earlier than I wished in order to perform it. I wonder that our holy ancestors did not choose a mountain at once, scrape it into tabernacles, and chisel it into scripture stories. It would have cost them almost as little trouble as the building in question, which may certainly be esteemed a masterpiece of ridiculous taste and elaborate absurdity. -
Chronicle of the Kings of Rome, Roman Emperors, Holy Roman Emperors, and Popes in Italian, Manuscript on Paper Italy (Florence?) Between 1542 and 1549
Chronicle of the Kings of Rome, Roman Emperors, Holy Roman Emperors, and Popes In Italian, manuscript on paper Italy (Florence?) between 1542 and 1549 50 + i paper folios, single watermark in gutter throughout of a sun with conjoined eyes and nose and six thick rays, centered over chain line, unmatched in Briquet, Piccard, or Gravell but somewhat similar to Briquet 13953 (Pisa 1576) and Gravell SUN.002.1 (Italy 1592), quires gathered in two booklets with original Arabic numeral foliation from 1- 20 and 1-30 (identified below as ‘B1’ and ‘B2’) in brown ink in upper recto corners, many blank folios but complete (i- v10), both booklets supported at spine with strips of paper with the second booklet’s strip extending into a narrow flyleaf at back, unruled and written almost from gutter to outer edge (justification c. 180 x 140 mm.) in 24-26 lines in dark brown ink by a single scribe in a rapid and imperfect Italian semi-hybrida (mercantesca), no catchwords, signatures, rubrics, nor decoration, occasional minor stains from damp, primarily at edges, and some insignificant chipping or gnawing at edges, (e.g. bottom corner of B1, f. 3), no damage to text and overall in very good condition, original folder binding made from a recycled late fourteenth- or fifteenth-century parchment folio holding an unidentified text written in a tidy Italian semi-hybrida (mercantesca) with a red and blue two-line initial on inside back cover, quires sewn together with white thread and tacketed to the folder binding at head and tail of spine with twisted parchment cord, twentieth-century stamp-sized label, partially removed, reading ‘33’affixed to front cover at bottom near spine, some small holes, tears, and gnawing at edges, but otherwise in good condition. -
Ad Utriusque Imperii Unitatem? Anastasius Bibliothecarius As a Broker Between Two Cultures and Three Courts in the Ninth Century
Ad utriusque imperii unitatem? Anastasius Bibliothecarius as a Broker between Two Cultures and Three Courts in the Ninth Century Clemens Gantner* In 870, Anastasius, former (and later once again) librarian of the papal bibliotheca and chan- cellery, well-known erudite and former anti-pope, reached the pinnacle of his career as a diplomat. While exiled from Rome for a crime committed by his cousin, he was an important member of a mission sent to Constantinople by the Carolingian emperor and lord of Italy Louis II. He was sent there to negotiate a marriage alliance between Louis’s daughter and only surviving child Ermengard and a son of the upstart Byzantine emperor Basil I, which was ultimately to serve to bind the two empires together in the fight against the Saracens, southern Italy and Sicily. While there, Anastasius also joined the papal delegation at the Eighth Ecumenical Council, which was there in the pope’s stead to formally depose Patriarch Photius and negotiate the case of Bulgaria. We thus see Anastasius as a diplomat and cultural broker between Latin and Greek ecclesiastic and lay culture and between three courts. He composed a letter about his dealings in the East for Pope Hadrian II in 870, and thus we have an invaluable first-hand eyewitness account. While most negotiations started in 869 and 870 between the East and the West ultimately failed or were rendered pointless by political change, Anastasius shows us that 870 was a great chance for all sides. And while most parties involved lost something by the failure of the exchanges, Anastasius himself regained and kept a powerful position in the papal administration once again. -
The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England Craig M
The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England Craig M. Rustici http://www.press.umich.edu/titleDetailDesc.do?id=135037 The University of Michigan Press the afterlife of pope joan The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England Craig M. Rustici http://www.press.umich.edu/titleDetailDesc.do?id=135037 The University of Michigan Press he Afterlife of ope oan Deploying the Popess Legend in Early Modern England Craig M. Rustici The University of Michigan Press Ann Arbor The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England Craig M. Rustici http://www.press.umich.edu/titleDetailDesc.do?id=135037 The University of Michigan Press Copyright © by the University of Michigan 2006 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2009 2008 2007 2006 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rustici, Craig M., 1964– The afterlife of Pope Joan : deploying the Popess legend in early modern England / Craig M. Rustici. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-472-11544-0 (cloth : alk. paper) ISBN-10: 0-472-11544-8 (cloth : alk. -
Bulgarini, Bartolomeo Also Known As Bulgarino, Bartolomeo Di Italian, C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Bulgarini, Bartolomeo Also known as Bulgarino, Bartolomeo di Italian, c. 1300 - 1378 BIOGRAPHY Bartolomeo Bulgarini was one of the most renowned Sienese painters in the decades spanning the mid-fourteenth century. According to Giorgio Vasari (Florentine, 1511 - 1574) (though he wrongly transcribed his name), he was a disciple of Pietro Lorenzetti (Sienese, active 1306 - 1345), “who wrought many panels in Siena and other places in Italy.”[1] Documents mentioning Bartolomeo appear no earlier than 1338 when, as in various succeeding years, he received payments for having painted the wooden covers of the account books of the office of the Biccherna, or Treasury, in Siena (so-called tavolette di Biccherna). A Pistoian document of c. 1348–1349 cites him among the best Tuscan painters of the period.[2] Various commissions (pictura unius tovaglie) for the Palazzo Pubblico, seat of communal power in Siena, in 1345, the painting of a Madonna for a city gate, the Porta Camollia, in the same city in 1349, and appointment to official posts (including an advisory role, in 1362, together with two other painters, in supervising the moving of Duccio’s Maestà to another site within the cathedral) confirm the prestige he must have enjoyed in Siena. In 1370, Bartolomeo became an oblate (lay member) of the Ospedale di Santa Maria della Scala, for which he executed and signed an altarpiece in 1373. Another altarpiece, which had remained unfinished at the time of the artist’s death, was delivered to another painter to complete in 1379. -
Composers and Music for Worship
Composers and Music for Worship e don’t know who wrote a lot of the music notes, howling like dogs.” Bishops at the Council of Trent used in the early Church, and we have no worried about any music sung in parts, saying that “it idea who thought up most of the body of delights the ear more than the mind . .” Of course, they music called “Gregorian chant.” But we do also worried about cantors and choir members singing Wknow this: From its earliest days, the Church has needed monophonic music who “do not even know one note composers because, from its earliest days, the Church from another . and are in fact unskilled in any phase has sung its worship. of music.” When you write music for the Church, especially music New times and new musical styles have always brought that sets the liturgical texts, you face a challenging—even change in Church music and challenges to the status daunting—task. Certainly the music has to be good, but quo. When missionaries reached the Americas and the it has to do more. It has to express the text in a way that Far East in the sixteenth century, they affirmed the sung allows and even encourages people to sing these words nature of Catholic liturgy by adapting its music to fit the as prayer—and that’s a mighty challenge because people new situation. Pope Clement XII (1730–1740) permitted have different ideas about what prayer is and what it a new form of chant in “the Hispanias and India,”and sounds like, and so they have different ideas about what Pope Benedict XIV (1740–1758) had to come to terms with music best expresses prayer. -
Bulgarini, Bartolomeo Also Known As Bulgarino, Bartolomeo Di Italian, C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Bulgarini, Bartolomeo Also known as Bulgarino, Bartolomeo di Italian, c. 1300 - 1378 BIOGRAPHY Bartolomeo Bulgarini was one of the most renowned Sienese painters in the decades spanning the mid-fourteenth century. According to Giorgio Vasari (Florentine, 1511 - 1574) (though he wrongly transcribed his name), he was a disciple of Pietro Lorenzetti (Sienese, active 1306 - 1345), “who wrought many panels in Siena and other places in Italy.”[1] Documents mentioning Bartolomeo appear no earlier than 1338 when, as in various succeeding years, he received payments for having painted the wooden covers of the account books of the office of the Biccherna, or Treasury, in Siena (so-called tavolette di Biccherna). A Pistoian document of c. 1348–1349 cites him among the best Tuscan painters of the period.[2] Various commissions (pictura unius tovaglie) for the Palazzo Pubblico, seat of communal power in Siena, in 1345, the painting of a Madonna for a city gate, the Porta Camollia, in the same city in 1349, and appointment to official posts (including an advisory role, in 1362, together with two other painters, in supervising the moving of Duccio’s Maestà to another site within the cathedral) confirm the prestige he must have enjoyed in Siena. In 1370, Bartolomeo became an oblate (lay member) of the Ospedale di Santa Maria della Scala, for which he executed and signed an altarpiece in 1373. Another altarpiece, which had remained unfinished at the time of the artist’s death, was delivered to another painter to complete in 1379.