DOCSLIB.ORG

The Marian Philatelist, Whole No. 35

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Marian Philatelist, Whole No. 35 University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1968 The Marian Philatelist, Whole No. 35 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 35" (1968). The Marian Philatelist. 35. https://ecommons.udayton.edu/imri_marian_philatelist/35 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. A/la.ria.n Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California, 92667, U.S.A. 2 Whole No. 35 MARCH 1, 1968 I ISSUES i i mas stamp of Spain (Scott 1330). See article i i on page 5 of the January 1, 1966 issue. BRAZIL;(Class 1,6,7). An i i imperf commemorative i i 4F (Class 2) - HOLY FAMILY sheet issued December 27, Ii by Anthony Van Dyck. No 1967 for Christmas. In­ i i information available as to cludes the 5c value plus i i masterpiece depicted or its additional 10d value im­ i i location. perf stamps of OUR LADY OF APARECIDA over BASILI-! 14F (Class 2) - NATIVITY by CA dedicated to her, and i the Master of Moulins. Ori­ i with the "Golden Rose" i ! ginal now in the Rolin Mu­ presented to her August iI seum, Autun. 15, 1967. Sheet inscrib-lj ! ed "Christmas-Jubilee 26F (Class 1) - MADONNA AND j CHILD by Venetian painter Carlo Crivelli. The Year of Our Lady of Apa- I recida-1967." original is in the Jules S. Bache Collection, 1 Metropolitan Museum of Art, New York City. The listing of the Apa- I I recida stamp on page 75 I Illustrations and articles on the IF, 14F and I of November issue indi­ 26F values on page 24. cated a Class 8 for the Basilica. This is a National Shrine, and is being reclassified to DAHOMEY: A 4-stamp Christmas issue released I a "Class 7." December 11, 1967. 30F (Class 1,5) - MADONNA AND CHILD from "The CZECHOSLOVAKIA: (Class 8). Incarnation" panel of the Isenheim Altar by Father Schwanzlberger of Licl Mathis Neithardt, called Mathias Grunewald, tenau, Austria, has informed now in the Unterlinden Museum, Colmar, France, us that the 1,40 Kes. value Class 5 assigned because of the rosary in the in the "Praga 68" issue of Christ Child's hands. October 30, 1967 shows the CHURCH OF MARY'S VISITATION 100F (Class 2) - ______________________ADORATION OF THE MAGI by Ul­ (Monastery of the Sisters of rich Apt the Elder. Wood painting, 4x2-l/6 feet the Visitation) to the left now in the Louvre, Paris. of the Belvedere Palace, Vienna. 200F (Class 2) - ANNUNCIATION panel from the Isenheim Altar. A typographical error was made in listing the 1 Kes. Illustrations and articles on pages 20-21. An value on page 2 of the Janu- article on the Isenheim Altar and Grunewald on ary 1968 issue, Set issued pages 21-22. for PRAGA 1968, and not 1967. ECUADOR: A 6-stamp Christmas issue. Exact date i of release unknown, but believed to be either BURUNDI: A 4-stamp Christmas issue released i i November or December 1967. December 7, 1967, perf and imperf, with souve­ i I nir sheets. Mention should be made that this i r S/0.50 (Class 3m) "Ecuadorian Christmas Carol." country is on the "tread with caution list." i i At upper right, in miniature and barely dis­ I IF (Class 2) - ADORATION OF THE SHEPHERDS by i cernible, is the stable at Bethlehem with a i Juan Bautista Mayno. Original in the Museum at i NATIVITY. i Villanueva y Geltru, near Barcelona. Same de­ i i S/0.10 (Class 2) - HOLY FAMILY. Typical Christ­ sign appeared on the December 1, 1965 Christ- i I mas procession of children, Province of Azuay. -15- The girl represents the BLESSED VIRGIN ECUADOR ««« *2.00 A 1958 Belgium iss­ ue (Scott B635) shows a "Living Crib." This Ecua­ dor issue is also one that shows live people in a relig­ ious tableau repre­ senting a Christmas scene. S/0.10 (Class 1) S/1.30 airmail (Class 1). PIETA by Manuel CORONATION OF THE VIRGIN. Chile (Caspicara). Stamp inscribed as the work of Bernardo Rodriguez Father Vargas’ book 18th century. No further on the Religious Art information available at of Ecuador states present. the original is in the Cathedral of S/1,50 airmail (Class 1). Quito. MADONNA AND CHILD WITH i SAINTS. Stamp inscribed Mention should be i i as a 17th century work by made that Ecuador | an unknown master. No fur- is on the "tread jther information available at present. with caution" list. ■S/2.00 airmail (Class 1). MADONNA AND CHILD. The ■stamp inscribed as a work of Manuel Samaniego, ■18-19th century artist. No additional informa- ■tlon available at present. The sheet shows REPUBLICA DEL the following: ECUADOR: A 6-stamp set, plus perf and imperf) CORPEOS NAC S/3.00 airmail sheets, released as a ""Famous Paintings" ser-|t I (Class 1) THE les. Exact date of release not known i I EUCHARISTIC IMMA- I S/0.80 value (Class 1) i CULADA, inscribed i THE ASSUMPTION. Stamp i as a work by 18th i inscribed as being a i century artist i 17th century work of i Bernardo de Legar- i 2671 Miguel de Santiago. i da. Father Vargas’ Father Vargas’ book con-» book indicates it tains a photograph of is a work by Man­ ECUADOR — i 4.00 this work and indicates uel de Santiago the original is in the and is in the Fran Museum of San Francisco t ciscan Museum. at Quito, and is a scul-t S/4.00 airmail pture by Bernardo de Le-t (Class 1). IMMACU- garda. LATE CONCEPTION. S/1.00 value(Class Stamp inscribed as 1). CHILD MARY AND R EPRODUCCIONES OE PIHTURAS FAMOSAS being a work of HER PARENTS. Stamp Bernardo de Legar- inscribed as being da, 18th century artist. No further data avail­ a work of 18th cen­ able at present. tury Ecuador School. Father Vargas’ book Since our aim is to provide the latest infor­ shows the original mation on issues with a Marian theme, we list in the Museum of San and illustrate them. The choice to buy or not to buy rests with the collector. Francisco, Quito. THE MARIAN PHILATELIST March 1, 1968 LIECHTENSTEIN: (Class 2). Set i i of stamps issued December 7, i i 1967 showing the Patrons of various Liechtenstein church­ i es. The 1.20 value shows the i i VIRGIN MARY BEING TAUGHT BY i i ST. ANNE. St. Anne is the i i Patron of the Vaduz Castle i i Chapel. i i A Class 3m was assigned to t i this stamp when listing it in the January 1, i 6k (Class 8). From right i 1968 issue. After seeing the design, we now i left, View of the Kremlin, i reclassify it to Class 2. i The Secret Tower and the i i CATHEDRAL OF ANNUNCIATION. PANAMA: Released a set of 6 stamps and 2 perf sheets. Date of issue unknown. One of j It appears that the CATHEDRAL OF THE ASSUMP­ the B/0.01 values shows the HOLY FAMILY by j TION is seen at center left on the 12k value Michelangelo (Class 2), also known as the stamp, but identification not certain. The "Tondo Doni." "Tondo" because it is circular}, dominating tower is the Bell Tower of Ivan and "Doni" after the family who commissioned * the Great. the work. The original in the Uffizi, Flor- | UNITED ARAB REPUBLIC: (Class 8). Set of two ence. It is said this is Michelangelo's first} stamps issued December 9, 1967, inscribed "Save painting. Only the Madonna and Child and a { the monuments of Florence and Venice." On the portion of St. Joseph's face appear on the { 80+20 value are stamp. seen a palace and the CATHE­ One sheet contains the following Madonna DRAL OF FLORENCE stamps: dedicated to OUR B/0.01 (Class 2) - ADORATION OF THE SHEPHERDS ! LADY OF THE FLOW by Martin Schongauer. No details available I ERS. The campan­ at present. ile is seen on the right. The magiificent Dome of this Cathe­ BO.21 (Class 2) THE HOLY FAMILY WITH LAMB by I dral is by Brunelleschi. Michelangelo, at the Raphael. Probably from the Prado copy, how- [ time engaged in drawing plans for St. Peter's, ever, copies are also found at Florence, Mi- j was asked what he thought of this Dome; he re­ lan, Pavia and Paris. Entire work reproduced j plied: "I will make Florence a sister dome, on the stamp. larger, yes - but not more beautiful." The second sheet contains only one Madonna: } The Cathedral was begun in 1296 and consecrated B/0.21 (Class 2) REPOSE ON THE FLIGHT INTO I in 1436. Facade completed in 1887. It is 555 EGYPT by Caravaggio. The original in the { feet long and 340 feet wide. Its name stems Doria Gallery, Rome. Only the Madonna and I from the lily in the city's coat-of-arms put Child and part of serenading angel appear on I there due to a tradition that Florence was the stamp design.
Load more

Recommended publications
  • The Feast of the Annunciation
    1 Pope Shenouda III series 5 THE FEAST OF THE ANNUNCIATION BY HIS HOLINESS AMBA SHENOUDA III, POPE AND PATRIARCH OF ALEXANDRIA AND OF THE APOSTOLIC SEE OF ALL THE PREDICATION OF SAINT MARK Translated from the Arabic first edition of April 1997 Available from: http://www.copticchurch.net 2 All rights are reserved to the author His Holiness Pope Shenouda III Pope and Patriarch of the See of Alexandria and of all the Predication of the Evangelist St. Mark Name of the book: The Feast of the Annunciation Author: His Holiness Pope Shenouda III Editor: Orthodox Coptic Clerical College, Cairo First Edition: April 1997 Press: Amba Rueiss, (Offset) - The Cathedral - Abbassia Deposition number at "The Library": 97 / 475 977 - 5345 - 38 In the Name of the Father, the Son, and the Holy Spirit, the One God, Amen. You will read in this pamphlet about the Annunciation of the Nativity of Christ, glory be to Him, and the annunciations which preceded and succeeded it. It is the annunciation of salvation for the world. It is the first feast of the Lord. It is an annunciation of love, because the reason of the Incarnation and Redemption is the love of God for the world. The Lord Christ has offered to us rejoicing annunciations and has presented God to us as a loving Father. What shall we then announce to people? Let there be in your mouths, all of you, a rejoicing annunciation for everybody. Pope Shenouda III 3 The feast of the Annunciation comes every year on the 29th of Baramhat.
    [Show full text]
  • American Art Museum Resources
    Teachers ART RESOURCES The ART OF ROMARE BEARDEN Teacher Packets include a printed booklet with in-depth back- ground information, suggestions for student activities, supple- mental image CDs , and often with color study prints, timelines, and bibliographies. AN EYE FOR ART Focusing on Great Artists and Their Work Teaching Packet SK 651 This family-oriented resource brings together in one lively, activity-packed book a selection of forty art features from the National Gallery of Art’s popular quarterly NGAKids. Each feature introduces an artist and several works from the Gallery’s collections and is paired with activities to inspire crea- tive writing, focused looking, and artistic development in children ages 7 and up. Seven child- friendly chapters ranging from studying nature to breaking traditions are populated with a wide spectrum of artists, art mediums, nationalities, and time periods. This is an attractive gathering of art and information from the nation’s collection that lends itself to family enjoyment, classroom in- struction and homeschooling for the young. Artist include: Giuseppe, Romare Bearden, Osias Beert the Elder, George Bellows, Alexander Calder, Canaletto, Mary Cassatt, Chuck Close, John Constable, Jasper Francis Cropsey, Edgar Degas, Andre Derain, Dan Flavin, Angelico Fra, Filippo Lippi Fra, Paul Gauguin, Vincent Van Gogh and many more. Includes (20) paintings. SK 652 Art & Origin Myths, Heroes * Heroines, Ecology, and 19th Century America Four lessons—Greco-Roman Origin Myths, Heroes & Heroines, Art & Ecology, and 19th-Century America in Art & Literature—are tied to national curriculum standards. The packet includes pre- lesson activities, worksheets, student handouts about works of art and maps, and assessment and follow-up activities.
    [Show full text]
  • The Marian Philatelist, Whole No. 45
    University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 11-1-1969 The Marian Philatelist, Whole No. 45 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 45" (1969). The Marian Philatelist. 45. https://ecommons.udayton.edu/imri_marian_philatelist/45 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. ‘dhe Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 224 Wsst Crystal View Aeeuee W. J. Hoffman Editor Canne, . Califrrnia '92667 , U.S.A. Vol. 7 No. 6 Whole No. 45 NOVEMBER 1, 1969 All data available to the time we went to 12C - (Class 2), ADORATION OF THE KINGS by press Vs listed even though stamps were not Gerard David (0.1460-1523). Almost entire available for illustration. painting reproduced. Original is wood, 23­ 1/2 x 23 inches, in the London National Gall­ NEW ISSUES ery. ANGUILLA: A 4-stamp Christmas issue released October 15, 1969. Designed by Victor Whitley 15C - (Class 2), ADORATION OF THE KINGS by based on stained glass windows ^Victoria and Vincenzo Foppa (c.1427-c.1515). Almost entire Albert Museum, London: painting seen on stamp. Original is wood, 6c,35c - (Class 2) ADORATION OF THE MAGI, by 94 x 83 inches, in the London National Gallery Guglieme de Marc^lat, with the arms of Pope Leo X, from the Cathedral of St.
    [Show full text]
  • Isenheim Altarpiece Restoration Finally Back on Track After Public Outcry
    AiA Art News-service Isenheim Altarpiece restoration finally back on track after public outcry More than 30 conservators will treat paintings and sculptures, seven years after French culture ministry halted reckless cleaning of two panels VINCENT NOCE 7th November 2018 10:45 GMT The painted panels will be restored at Colmar’s Unterlinden Museum Photo: Ruedi Walti; © Musée Unterlinden Seven years after halting an unorthodox restoration of the Isenheim Altarpiece, French conservators have resumed work on the celebrated northern Renaissance polyptych in the hope of getting it right this time. It took only six days in 2011 for two restorers with a cloth to strip the varnish off a painted panel depicting the Temptation of Saint Anthony and to revarnish it. They then started to repeat the process on half of Saint Anthony Visiting Saint Paul. Launched before a major expansion of the Unterlinden Museum in the Alsatian region of Colmar, where the altarpiece is housed, the work was not preceded by a scientific examination. When the online magazine La Tribune de l’Art and the newspaper Libération expressed alarm at the speed of the intervention, the ensuing indignation prompted France’s culture ministry to step in and halt the pair. A study that began in 2013 concluded that no real damage had been done to the 1512-16 painting, regarded as the masterpiece of the German artist Mathis Gothart-Nithart, called Matthias Grünewald by art historians. It was a close call, nonetheless. The varnish had been left almost untouched in the darker parts but wiped off in the clearer sections.
    [Show full text]
  • The Nativity of Our Lord Jesus Christ Festival Holy Eucharist Dear Friends, Merry Christmas! We’Re So Glad You’Ve Joined Us Here for a Cathedral Christmas
    The Nativity of our Lord Jesus Christ festival holy eucharist Dear friends, Merry Christmas! We’re so glad you’ve joined us here for a Cathedral Christmas. Please know that the doors of this Cathedral are always open to you, and that everyone has a home here in this house of prayer for all people. During this busy time of year, I sometimes wonder what draws people to church, especially for those who rarely or never go to church for the rest of the year. There are so many demands on our time, and the places we go or the people we visit say something about what’s important. So why do churches tug on our heartstrings at this time of year? The Christmas story, at its core, is about that moment in time when God chose to dwell among us. In the church, we call it the Incarnation. Christmas is about that moment when God came closest to us, when the veil between heaven and earth slipped away and we could see and touch the very face of God. I think churches are the same way, or at least we try to be. In this glorious Cathedral, where the majestic space draws our eyes toward Heaven, we get a glimpse of that moment when God comes close. If you pause for a moment, you can feel the same sense of the incarnate God, Emmanuel, God with us. This is a place where God feels close. Maybe that’s why you’re here, in this Cathedral, this Christmas. However you got here or whatever drew you here, thank you for letting us share that experience with you, and for joining us to encounter God anew at Christmas.
    [Show full text]
  • Download the Press
    PRESS KIT www.tourisme-colmar.com PAYS DE COLMAR Summary Press service caring for you 3 Lovely Colmar 4 Tourism in Colmar 5 Not to be missed ! 6 History 7 Wander around 9 Discover Colmar differently 10 Museums 12 100% Alsace Shopping! 18 For dinner 20 Accommodation 21 An event for each season ! 22 To go further 26 How to find us ? 27 2 Press service caring for you To facilitate the organization of your reports the press service of the Tourist Office is at your disposal. We listen to you to create a program in line with your expectations. Accommodation, catering, visits... Our service takes care of you for a custom home. Presse contact [email protected] - 0033 3 89 20 69 10 3 Lovely Colmar « Colmar is a condensed version of Alsace in all that is most typically Alsatian » Identity card It is no longer necessary to extol the charms of Colmar : timbered houses, canals, pedestrian town center with many flowers and good food ... Condensed of an idyllic Prefecture of Upper-Rhin Alsace, the capital of Alsace the wines is the guardian of a lifestyle that you need to Capital of Centre-Alsace discover! 67 214 inhabitants 66.57 km² Colmar offers the intimacy of a small town combined with a rich heritage and culture. 3rd city of Alsace (population) Nestled at the foot of the vineyard, at the crossroads of major European roads, the city with multicolored houses is also the birthplace of sculptor Bartholdi, father of the Folwers city : 4 stars famous Statue of Liberty in New York and was born Hansi, the best known illustrators Climate : semi-continental of Alsace.
    [Show full text]
  • December 12, 2018, Feast of Our Lady of Guadalupe
    Volume 23, Issue 4 — December 12, 2018 Your witness is alsoDec importantember 12to ,your 2018 bishop Feast and of his Our presbyterate Lady of as Guadalupe they seek renewal in their response To the Members of the United States Association of Consecrated Virgins, At the recent gathering of the United States Conference of Catholic Bishops most of our conversation was about the abuse crisis and the failure of the bishops to act or to hold one another accountable. The candor among the bishops was quite amazing and healthy. When I have explained the situation to folks in the diocese, I often phrase it this way, in three categories. First of all, regarding the abuse of minors the dioceses have done a good job of creating the 2002 Charter and all that followed from that, such that our environments are quite safe. The vast majority of reports coming after 2002, including the Pennsylvania report, deal with matters which happened prior to 2002. That does not mean that there will not be sin in the future, but our safe environments have hopefully reduced that possibility greatly. Now the graphic descriptions of what happened prior to 2002 are awful as is any abuse of a minor and the wounds in the lives of those folks are permanent, especially the spiritual wounds. Secondly, we have the Archbishop McCarrick situation. Bishops were not included in the 2002 Charter, as I understand it, due to an intervention by Rome, since Bishops could only be corrected or removed by Rome. The USCCB meeting was meant to address that situation, but as you Inside this Issue Page know, decisions regarding those documents have been delayed until after the February meeting in Rome with the Something Ancient- Pope and the presidents of the various Conferences of Something New 2 Bishops from around the world.
    [Show full text]
  • Art in the Stages of Suffering and Death Joanna Aramini College of the Holy Cross, [email protected]
    College of the Holy Cross CrossWorks Visual Arts Department Student Scholarship Visual Arts Department 12-15-2018 Art in the Stages of Suffering and Death Joanna Aramini College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/ visual_arts_student_scholarship Part of the Arts and Humanities Commons, Art Therapy Commons, and the Pain Management Commons Recommended Citation Aramini, Joanna, "Art in the Stages of Suffering and Death" (2018). Visual Arts Department Student Scholarship. 1. https://crossworks.holycross.edu/visual_arts_student_scholarship/1 This Thesis is brought to you for free and open access by the Visual Arts Department at CrossWorks. It has been accepted for inclusion in Visual Arts Department Student Scholarship by an authorized administrator of CrossWorks. Art in the Stages of Suffering and Death Joanna Aramini December 15, 2018 Abstract: There has always been a strong link between art and the study of science and medicine, ​ and one of the most iconic images of suffering and death in history to date is Christ suffering on the cross. In this thesis, I examine if and how art can make it possible to transcend human pain and overcome suffering, especially in our modern society where pain is seen as something we cannot deal with, and where we look to medicine and prescriptions to diminish it. I argue that art in the states of suffering and death, closely examining Michelangelo’s La Pieta and Grunewald’s Isenheim Altarpiece, can provide a model as a response to pain. For all their differences in composition and artistic style, Michelangelo and Grunewald’s works of art encourage their viewers to focus on pain as a distinctly human experience, in which hope and peace can be found.
    [Show full text]
  • The Word Made Visible in the Painted Image
    The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in
    [Show full text]
  • DX225792.Pdf
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Olivier Messiaen and the culture of modernity Sholl, Robert The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Olivier Messiaen and the Culture of Modernity Robert Peter Sholl Submitted in fulfilment of the requirements of King's College, University of London, for the degree of PhD. 2003 BL UNW. Robert Sholl Précis Olivier Messiaen and the Culture of Modernity This study interprets the French composer Olivier Messiaen as a religious modernist with a view to revealing a new critical perspective on the origin, style and poetics of his music and its importance in the twentieth century.
    [Show full text]
  • Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, DOI 10.1007/978-3-319-47476-2 BIBLIOGRAPHY
    CODA PARTICIPATING IN SYMBOLS OF DEATH Like Nicholas Love’s Mirror, The Somonyng of Everyman is adapted from a Continental text, in this case from the Dutch Elckerlijc. As reading matter designed to appeal to the merchant and artisan classes in an urban setting, Everyman invokes neither pastoral nor monastic contemplation but rather invites participation through an imaginative confrontation with Death and subsequent pilgrimage leading to entry into the grave. The study of Everyman in terms of participation in the symbols of death and dying can serve as an appropriate capstone to the present volume, hence originally intended to be a final chapter. The essay can be accessed at https://works.bepress.com/clifford_davidson/265. © The Author(s) 2017 111 C. Davidson, Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, DOI 10.1007/978-3-319-47476-2 BIBLIOGRAPHY Alexander, Jennifer. “Coventry Holy Trinity Wall Painting.” EDAM Newsletter 11 no. 2 (1989): 37. Alkerton, Richard. [Easter Week sermon, 1406.] British Library, Add. MS. 37677. Allen, Hope Emily, ed. English Writings of Richard Rolle. 1931; reprint, Oxford: Clarendon (1963). ——— and Sanford Brown Meech, eds. The Book of Margery Kempe. EETS, o.s. 212. London: Oxford University Press (1940). Anderson, M. D. The Imagery of British Churches. London: John Murray (1955). Arbismann, Rudolph. “The Concept of ‘Christus Medicus’ in St. Augustine.” Traditio 10 (1954): 1–28. Ashley, Kathleen, and Pamela Sheingorn. Interpreting Cultural Symbols: Sainte Anne in Late Medieval Society. Athens: University of Georgia Press (1990). Aston, Margaret. England’s Iconoclasts I: Laws Against Images. Oxford: Clarendon Press (1988). Augustine of Hippo, St.
    [Show full text]
  • A New and Larger Musée Unterlinden 12Nd December 2015
    A new and larger musée Unterlinden 12nd December 2015 The Unterlinden Museum Expansion Project (Summer 2012 – December 2015) The Musée Unterlinden is currently at work on an innovative reinstallation of its collections, which also involves a considerable expansion of its exhibition space, designed by the renowned architecture practice Herzog & de Meuron, and the Monuments Historiques for the renovation work in the former convent. The former convent and Colmar’s municipal baths are being refurbished and redesigned for the installation of the museum’s collection of ancient art as well as areas to accommodate special events, while a new, copper-sheathed brick building will house its modern and contemporary art collections on two levels, with a third devoted to temporary exhibitions. An underground gallery connecting the former convent to the new structure will feature a panoramic survey of art from the 19th and early 20th centuries. Design team The museum is currently in the midst of a major renovation and expansion project, to be completed by the end of December 2015 and designed by the world-renowned architecture practice Herzog & de Meuron, in collaboration with the senior heritage architect Richard Duplat, whose practice is listed with Monuments Historiques, the French government commission for the protection of historical monuments. Honoured with the Pritzker Architecture Prize in 2001, Herzog & de Meuron’s achievements include the celebrated “Bird’s Nest” stadium built for the 2008 Beijing Olympics, the Tate Modern in London, the Park
    [Show full text]