ENGRAVING "THE TRIUMPH OF OUR LADY" IN THE PARIS BOOK OF HOURS BY GEOFFROY TORY. IS IT A PAGAN PARADE OR CHRISTIAN PANEGYRIC?

2021 ◽  
pp. 114-125
Author(s):  
Olga V. Subbotina ◽  
Keyword(s):  
Subject Matter ◽  
Virgin Mary ◽  
National Library ◽  
Prayer Book ◽  
Hypnerotomachia Poliphili ◽  
The Hours ◽  
Book Of Hours ◽  
Francesco Petrarch

The article focuses on the engraving “The Triumph of Our Lady” from the Book of Hours by Geoffroy Tory, 1531, kept in the collection of the Russian National Library in St. Petersburg. That woodcut precedes the Hours of the Virgin Mary section, and complements the main row of images, most of which are related to the Mariological theme. An attempt is made to study possible sources for the rare iconography. Both Hypnerotomachia Poliphili (The dream of Poliphilus) by Aldus Manutius, Venice, 1499 and The Triumphs (I Trionfi) of Francesco Petrarch are considered. The author also takes into account the printed products of Tory himself, such as: “Champ fleury” (Flowery fields), 1529, Triumphal Entry of Eleanor of Austria, 1531. The iconography of the engraving displays the elaborately developed in Italian painting and drawing scheme of Roman triumphs of emperors and pagan gods. It also includes the visual impressions of theatrical and religious ceremonies, solemn entrances that Tory could witness. But those patterns were transformed and given a new Christian subject matter related to the glorification of the Virgin Mary. That corresponded to both the type of a prayer book (BVM) and the section the engraving preceded.

“Imaige A La Vierge Marie” The Hours of Mary Of Burgundy, Her Marriage, and Her Painter, Hugo Van Der Goes

2020 ◽  
Vol 61 (1) ◽  
pp. 19-53
Author(s):  
Anna Eörsi
Keyword(s):  
Multiple Comparisons ◽  
Virgin Mary ◽  
Roman Emperor ◽  
Trompe L'oeil ◽  
Number Of Factors ◽  
Before And After ◽  
The Hours ◽  
Book Of Hours ◽  
Made In

AbstractThe Vienna Hours, illuminated by the artist known as the “Master of Mary of Burgundy”, was originally commissioned by Margaret of York. The later parts of the manuscript commemorate the love and marriage between Mary of Burgundy and Maximilian of Habsburg, and their (newborn or expected) child.The miniatures and texts in question convey the same idea expressed on several occasions by the official historian, Jean Molinet: in the Burgundian court, the duchess was venerated as the Virgin Mary (and in consequence of this, Maximilian – and Philip – came to be revered as the Saviour, and Frederick III, Holy Roman Emperor, as the Father). Underlying the tendency to identify Mary of Burgundy with the Virgin Mary was the situation of Burgundy and its heiress, which was understood by means of salvation-historical analogies. In the book of hours, the figures of the two Marys are conflated several times in a variety of ways (fols. 14v, 19v, 43v, 94v, 99v). The hymn in praise of the heavenly joys of the Virgin Mary, which is organically related to the frontispiece image, is thus (also) a chanted sequence for the eternal beatitude of the young bride. The painter conjured up the imaginary figure of Maximilian in the foreground of the two miniatures with window scenes, while the jewels in the border around the image of the Crucifixion scene allude to Margaret of York. These miniatures have a playful tone (as evidenced by the role-swapping between the Marys, the book-within-a-book, picture-within-a-picture, vision-within-a-vision, trompe l’oeil solutions, and the complex dialogue between objects, materials and locations).There are a number of factors supporting the argument that the miniatures, hitherto attributed to the Master of Mary of Burgundy, were illuminated by Hugo van der Goes, who was a resident of the Red Cloister at the time, and that he was commissioned by the Austrian Archduke. The date of 1478 is rendered likely by stylistic and biographical factors (the paintings Hugo made in the cloister, both before and after, his later illness, the visit of Maximilian, the birth of Philip the Handsome). It was also at this time that Jean Molinet wrote Le Chappellet des dames, which makes multiple comparisons between the duchess and the Virgin Mary, and whose imagery is often echoed in the folios of the Vienna Hours. It is possible that the first (co-)owner of the manuscript was Maximilian of Habsburg.

From the Tower of London to the Thomas More Society of Buenos Aires: “Give me thy grace, good Lord, to set the world at nought”

Moreana ◽  
2005 ◽  
Vol 42 (Number 164) (4) ◽  
pp. 187-206
Author(s):  
Clare M. Murphy
Keyword(s):  
Buenos Aires ◽  
Short History ◽  
Thomas More ◽  
Tower Of London ◽  
Hebrew Poetry ◽  
Prayer Book ◽  
The World ◽  
History Of ◽  
Book Of Hours ◽  
Almost All

The Thomas More Society of Buenos Aires begins or ends almost all its events by reciting in both English and Spanish a prayer written by More in the margins of his Book of Hours probably while he was a prisoner in the Tower of London. After a short history of what is called Thomas More’s Prayer Book, the author studies the prayer as a poem written in the form of a psalm according to the structure of Hebrew poetry, and looks at the poem’s content as a psalm of lament.

The Prayer-Book Roots of Griffith Jones's Evangelism*

2020 ◽  
Vol 6 (1) ◽  
pp. 1-19
Author(s):  
John Harding
Keyword(s):  
Church Of England ◽  
National Library ◽  
Book Of Common Prayer ◽  
Prayer Book ◽  
Predominant Component ◽  
Or Practice ◽  
Common Prayer ◽  
The Church

This article discusses Griffith Jones (1683–1761) an influential Church of England rector in West Wales from 1711, who is usually described as a precursor of Welsh Methodism and Evangelicalism. It refers to an undated, damaged notebook, in the National Library of Wales, containing sermon notes in Jones's own hand. The article seeks to trace the source of his evangelistic outlook, noting his conformist loyalty to the Church of England's doctrine, order and worship. Contrary to the opinion which attributes his pursuit of evangelism, with its seeking of conversions, to supposed Puritan influences, the article shows that the Book of Common Prayer was its inspiration. Preaching is discussed as the predominant component of worship. Jones's thought as a popular evangelist is examined, with reference to the brief sermon outlines in Welsh. The article discusses Jones's view of the defiance of Christian standards and ignorance of the faith, in Wales. Jones's practice was to summon people to faith. He preached this to those within the 'visible' national Church, which included infants, adding a strong demand for moral conformity. His concept of 'membership' was not postEnlightenment voluntarism, but of a statutory and biblical duty. For Griffith Jones the liturgy was not a disincentive to piety, contrary to some Dissenters' misgivings. His wish was for spiritual and moral renewal, not further reformation of Anglican doctrine or practice. He saw catechizing as a means against schismatical vagaries. His famous Circulating Schools reinforced this policy.

Mary in Medieval Prayer: The Hours of the Virgin

2019 ◽  
pp. 337-351
Author(s):  
Rachel Fulton Brown
Keyword(s):  
Middle Ages ◽  
Virgin Mary ◽  
Close Reading ◽  
The Core ◽  
The World ◽  
The Hours ◽  
Hearts And Minds ◽  
The Temple

By the later Middle Ages, every man, woman, or child, cleric or lay, who could read would have known the Hours or ‘Little Office’ of the Virgin Mary. Even those who could not read the Office in full would have known to recite its opening antiphon (Ave Maria) at the appropriate hours of the day. This chapter argues that a close reading of the texts of the Hours themselves is necessary to appreciate fully the place that Mary held in the hearts and minds of her medieval devotees. Through the hymns, antiphons, and psalms that make up the core of her Office, Mary is revealed as above all the temple in which God made himself present to the world, the Lord whom the psalmist called upon to make his face shine on his people. It was with this understanding of Mary that her medieval devotees sought to serve her through the recitation of her Hours.

Two Fragments of a lost Liturgy?

1966 ◽  
Vol 3 ◽  
pp. 247-253
Author(s):  
G. J. Cuming
Keyword(s):  
Read Aloud ◽  
Book Of Common Prayer ◽  
Prayer Book ◽  
The Hours ◽  
Normal Procedure ◽  
New Form ◽  
Manuscript Text ◽  
Common Prayer

When the Book of Common Prayer was revised in 1661, almost the last item to be added was the General Thanksgiving. ‘On Saturday, 14 December’ (only a week before the Book was signed), ‘between the hours of 8 and 10 a.m., the Reverend Father the Lord Bishop of Norwich [Edward Reynolds] introduced and delivered into the hands of the Lord President a form of a certain prayer conceived by him at another time concerning thanks to God for general mercies to be used publicly.’ So the Proceedings of the Upper House of Convocation, which then tail off with the tantalizing words: ‘After this prayer had been read aloud and some discussion held thereon, the Reverend Father, etc.’ The normal procedure in 1661 for additions to the Prayer Book, as opposed to alterations, was to entrust their compilation to a committee whose chairman duly introduced the new form, when completed, into the House of Bishops. There is, however, no trace of such a committee’s being appointed to devise a general thanksgiving. By 14 December the section of the manuscript text headed Thanksgivings was already written out in full, and no space was left for further additions. Reynolds would seem to have acted on his own initiative.

scholarly journals Crítica social nas entrevistas de Sophia de Mello Breyner Andresen

2019 ◽  
Vol 38 (60) ◽  
pp. 157
Author(s):  
Rita Barbosa de Oliveira
Keyword(s):  
Political Participation ◽  
Subject Matter ◽  
Social Criticism ◽  
National Library ◽  
North And South

Resumo: Na maioria das ocasiões em que Sophia de Mello Breyner Andresen concede entrevista há a descontração de quem conversa com um amigo, e muitos dos interlocutores realmente o são, como Eduardo Prado Coelho, Maria Armanda Passos, Miguel Serras Pereira e José Carlos de Vasconcelos. Revelando variedade de assunto, os textos “Sophia de Mello Breyner Andresen fala a Eduardo Prado Coelho”, “Sophia de Mello Breyner Andresen: ‘Escrevemos poesia para não nos afogarmos no cais...’”, “Sou uma mistura de Norte e Sul” e “Sophia: a luz dos versos”, transcritos no Catálogo da Exposição “Sophia de Mello Breyner Andresen – uma vida de poeta” (MORÃO; AMADO, 2010), organizado por Paula Morão e Teresa Amado, publicado pela Biblioteca Nacional de Portugal, motivam a discussão a respeito de algumas inquietações da citada poetisa, apresentadas ora com determinado humor mordaz, ora com gravidade, em que questões sobre língua, religião, cidade, ecologia, participação política, morte, o mal, o fazer poético são trazidas para o diálogo.Palavras-chave: Sophia de Mello Breyner Andresen; entrevista; crítica social.Abstract: On most occasions when Sophia de Mello Breyner Andresen gives an interview, there is the relaxation of those who talk with a friend, and many of the interlocutors really are such as Eduardo Prado Coelho, Maria Armanda Passos, Miguel Serras Pereira and José Carlos de Vasconcelos. Revealing a variety of subject matter, the texts “Sophia de Mello Breyner Andresen speaks to Eduardo Prado Coelho”, “Sophia de Mello Breyner Andresen: ‘We wrote poetry not to drown in the quay ...’”, “I am a mixture of North and South “And” Sophia: the light of the verses “, transcribed in the Catalog of the Exhibition” Sophia de Mello Breyner Andresen - a life of poet “(2010), organized by Paula Morão and Teresa Amado, published by the National Library of Portugal, with respect to some of the poet’s concerns, presented with a certain biting humor, sometimes with seriousness, where questions about language, religion, city, ecology, political participation, death, evil, poetic making are brought into dialogue.Keywords: Sophia de Mello Breyner Andresen; interview; social criticism.

scholarly journals The Integration of 2013 Curriculum with Pesantren Curriculum in Fiqh Subject of Class X at Madrasah Aliyah Al-Mawaddah Ponorogo

2020 ◽  
Vol 17 (2) ◽  
pp. 155-170
Author(s):  
Riska Wahyu Nurcendani ◽  
Dwi Ratnasari
Keyword(s):  
Data Collection ◽  
Data Reduction ◽  
Subject Matter ◽  
Field Research ◽  
Language Instruction ◽  
Data Presentation ◽  
Inhibiting Factors ◽  
The Hours ◽  
Collection Data ◽  
The Subject

The aims of this research are to discover the implementation, supporting factors, and inhibiting factors of the integration of the 2013 curriculum with the pesantren curriculum in fiqh subject of class X at Madrasah Aliyah Al-Mawaddah Ponorogo. This research is a field research. The techniques of data collection used were interview, observation, and documentation. The process of analyzing the data of this study used data collection, data reduction, data presentation, and drawing data conclusions. The validity of the data was tested by triagulation technique. The research results show that: (1) The application of the integration of the 2013 curriculum with the KMI curriculum in the subject of fiqh class X Madrasah Aliyah Al-Mawaddah was held by setting the hours of study for one semester to study the KMI fiqh material and repeating the 2013 curriculum (Ministry of Religion Curriculum) fiqh material. (2) Supporting factors are the support of the pesantren leader in form of policies, a similarity in specifications between the subject matter of the 2013 curriculum curriculum (Ministry of Religion) and the KMI curriculum, and the habits of students using Arabic as the language instruction. The inhibiting factors are limited study time and crowded pesantren activities.

scholarly journals Wybrane motywy biblijne z Ksiąg Jozuego i Sędziów w Godzinkach o Niepokalanym Poczęciu Najświętszej Maryi Panny

2010 ◽  
Vol 63 (1) ◽  
pp. 79
Author(s):  
Krystian Ziaja
Keyword(s):  
Virgin Mary ◽  
The Real ◽  
Immaculate Conception ◽  
The Hours ◽  
The One

The aim of the article is better understanding of the Hours concerning the Immaculate Conception of the Most Holy Virgin Mary. Following motives from the books of Joshua and Judges were taken into consideration: The light from Gabaon (Joshua 10, 10–13), Gedeon’s fleece (Judges 6, 36–40), Samson’s honeycomb (Judges 14, 1–11). After the discussion of the above mentioned three texts we may ascertain that the author of Hours about the Immaculate Conception of the Most Holy Virgin Mary with accurate aim refers the texts to the Most Holy Virgin Mary. Mary is the light from Gabaon, which showed people that he, whose mother she is, will make a salvation, the real victory that had been expected since Adam and Eve’s times. Moreover, she is the fleece of Gedeon because God made her a wonderful exception as among people only she was not stained by a sin. Furthermore, she is Samson’s honeycomb as inside her the one who is our Savior and our best food was born.

scholarly journals Rejestracja poloników w zbiorach obcych na przykładzie Katalogu starodruków biblioteki Papieskiego Instytutu Studiów Kościelnych w Rzymie oraz Katalogu poloników w Biblioteca Casanatense

2017 ◽  
Vol 11 ◽  
pp. 471-486
Author(s):  
Mikołaj Ochmański
Keyword(s):  
Subject Matter ◽  
Review Article ◽  
The Other ◽  
Main Attention ◽  
National Library ◽  
Printed Books ◽  
Selection Of

A review article focusing on two catalogues published by the National Library in Warsaw in the series Polonica from the 16-18th Centuries in the Roman Libraries, Catalogue of Early Printed Books in the Library of Pontifical Institute of Ecclesiastic Studies in Rome and Catalogue of Polonica in the Biblioteca Casanatense. The main attention was paid to the scope of the material described in them (significant differences in the selection) and registration of provenience (Polonica provenience) as an element indicating the popularity of Polish subject matter and works in foreign collections, dislocations of the collections, or activity of the Poles in exile. Both catalogs are discussed against the background of the other four publications from the series, showing differences in the selection of materials and elements of descriptions (provenance), and briefly the history ofregistration of Roman Polonica.

scholarly journals The Musical Encart of the Royal Printers Le Roy & Ballard in the 1583 Hours of Jamet Mettayer Held in the Musée de l’Amérique francophone in Quebec City

2017 ◽  
Vol 39 (4) ◽  
pp. 253-283
Author(s):  
Geneviève B. Bazinet
Keyword(s):  
The Other ◽  
Musical Performance ◽  
Quebec City ◽  
Performance Practices ◽  
The Hours ◽  
Book Of Hours ◽  
Insight Into

The Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, printed at the request of King Henri III by Royal Printer Jamet Mettayer (Paris, 1583) and held at the Musée de l’Amérique francophone in Quebec City, is a rare example of a Book of Hours that contains music. The musical encart printed by the Royal Printers of Music Le Roy & Ballard (Paris, 1583) follows the texts of the Hours and totals thirty-six pages. This article focuses on the music in the encart and its relationship to the rest of the book, and on references to music in the statutes of the Congrégation. The musical encart is an essential part of this Book of Hours as it provides music for the Hours of the Virgin and the other offices celebrated by the Congrégation, as well as insight into their musical performance practices. Les Heures de Nostre Dame, a l’usage de Rome: selon la Reformation de Nostre S. Pere pape Pie VI pour la Congregation roiale des penitens de l’Annonciation de Nostre Dame, imprimées à la demande du roi Henri III par l’imprimeur royal Jamet Mettayer (Paris, 1583) et conservées au Musée de l’Amérique francophone dans la ville de Québec, sont un exemple rare d’un livre d’Heures contenant de la musique. L’encart musical imprimé par les Imprimeurs royaux en musique Le Roy et Ballard (Paris, 1583) suit le texte des Heures et compte trente-six pages. Cet article porte sur la musique de l’encart, ainsi que les références à la musique dans les statuts de la Congrégation. L’encart musical est une partie essentielle de ce livre d’Heures puisqu’il comprend la musique des Heures de la Vierge et des autres offices célébrés par la Congrégation, et ouvre une fenêtre sur les esthétiques d’interprétation de la Congrégation.

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