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Rotterdam, Museum Boijmans Van Beuningen, August 2013
A portrait of the physician, mathematician, cartographer, philosopher, and instrument maker Gemma Frisius (born as Jemme Reinerszoon in the Frisian town of Dokkum in 1508), by the painter Maarten van Heemskerck. Gemma's globes and mathematical instruments were among the best of his time, and he was the first to accurately calculate longitude. He teached at the University of Leuven, where Gerardus Mercator, the influential map maker, was one of his students.
The Latin inscription on the wall behind him reads:
Lux tenebris rursus /
luci tenebre fugienti
succedunt / stabilis
res tibi nulla manet.
"Light returns to darkness / darkness succeeds the fleeting light / no thing remains ye stable."
Oil on panel, c. 1540 – 1545.
English and Portuguese
English
Évora is located in the Alentejo province, a region of wide plains to the south of the Tagus River (Rio Tejo in Portuguese). The distance from the capital, Lisbon, is some 130 km.
History
Évora has a history dating back more than two millennia. It may have been the kingdom of Astolpas., and may be named after ivory workers. It was known as Ebora by the Lusitanians, who made the town their regional capital. The Romans conquered the town in 57 BC and expanded it into a walled town. Vestiges from this period (city walls and ruins of Roman baths) still remain. The Romans had extensive gold mining in Portugal, and the name may be derived from that oro, aurum, gold). Julius Caesar called it "Liberalitas Julia" (Julian generosity). The city grew in importance because it lay at the junction of several important routes. During his travels through Gaul and Lusitania, Pliny the Elder also visited this town and mentioned it in his book Naturalis Historia as Ebora Cerealis, because of its many surrounding wheat fields. In those days Évora became a flourishing city. Its high rank among municipalities in Roman Hispania is clearly shown by many inscriptions and coins. The monumental Corinthian temple in the centre of the town dates from the 1st century and was probably erected in honour of emperor Augustus. In the fourth century, the town had already a bishop, named Quintianus.
During the barbarian invasions, Évora came under the rule of the Visigothic king Leovirgild in 584. The town was later raised to the status of a cathedral city. Nevertheless this was a time of decline and very few artefacts from this period remain.
In 715, the city was conquered by the Moors under Tariq ibn-Ziyad, who called it Yeborah. During their rule (715–1165), the town slowly began to prosper again and developed into an agricultural centre with a fortress and a mosque. The present character of the city is evidence of the Moorish influence.
Évora was wrested from the Moors through a surprise attack by Gerald the Fearless (Geraldo Sem Pavor) in September 1165. The town came under the rule of the Portuguese king Afonso I in 1166. It then flourished as one of the most dynamic cities in the Kingdom of Portugal during the Middle Ages, especially in the 15th century. The court of the first and second dynasties resided here for long periods, constructing palaces, monuments and religious buildings. Évora became the scene for many royal weddings and a site where many important decisions were made.
Particularly thriving during the Avis Dynasty (1385–1580), especially under the reign of Manuel I and John III, Évora became a major centre for the humanities (André de Resende - buried in the cathedral) and artists, such as the sculptor Nicolau Chanterene, the painters Cristóvão de Figueiredo and Gregório Lopes, the composers Manuel Cardoso and Duarte Lobo, the chronicler Duarte Galvão, and the father of Portuguese drama, Gil Vicente.
The city became the seat of an archbishopric in 1540. The university was founded by the Jesuits in 1559, and it was here that great European Masters such as the Flemish humanists Nicolaus Clenardus (Nicolaas Cleynaerts) (1493–1542), Johannes Vasaeus (Jan Was) (1511–1561) and the theologian Luis de Molina passed on their knowledge. In the 18th century the Jesuits, who had spread intellectual and religious enlightenment since the 16th century, were expelled from Portugal, the university was closed in 1759 by the Marquis of Pombal and Évora went into decline. The university was only reopened in 1973.
In 1834, Évora was the site of the surrender of the forces of King Miguel I, which marked the end of the Liberal Wars.
The many monuments erected by major artists of each period now testify to Évora's lively cultural and rich artistic and historical heritage. The variety of architectural styles (Romanesque, Gothic, Manueline, Renaissance, Baroque), the palaces and the picturesque labyrinth of squares and narrow streets of the city centre are all part of the rich heritage of this museum-city.
Today, the historical centre has about 4000 buildings and an area of 1.05 km².
Main sights
Água de Prata Aqueduct (Aqueduct of Silver Water): With its huge arches stretching for 9 km, this aqueduct was built in 1531–1537 by King João III to supply the city with water. Designed by the military architect Francisco de Arruda (who had previously built the Belém Tower), the aqueduct ended originally in the Praça do Giraldo. This impressive construction has even been mentioned in the epic poem Os Lusíadas by Luís de Camões. The end part of the aqueduct is remarkable with houses, shops and cafés built between the arches.
Cathedral of Évora: Mainly built between 1280 and 1340, it is one of the most important gothic monuments of Portugal. The cathedral has a notable main portal with statues of the Apostles (around 1335) and a beautiful nave and cloister. One transept chapel is Manueline and the outstanding main chapel is Baroque. The pipeorgan and choir stalls are renaissance (around 1566).
S. Brás Chapel: Built around 1480, it is a good example of Mudéjar-Gothic with cylindrical buttresses. Only open for prayer.
Saint Francis Church (Igreja de São Francisco): Built between the end of the 15th and the early 16th centuries in mixed Gothic-Manueline styles. The wide nave is a masterpiece of late Gothic architecture. Contains many chapels decorated in Baroque style, including the Chapel of Bones (Capela dos Ossos), totally covered with human bones.
Palace of Vasco da Gama: Vasco da Gama resided here in 1519 and 1524, the dates corresponding to his nomination as the Count of Vidigueira and Viceroy of India. The Manueline cloister and some of its Renaissance mural paintings are still preserved.
Palace of the Counts of Basto: Primitive Moorish castle and residence of the kings of the Afonsine dynasty. Its outer architecture displays features of Gothic, Manueline, Mudéjar and Renaissance styles.
Palace of the Dukes of Cadaval: The palace with its 17th-century façade is constituted in part by an old castle burnt in 1384; it is dominated by the architectural elements of the Manueline-Moorish period and by a tower called Tower of the Five Shields. This palace of the governor of Évora served from time to time as royal residence. The first-floor rooms houses a collection manuscripts, family portraits and religious art from the 16th century.
Lóios Convent and Church: Built in the 15th century, contains a number of tombs; the church and the cloister are Gothic in style, with a Manueline chapterhouse with a magnificent portal. The church interior is covered in azulejos (ceramic tiles) from the 18th century. In 1965 it has been converted into a top-end pousada
Ladies' Gallery of Manuel I's Palace (Galeria das Damas do Palácio de D. Manuel): Remnants of a palace built by King Manuel I in Gothic-Renaissance style. According to some chroniclers, it was in this palace, in 1497, that Vasco da Gama was given the command of the squadron he would lead on his maritime journey to India.
Roman Temple of Évora: Improperly called Diana Temple, this 1st century-temple was probably dedicated to the Cult of Emperor Augustus (but some texts date it to the second or even the third century). It is one of a kind in Portugal. The temple was incorporated into a mediaeval building and thus survived destruction. It has become the city's most famous landmark. The temple in Corinthian style has six columns in front (Roman hexastyle) with in total fourteen granite columns remaining. The base of the temple, the capitals and the architraves are made of marble from nearby Estremoz. The intact columns are 7.68 m (25.20 ft) high. It can be compared to the Maison Carrée in Nîmes, France.
University of Évora: Formerly a Jesuit college built by Cardinal-King Henrique in 1559, it includes the 16th century Mannerist church and the academic buildings surrounding the large 17th-18th century cloister.
Renaissance fountain at Largo das Portas de Moura: Built in 1556 in Renaissance style. This original fountain has the shape of a globe surrounded by water, a reference to the Age of Discovery.
Giraldo Square (Praça do Geraldo): Centre of the city; in this square King Duarte built the Estaus Palace which even today maintains its Gothic look. The Renaissance fountain (fonte Henriquina) dates from 1570. Its eight jets symbolize the eight streets leading into the square. At the northern end of the quare lies St Anton's church (Igreja de Santo Antão) built by Manuel Pires, also from the 16th century. This is a rather plump church with three aisles. The antependium of the altar displays a valuable 13th century Roman-Gothic bas relief. In 1483 Fernando II , Duke of Braganza was decapitated on this square, in the presence of his brother-in-law king John II. This square also witnessed thousands of Autos-de-fé during the period of the Inquisition; 22.000 condemnations, it seems, in about 200 years.[6]
Cromeleque dos Almendres, 15 km from Évora: Megalithic monument, a cromlech with archaeoastronomical interest.
Anta Grande do Zambujeiro, about 10 km from Évora near Valverde: It is the larger dolmen in the region.
Português
Évora é uma cidade portuguesa, capital do Distrito de Évora, e situada na região Alentejo e subregião do Alentejo Central, com uma população de cerca de 41 159 habitantes.
É sede de um dos maiores municípios de Portugal, com 1307,04 km² de área e 54.780 habitantes (2008), subdividido em 19 freguesias. O município é limitado a norte pelo município de Arraiolos, a nordeste por Estremoz, a leste pelo Redondo, a sueste por Reguengos de Monsaraz, a sul por Portel, a sudoeste por Viana do Alentejo e a oeste por Montemor-o-Novo. É sede de distrito e de antiga diocese, sendo metrópole eclesiástica (Arquidiocese de Évora).
É conhecida como a Capital do Alentejo e Cidade-Museu.
História
O nome Lusitano da cidade de Évora era Eburobrittium, provavelmente relacionado com a divindade celta Eburianus. A raiz etimológica viria do Celta *eburos, a árvore do Teixo. A cidade teve o nome de Ebora Cerealis durante a República Romana, tomando o nome de Liberalitas Julia no tempo do general Júlio César, sendo então já uma cidade importante, como o demonstram as ruínas de um templo clássico e os vestígios de muralhas romanas.
Conquistada aos Mouros em 1165 por Geraldo Sem Pavor, data em que se restaurou a sua diocese. Foi residência régia durante largos períodos, essencialmente nos reindados de D.João II, D.Manuel I e D.João III. O seu prestígio foi particularmente notável no século XVI, quando foi elevada a metrópole eclesiástica e foi fundada a Universidade de Évora (afecta à Companhia de Jesus), pelo Cardeal Infante D.Henrique, primeiro Arcebispo da cidade. Um rude golpe para Évora foi a extinção da prestigiada instituição universitária, em 1759 (que só seria restaurada cerca de dois séculos depois), na sequência da expulsão dos Jesuítas do país, por ordem do Marquês de Pombal. Évora é testemunho de diversos estilos e corentes estéticas, sendo ao longo do tempo dotada de obras de arte a ponto de ser classificada pela UNESCO, em 1986, como Património Comum da Humanidade.
Monumentos principais da cidade
Templo romano de Évora: também chamado Templo de Diana, é um dos monumentos romanos mais importantes de Portugal. Situa-se no ponto mais alto da cidade e é um dos lugares mais visitados da cidade. Pensa-se que foi criado por volta do século III a.C. para homenagear o Imperador Romano César Augusto, mas mais tarde passou a ser conhecido por Templo de Diana (deusa da caça), nome atribuído por um jesuíta no século XVI pelo facto da cidade ser conhecida pela boa caça.
Sé Catedral
Igreja de São Francisco: um dos últimos e imponentes edifício da Dinastia e Avis conhecida pela mistura entre os estilos gótico e manuelino.
Capela dos Ossos: situada na Igreja de São Francisco, é conhecida pela famosa frase escrita à entrada "Nós ossos que aqui estamos pelos vossos esperamos"
Palácio de D. Manuel
Convento dos Lóios: actualmente a funcionar como pousada.
Second wife of writer and mathematician Sir Samuel Morland (1625-95) who is buried at Hammersmith in London. He was the inventor of the speaking trumpet and improver of the fire engine among other things and assistant to Thurloe (secretary to Oliver Cromwell). At the Restoration of Charles II in 1660 he was knighted and created a Baronet and Gentleman of the Privy Chamber. Samuel married Carola in the Abbey on 26 October 1670. The monument is of black and white marbles by sculptor William Stanton and was erected by Sir Samuel with inscriptions in English, Hebrew and Greek, to show off his learning in these languages. The English reads:
Carola daughter of Roger Harsnett Esqr. and of Carola his wife, ye truly loving (and as truly beloved) wife of Samuel Morland Kt. & Bart.[Baronet], bare a second son Oct. 4th, died October 10th in the year of our Lord 1674 aged 23
The Hebrew part can be translated:
Blessed be thou of the Lord, my honoured wife! Thy memory shall be a blessing, O virtuous woman
The Greek can be translated:
When I think of thy mildness, patience, and charity, modesty and piety, I lament thee, O most excellent creature! and grieve accordingly: but not like those who have no hope; for I believe and expect the Resurrection of them that sleep in Christ.
[Westminster Abbey]
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
A twelfth portion of the Cretan laws on the walls written in Doric Greek 5th to 6th century BCE at Gortyn, Crete, Greece, and later reconstructed as part of a public building called the Odeion (1st century AD) ᾨδεῖον.
Observe the direction of inscription is reversed on alternate lines because the text was meant to be read left to right and back again as if scanning back and forth.
See also "Shady Characters: the secret life of punctuation" by Keith Houston.
Inscriptions on blocks around the theatre... numerous “manumission” inscriptions that record the freeing of slaves in honour of the god, Asclepius.
Laur[entiu]s[?]
IN c[h]r[ist]o eni[m] yh[es]u [per] euan
gilium ipse nos genuit
Fr[atre]s jam no[n] estis hospites
Laur[entiu]s[?] Not[ariu]s[?] e[...]
[Christe] fili d[e]i viui mis[erere] nobis
Adam p[ri]m[us] homo damnauit
Laur[entiu]s[?] Laur[entiu]s[?] Not[ariu]s[?]
[Paper leaf (reinforced at inner margin by a folded portion of a paper ms. music leaf) with several early autographs and pious Latin inscriptions by a Laurentius(?) Notarius(?) on the verso inserted at end of volume.]
Penn Libraries call number: Inc H-206
El Morro National Monument is a U.S. national monument in Cibola County, New Mexico. To learn more about the monument visit www.RoamYourHome.com
El Morro National Monument is a U.S. national monument in Cibola County, New Mexico. To learn more about the monument visit www.RoamYourHome.com
El Morro National Monument is a U.S. national monument in Cibola County, New Mexico. To learn more about the monument visit www.RoamYourHome.com
The basement of the James A. Farley Building is just one story above the tracks of Penn Station, and will be the floor of the main hall of Moynihan Station.
The James A. Farley Building, New York City's General Post Office (Zip Code 10001), located at 421 Eighth Avenue and occupying eight acres across two full city blocks, consists of the old general post office building and its western annex. The Farley Post Office holds the distinction of being the only Post Office in New York City that is open to the public 24 hours/7 days a week.
The James A. Farley Building was constructed in two stages. The original monumental front half, boasting the longest giantr order Corinthian colonnade in the world, was built by William M. Kendall of McKim, Mead & White from 1908-1913 and opened for postal business as the Pennsylvania Terminal in 1914. The imposing design was meant to match in strength the colonnade of Pennsylvania Station that originally faced it across the avenue. An unbroken flight of steps the full length of the colonnade provides access, for the main floor devoted to customer services is above a functional basement level that rises out of a dry moat giving light and air to workspaces below. Each of the square end pavilions is capped with a low saucer dome, expressed on the exterior as a low stepped pyramid.
In July 1918, the building was renamed the General Post Office Building and was doubled in space in 1934 by James Farley, replacing the 1878 Post Office at Park Row and Broadway. In 1982, the building was renamed once more as the James A. Farley Building. Farley was the nation's 53rd Postmaster General and served from 1933 to 1940. As a candidate for the Democratic nomination for President of the United States in 1940, he was only the second Roman Catholic to receive delegates towards such a nomination after Alfred E. Smith. Farley also served as a campain manager to both Smith and Franklin D. Roosevelt, and is considered the finest Athletic Commissioner/Boxing Commissioner in New York State history.
The building prominently bears the inscription: "Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds." Commonly mistaken as an official motto of the United States Postal Service, it is actually taken from Herodotus' Histories (Book 8, Ch. 98) and describes the faithful service of the Persian system of mounted postal messengers under Xerxes I of Persia.
Moynihan Station, a planned train terminal, would expand Penn Station into the Farley Post Office Building. Plans for the expansion of the the busiest train station in the country, serving more than 550,000 daily passengers, the busiest train station in the country with more than 550,000 daily passengers. It has since gone through a portracted series of delays and redesigns over the years. Phase I of the current plan, "Moynihan Moving Forward", broke ground in 2010 and, with work occuring only on nights and weekends, is expected to be complete by 2016. The phase consists of mostly below-grade, transportation infrastructure improvements including the expansion of the Long Island Rail Road West End Concourse under the Farley building steps to serve Amtrak and New Jersey Transit platforms, new entrances through the Farley Building, and improved ventilation. The second phase includes a sky-lit grand hall with 1 million square feet of retail space. The Farley Building's facade will remain untouched, and it will retain retail postal lobby services . However, all mail processing operations will be relocated one block away to the Morgan Processing and Distribution Center.
The United States General Post Office was designated a landmark by the New York City Landmarks Preservation Commission in 1966.
National Register #73002257 (1973)
From Edward M. Catich's The Trajan Inscription in Rome. Published by the Catfish Press, St. Ambrose College, Davenport, Iowa.
This manuscript was created ca. 1315-25 in the region of Ghent, likely for the woman depicted in the margin of fol. 171r. Combining both a Psalter and a Book of Hours, and including a series of hymns, this manuscript provided its owner with extensive texts for personal devotion. A series of thirty-three historiated initials provide visual associations with the readings, while its rich marginal drolleries would have delighted the reader. The illumination is in the style of the Master of the Copenhagen Hours (Copenhagen, Kongelige Bibliotek, MS. ThoU 547 4). Added prayers, as well as ownership inscriptions ranging from the fifteenth through twentieth centuries, attest to the long life and use of the manuscript.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
New Taipei City, Taiwan
台灣 新北市 金寶山
2007.06.30
________
Study for 'Catacombae / Cum mortuis'
Series: Taiwan Photowalk
The Justice Bell, a copy of the Liberty Bell with the addition of "establish Justice" to the inscription, was used between 1915 and 1920 to call attention to and gain support for the campaign for women's suffrage. The bell's casting was commissioned by Chester County's Katharine Wentworth Ruschenberger, an active member of the National Woman Suffrage Association, which later became the League of Woman Voters. The clapper was chained to its side silencing the 2,000 pound bell.
On June 15, 1915 the Justice Bell began a whistle-stop tour of Pennsylvania in support of a proposed amendment to the Pennsylvania State Constitution giving women the right to vote. The tour covered more than 5,000 miles, crisscrossing every one of the states 67 counties, in less than six months. After state Amendment #1 failed to pass, attention was turned to the introduction of an Amendment to the U.S. Constitution, and the bell was used to support the cause of women's suffrage at national political party conventions as far away as Chicago and at rallies in Washington, D.C. The 19th Amendment was proposed on June 5, 1919 and ratified on August 26, 1920. The following month, a celebration was held in Independence Square and following a speech by the Governor, the clapper was unchained to "ring in justice."
Washington Memorial Chapel, located on private property along Route 23 within Valley Forge National Historic Park, serves as both an active Episcopal Parish as well as a tribute to General George Washington. Designed by Milton B. Medary, and resulting from a sermon preached by founder, the Rev. Dr. W. Herbert Burk, the Chapel was completed in 1917--fourteen years after the cornerstone was laid on the 125th anniversary of the evacuation of the continental army from the area.
Patriot's Tower was completed in 1953 and contains the Washington Memorial National Carillon. The 102-foot tower was financed with the assistance of the National Society of the Daughters of the American Revolution and contains fifty-eight bells including the national birthday bell, and a bell for each of the fifty states, Washington, D.C., Puerto Rico, Guam, American Samoa, the Virgin Islands, Midway and Wake Islands.
Valley Forge National Historical Park, encompassing 3,466-acres eighteen miles northwest of Philadelphia, preserves and reinterprets the site where the the main body of the Continental Army--between 10,000 and 12,000 troops--was encamped during from December 19, 1778 to June 19, 1778, the American Revolutionary War.
After the Battle of White Marsh (or Edge Hill), Washington chose Valley Forge as an encampment because it was between the Continental Congress in York, Supply Depots in Reading, and British forces in Philadelphia. Undernourished and poorly clothed through the harsh winter, Washington's troops were ravaged by disease, suffering as many as two thousand losses, with thousands more listed as unfit for futy. Despite the conditions, the winter at Valley Forge proved invaluable for the young army, which underwent its first uniform training regimen, under the guidance of Prussian drill master, Baron Friedrich von Steuben.
Valley Forge, named for the iron forge built along Valley Creek in the 1740's, was established as the first state park of Pennsylvania in 1893 by the Valley Forge Park Commission. In 1923, the VFPC was brought under the Department of Forests and Waters and later incorporated into the Pennsylvania Historical and Museum Commission in 1971. In 1976, Pennsylvania gave the park as a gift to the nation for the the Bicentennial. The National Park System established the area as Valley Forge National Historical Park on July 4, 1976.
Valley Forge National Historical Park National Register #66000657 (1966)
Above:
MDXIII
Leonis X Pont. max. anno primo eidibus nouembr.
Ex hispania fuit Romam aduectus puer natione Gallus annoru[m] xij
Monstrum in pectore gerens ad forma[m] perfecti pueruli acephali
brachijs tamen gracillimis sine manibus ostendentis caput suum
intra pectus pueri condidisse et per paruum collum a pectore
ip[s]ius dependere diuisis corporibus, ventribus inter se coherentibus
genua pueri uix pedibus attingentis. Quodq[ue] mirum dictu est
puer una cum monstro egerit, mingitq[ue], tamq[ue] cibo unius utriq[ue]
alimenta prestentur. Et si quid monstrum tetigerit, puer
statim sentit. H[a]ec non uulgaris fabula sed pleriq[ue] uiri fide digni
cum Rom[a]e, tum in Hispania & Gallia hunc puerum mo[n]striferu[m]
magnu[m] qu[a]estum facientem uiderunt.
[Early ms. inscription recording the appearance in Rome in 1513 of a twelve-year-old French boy with a conjoined twin.]
Beneath:
1 die veneris ija martij. 1515.
Adolescens monstrifer nom[en] Jaquet Floquet postea peragratis pluribus Italie
ciuitatibus questus causa genuam venit : ac hospitatus est in vicinia molis :
et que de eo superius scripta sunt : hodie verissima fore deprehendi : duobus exceptis.
nam monstrum ex stomaco : non ex pectore exit : nec egerit deficiente ano :
mingit t[ame]n : et membrum virile habet. preterea non sunt plures dies :
[que] monstrum h[abe]t tibias ita in poplitibus retractas : ut talis pedum suas nates
attingat. cur ei ita acciderit : pleriq[ue] credunt : [qui]a monstrum adhuc crescens
no[n] h[ab]ea[n]t solitum nutrime[n]tum : et ob hoc forte monstrifero breuiore[m] vita[m]
portendit : ut et[iam] in aspectu de monstrat moestus et pallidus incedens : t[ame]n
vultu modesto : et acco[m]modatis verbis : et quantum potui considerare
circiter etatis anno[rum] xvj videtur.
[Update in a different hand, dated 2 March 1515, on the anatomical peculiarities of the boy with the conjoined twin, here named Jaquet Floquet, whom the writer characterizes as gloomy and pale but also modest and well-spoken.]
Penn Libraries call number: Inc A-938 Folio
Who died at the age of 3 years, 3 months, and 3 days.
White marble.
Imperial age.
Rome, Via Ardeatina, Castel di Leva, confiscated in 2003 by the "Guardia di Finanza".
Italy. Florence (Firenze)
Piazza della Signoria.
Piazza della Signoria is an L-shaped square in front of the Palazzo Vecchio in Florence, Italy. It was named after the Palazzo della Signoria, also called Palazzo Vecchio. It is the focal point of the origin and of the history of the Florentine Republic and still maintains its reputation as the political hub of the city. It is the meeting place of Florentines as well as the numerous tourists, located near Ponte Vecchio and Piazza del Duomo and gateway to Uffizi Gallery.
en.wikipedia.org/wiki/Piazza_della_Signoria
- Fountain of Neptune (Fontana di Nettuno) -
Because of its size, the statue of Neptune is called “il Gigante” (the Giant), or “al Żigànt” in Bolognese dialect. It was built in 1566 according to the inscription at the base of the fountain, “to serve the people”; namely, to beautify the Piazza Maggiore because it was a stop on the route between the Archiginnasio and the Palazzo del Comune. Freshly elected Cardinal Carlo Borromeo was responsible for wanting the Piazza Maggiore improvements; the work was meant to symbolize the happy rule of Pope Pius IV, his maternal uncle.
A young Flemish man, Jean de Boulogne, was called in from Douai to handle the undertaking. Known as Giambologna, he was eager to prove himself after having just lost the competition for the Fontana del Nettuno in the Piazza della Signoria in Florence.
An entire city block was razed to create the fountain, with both houses and shops paying the price. The statue of the god Neptune was placed at the exact point where the cardo and the decumanus – the proto-typical main streets of a Roman city - intersected. The fountain was supplied with water piped in from an ancient underground cistern and a spring found below a convent.
It is said that Giambologna wanted to fashion Neptune with larger genitalia but naturally met with opposition from the Church. However, the sculptor would not be swayed: he designed the statue so that from a particular angle the thumb of the outstretched left hand lines up with the groin area, making it look like an erect penis. According to the prelates, the women of Bologna were so disturbed by the sight that the Church had to put bronze pants on the statue. Actually, the entire fountain has a strongly erotic quality: just take a look at the voluptuous nymphs spraying their breasts with water!
www.italyguides.it/us/italy/emilia-romagna/bologna/piazza...
Can anyone translate this?
the inscription is on the back of a Persian miniature painting - The amorous couple
St Mary and St Walstan, Bawburgh, Norfolk
There are islands off the coast of Norwich. Here we are in typical rural Norfolk, a quiet village set in a rolling landscape of farms and sprawling fields punctuated by woods and copses, the sound of traffic on the busy A11 and A47 not so very far off. And yet, we are very close to Norwich, but floating free from it thanks, perhaps to local authority planning.
Norfolk and Suffolk have their similarities of course. Norfolk is a lot bigger, and emptier, especially towards the west. But the biggest difference between the two counties is their relationship with their county towns. Ipswich, above all else, is Suffolk distilled and amplified, the working and historic county translated into an urban setting. Industrial Ipswich was the fountainhead of the county's agricultural production, the docks an interface between Suffolk and the world. To know brash and breezy Ipswich is to know what Suffolk was and is.
But Norwich is different to Ipswich, and it is different to the rest of Norfolk. As you enter the city you pass hoardings which proudly proclaim, in George Borrow's words, that you are entering Norwich, a Fine City! It is like crossing a forcefield. Norwich is a fine city, and it is also a small city, but as Norwich is so far from any other place of near-equivalent size - Ipswich is 40 miles away, Cambridge nearly 60 - it is completely out of scale to its population. If Norwich were dropped into South or West Yorkshire, or Greater Manchester, it would disappear. Here, it assumes the importance of a Leeds or a Sheffield, cities four times as big.
At times, Norwich can feel like a great European city, living a technicolour life in the soft, pastel setting of its rural hinterland. Its industrial past, in shoes, textiles and chocolate, was not grounded in the local countryside in the same way as the industry of Ipswich. In the 1960s the University of East Anglia came, and Norwich's nightlife is lived by people who have, in fair proportion, not grown up in Norfolk.
To set off from Norwich is to enter a countryside that feels different. It is like leaving a shore for the open sea, a sea with islands. The soft fields of Norfolk wash right up against the edge of the city, insulating villages that would have been absorbed if she had grown any larger. Just a mile or so from the edge is Bawburgh. Every island has a story, and Bawburgh's is the story of St Walstan.
St Walstan was a Prince, the son of Benedict and Blid of the royal house of East Anglia. Blid would herself become a Saint. Walstan was born in Bawburgh, or perhaps at the royal vill of Blythburgh in Suffolk. As a teenager, he followed Christ's instruction to renounce all he possessed and become a disciple. Giving up his claims to succession, he did not delay to reach northern parts, as the Nova Legenda Anglie tells us, and humbled himself to become a farmworker in central Norfolk.
After a series of adventures which revealed his saintly character, one of which involved him being rewarded with a pair of young oxen, he received news in about 1015 from an Angel. He would die and be received into heaven in three days time. With typical East Anglian stoicism, he nodded his head and left his scythe to go and find a Priest to receive the Last Rites. Unfortunately, the Priest had no water, but, magically, a spring welled up where they stood.
This was in Taverham, and when Walstan died the two oxen carried his body on a cart to be buried at Bawburgh. On the way, they stopped to rest in Costessey, where another spring sprang up. At last, they came to Bawburgh. They stopped outside the church, and a third spring appeared, the biggest. And then, the Nova Legenda Anglie tells us, Angells opened the walls in hast, and the two oxen with their burden walked into the church. Walstan's body was placed in the church, becoming a site of pilgrimage for people who sought miracles and healing. Eleven miracles have been handed down to us.
The St Walstan legend is interesting for all sorts of reasons. Compared with the West Country, survivals of local Saints' cults are very rare in East Anglia. This part of Norfolk was strongly recusant during the penal years, and it is likely that local people kept stories of Walstan in their tradition even after the practice of devotion to him became impossible. When the penal years ended, the new Catholic church at Costessey in 1841 was dedicated to Our Lady and St Walstan.
Although there is no evidence that the Saint was part of the original dedication of Bawburgh church, the foundations of which certainly predate the St Walstan legend, it bears the name today, and that is because the relics of St Walstan continued to be important right up to the Reformation. Bequests made to the shrine are recorded in late Medieval wills, and these in turn were noted by 18th century antiquarians who restored dedications to parish churches, not always very accurately, after the long puritan night.
During the late 14th century, when acts of pilgrimage were at their most significant, thousands of people must have made their way every year. On the north side of the church was the chapel that contained his bones. From this, a sunken pathway led down the steep hill to the well on the site of the third spring. Incredibly, this pathway was destroyed as recently as 1999, to be replaced by a sterile driveway that circumnavigates the farm to the north of the church.
The date of the Walstan legend is interesting, right on the eve of the Norman settlement of England. It is almost exactly contemporary with that much more famous legend, the founding of the shrine at Walsingham by Lady Richeldis. Could it be that these cults endured partly as a form of resistance by the Saxons, popular local legends in the face of Norman cultural hegemony? Or was it that the Normans themselves who ensured that these popular pieties continued, nurturing them in the place of surviving neo-pagan practices?
We can never know, but what is certain is that St Walstan's legend recommended him as a Saint of the ordinary people, a worker Saint if you will, which may explain his almost complete disappearance from popular English story after the Reformation.
Two excellent books by local author Carol Twinch have helped popularise this very East Anglian figure. And, interestingly, in the latter half of the 20th century his cult has been explored increasingly by the Anglicans, at a time when devotion to Saints seems to be going out of fashion in that Communion. There are popular pilgrimages here every year still under the auspices of the Anglican Diocese of Norwich. Perhaps it is the simplicity of Walstan's life, and the healing nature of his miracles, that lend themselves particularly to the quiet nature of modern Anglican spirituality.
You approach the church from the village street and your first sight of it is from the south-east, looking down into the churchyard. What a beautiful church it is! It must be among the loveliest of all East Anglia's 160-odd round-towered churches. The idiosyncratic stepped gables, the red roof of the nave and a little flame-like pinnacle on the cap of the tower are memorable, particularly in this dramatic setting on the steeply-pitched side of the ridge. The graveyard falls away dramatically on the northern side, and from there St Mary and St Walstan appears fortress-like.
You step into a wide, simple interior, white walls and bare wood setting into relief sudden flashes of colour. How much of this church was here when Walstan's body was brought here? Probably, none of it. The archway to the tower is 13th century, and the windows suggest that the rest of the building is early 14th century. Quite probably, the whole church was rebuilt as a result of the prosperity brought about by the shrine of St Walstan. On the north side of the nave there is a large archway, a filled-in opening. It is tempting to think this is the wall that the Angells had opened in hast, but it was probably the entrance to the later chapel of St Walstan, since this wall post-dates the St Walstan legend by 300 years.
The remains of the 15th century roodscreen are made up rather dramatically into an early 20th century screen with bubbly cusping and a canopy of honour above, all of it unpainted. It is difficult to know how they resisted painting it, but it suits the simplicity of the building just as it is. And there are plenty of survivals here of Bawburgh's colourful Catholic past. Most interesting of all, the collection of brasses. Bawburgh has two shroud brasses and a chalice brass. The biggest of these is above a memorial inscription to Thomas Tyard who died in 1505. It is 60cm long, and he lies with the shroud partly open, his hands crossed in an act of piety. Beneath it is the inscription plate, but it seems likely to me that the inscription and the shrouded figure do not belong together, given the differences in the quality of the two. As if to confirm this, a surviving brass rivet in the stone above the figure's head suggests the loss of another brass, presumably Tyard's.
The other shroud brass is unidentified, and quite different. It depicts a smaller figure sewn tightly into a shroud, with just the face peeking out. It is so like the figures mounted on the wall at Yoxford in Suffolk that I assume it is a figure adrift from a larger collection, perhaps representing one of the dead children of a larger figure.
Set in between them is a late 17th century brass inscription and shield to a minister of this church, Philip Tenison. It is quite fitting that it should be here, because Tenison was an antiquarian at a time when such things were looked on with grave suspicion, and Carol Twinch notes that he recorded information about the Walstan shrine here that might otherwise have been lost to us. Deprived of his living by the Puritans, he later became an Archdeacon after the Restoration, in which case the date of 1660 here is obviously wrong.
I think that all five of these brasses were reset here from elsewhere in the church by the Victorians. The chalice brass may well be in its original position. It is to the Priest William Rechers, and is right on the eve of the Reformation, 1531, so he would have been one of the last Priests to be commemorated in this fashion. As at Little Walsingham, two hands are shown holding the base of the chalice, elevating it.
In the nave, there are three further pre-Reformation brass inscriptions, at least two of which are on their original matrices, and one of which retains one of the two figures commemorated, Robert Grote, who died in 1500. His wife is missing, as is the Priest Edward Kightling, whose empty matrix shows that he was wearing priestly vestments.
This is a wonderful collection of late medieval brasses, and is extraordinary that so much has survived. Only a couple have been stolen, but it is clear an attempt has been made on the life of the smaller shroud brass. It has been broken in half, and the lower part protrudes upwards. These chancel brasses have also suffered very badly from being covered by carpets, the underlay breaking up and soaking with moisture to scour the brass. On my most recent visit, the churchwarden agreed that to would be better to remove the carpet altogether, and I do hope that this will happen.
But the most vivid memory of the past at Bawburgh is the superb collection of late medieval glass in the nave. Best of all is the wonderful St Barbara, as good as anything else in Norfolk. She stands proudly, holding her church. Across the nave is a lovely fragment of an Annunciation scene. Mary stands in front of a pot of lilies, and a scroll declares Ecce Ancilla Domini Fiat ('Behold the Handmaid of the Lord, Let it be so'). A crowned female head nearby is probably from a Coronation of the Blessed Virgin.
There are floating angels, perhaps censing or collecting the precious blood at the crucifixion, and a king who may be Christ from the same Coronation scene. There is larger, crowned, bearded king, perhaps God the Father, some fragments of St Catherine and perhaps St Gregory, and a lay figure in late medieval dress who might just be a pilgrim to the Shrine of St Walstan. Perhaps most pleasing, because it is so complete, is a set of roundels featuring the words of the Nunc Dimmitis, Simeon's prayer on seeing the infant Christ for the first time. It is rather moving to find them in the same window as the Annunciation, which features words which would be familiar to pilgrims from both the Ave Maria and the Magnificat. It is easy to imagine them sitting telling their beads at a journey's end, contemplating this glass.
At the west end of the church is a small patch of wall painting which defies easy interpretation. It is obviously at least three separate subjects, the most recent being part of an Elizabethan text, below that apparently two figures embracing, the lowest a roundel topped by indecipherable text. It is likely that there is part of a Seven Works of Mercy sequence, which was often placed on the western wall of a smaller church like this.
There is much else besides. The people here were obviously very pleased at the 1660 Restoration, and immediately erected a new set of royal arms to Charles II. You can't help thinking of Philip Tenison, and how it might just be his influence that the people were pleased to see the back of puritanism. One old bench end with an inscription is marooned on the wall, curiously in the shape and location of a holy water stoup (is it covering it?) and there's a nice European roundel in the chancel, which I take to be from a series of Stations of the Cross. Otherwise all is Victorian, or the influence of Victorians. And then you spot the 17th century poorbox fashioned like a newel post, still secured in the east end of the nave. It is from the protestant days of this church, but it is still a reminder of charity, and the offerings of generations of pilgrims that made this one of Norfolk's most significant shrines, and still a beautiful and interesting church today.
Inscription: "An old legend describes this twin cypress as a lookout of a Mexican sniper who picked off the Texans as they came to the river for water."
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The San Antonio River Walk (also known as Paseo del Río) is a network of walkways along the banks of the San Antonio River, one story beneath downtown San Antonio, Texas. Lined by bars, shops and restaurants, the River Walk is an important part of the city's urban fabric and a tourist attraction in its own right.
Today, the River Walk is an enormously successful special-case pedestrian street, one level down from the automobile street. The River Walk winds and loops under bridges as two parallel sidewalks lined with restaurants and shops, connecting the major tourist draws from the Alamo to Rivercenter mall, to the Arneson River Theatre close to La Villita, to HemisFair Park, to the Tower Life Building, to the San Antonio Museum of Art, and the Pearl Brewery. During the annual springtime Fiesta San Antonio, the River Parade features flowery floats that literally float.
(Via Wikipedia - Link Below)
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Millions of people visit the River Walk each year to enjoy this unusual urban sanctuary that winds along the San Antonio River in central San Antonio, one story below the bustling street level. Restaurants, galleries and shops line the banks of the downtown River Walk while the north and south banks of the River are less commercial.
The lush landscapes, quaint pathways, tinkling waterfalls, quiet pools, outdoor art and relaxing outdoor patios evoke the renowned public spaces of Europe.
(Via Visit San Antonio - Link Below)
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The River Walk History
The Historic Events from 1536 to 1792
In Texas, water has been a lifeline for many generations for centuries past. The San Antonio River is a source of a South Texas Treasure, The San Antonio River Walk. Development of San Antonio and its most popular tourism attraction have come along way together.
1536
Alvar Nuñez Cabeza de Vaca, a shipwrecked captive of Indians, visits the interior of Texas, sees and describes the River.
1691
June 13. Domingo Teran de los Rios, first Governor of the new Province of Texas, accompanies Father Damian Massanet on his return trip to East Texas. Camping at a rancheria of Payaya Indians on a stream called Yanaguana, someone said "let's celebrate mass and rename the stream 'San Antonio' because it is Saint Antony's day"
1709
The Espinoza-Aguirre-Olivares expedition stops at the springs which Father Espinosa names San Pedro. Father Olivares notes the river as a good site for later missions.
1716
The Spanish Council of war approves a site on the San Antonio River for a fortified presidio (fort). The Domingo Ramon expedition, accompanied by the trader St. Denis from Louisiana (who had come to the site two years previous) establishes a presidio on the river. This same council also approves the request by Father Olivares to establish a mission at the site.
1718
Martin de Alarcon, Governor of Texas, reinforces the presidio. Its ten soldiers and their families are recognized as the beginning of the villa. Alarcon names the presidio San Antonio de Bejar in honor of the Duque de Bejar, the viceroy's brother, who died a hero's death defending Budapest from the Turks in 1686.
The Mission of San Francisco de Solano is moved from the Rio Grande to merge with Mission San Antonio de Padua. Father Olivares renames his merged mission Mission San Antonio de Valero. The presidio, the villa and the mission comprise the municipality named San Antonio de los Llanos (of the Plains) by Governor Alarcon.
1719
Mission San Antonio moves to its second site on the east bank near the present day St. Joseph's Church on Commerce.
1720
Mission San Jose y San Miguel de Aguayo is founded by Father Margil de Jesus, who names it in honor of San Juse, San Miguel and Gov. Aguayo (Jose de Azlor y Vlrto de Vera, the Marquis de Aguayo, appointed Governon of Texas and Coahuila in 1719.) Olivares protests Its closeness to Mission San Antonio. Captain Alazan lays out the 10 leagues distance between the missions required by the Laws of the Indies in order to give it the protection of the presidio
1721
The Marquis de Aguayo moves the presidio San Antonio de Bejar to Its present site on the Plaza de Armas, where permanent-quarters are constructed for the soldiers. In 1726 the settlement population is 200, Including 45 military and their families.
1723
May 10. The King of Spain issues a royal cedula ordering that 400 families be transported from the Canary Islands for the purpose of establishing a civil settlement in the vicinity of the Presidio de Bejar.
1724
Mission San Antonio is moved to its third and final site on Alamo Plaza because of hurricane flooding at the previous site.
1727-1744
Acequia Madre de Valero/Alamo Ditch is begun from the east side of the San Antonio River, south of the springs and north of the present day Witte Museum/Alligator Gardens building.
1729
The first 15 Canary Island families, of the 400 slated, begin their trip to the Presidio San Antonio. The King completely funds their journey via Havana and Vera Cruz; then overland to their new homes, providing detailed provisions for their final destination at the Presidio San Antonio.
1731
March 9. The 15 families, plus 1 bachelor, arrive at the presidio to establish the first legally recognized civil settlement. The call It Villa de San Fernando In honor of King Ferdinand II.
1731-1739
San Jose Acequla constructed.
1731-1745
Espada Dam, Acequia and Aqueduct constructed. Still in use.
1734
The cornerstone of San Fernando Church (later Cathedral) is laid.
1736
Construction of the first bridge to span the San Antonio River, connecting the Presidio with Mission San Antonio, at site of the present Commerce St. bridge.
1738
Acequla Principal/San Pedro Ditch begun, diverting water from San Pedro Creek and returning it to San Antonio River south of downtown. It was sited on the ridgellne separating the San Pedro Creek and the San Antonio River watersheds. Water could be drawn-from both sides of the ditch.
1778
Beginning of American Revolution. Acequia Labor Arriba/Upper Labor Ditch is begun, diverting water from the west side of the river south of Hildebrand and terminating in the Acequla Principal near 5 points.
1792
All the missions are closed down by order of the Spanish government. Their lands are distributed to the mission Indians attached to the compounds
(Via The San Antonio Riverwalk - Link Below)
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The Paseo del Rio Association is a non-profit organization founded in 1968 to promote and support the San Antonio River Walk, the number one tourist attraction in Texas.
Paseo Del Rio Association
110 Broadway
Suite #500
San Antonio, TX 78205
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Inscription within the Plantin Polyglot Bible (Vol. 1) / printed as "Biblia Polyglotta" by Christopher Plantin in Antwerp between 1568 and 1573 as an expression of loyalty to King Philip II of Spain / purchased in 1669 by Chetham's Library, Manchester, UK
I finished "A Confession" by Tolstoy per my brother's recommendation. It was sad but intriguing. He was confused, later on, by the traditions that people held to even though they had a common faith. There was still a need to be "the most right."
But he didn't fault them for that. There are reasons why people do it.
His dream was really interesting. An unassuming pillar with a rope holding him up, and you need only look up at the sky to feel that you will not fall, with the final words of "see that you remember."
Ex libris Jacob
Spörli 1575
Inscription dated 1575
Penn Libraries call number: GrC Ar466 Ef2 1518 Folio copy 2
Inscription to Lucius Minicius Natalis, Museu d'Arqueologia de Catalunya, Barcelona.
--------
Pedestal
IRC IV, 33. MAC-B, n. inv. 7554 Barcelona
Calcària de Santa Tecla 49 x 62 x 46 cm
Mitjan s.ll dC
[L(ucio) Minucio L(uci) Fil(io)]/
[Gal(eria tribu) Natali]/
[Quadronio Vero Iuniori]/
[co(n)s(uli) auguri]/
[proco(n)s(uli) provinciae Africae leg(ato) Aug(usti) pr(o) pr(aetore)]/
[provinciae Moesiae inferior(is) curat(ori) oper(um)]/
[public(orum) et aedium sacrar(um) cuarat(ori) viae Flaminiae]/
[praef(ecto) alim(entorum) leg(ato) Aug(usti) leg(ionis) VI (sextae) Victric(is)]/
[in Britannia pr(ovincia) tr(ibuno) pl(ebis) candidato q(uaestori) candidato]/
[divi Hadriani Augusti et eodem]/
[te]m[po]re leg(ato) provinci[ae Africae dioceseos]/
Carthaginens(is) proco(n)s(ulis) pat[tris sui] tr(ibuno) mil(itum)/
leg(ionis) I (primae) Adiutric(is) P(iae) F(idelis) item leg(ionis) XI (undecimae) C[l(audiae) P(iae) F(idelis) item leg(ionis)]/
XIIII (quartae decimae) Gem(inae) Mart(iae) Victr(icis) III vir(o) mo[netali a(uro) ar(gento) a(ere) f(lando) f(eriundo)]/
IIIIII viri Augustales ob me[rita]/
eius in ipsos secundum verba test(amenti) [eius q(uae) s(unt)]/
colon(is) Barcinonens(ibus) ex Hispania [Cit]er(iore)/
[apud q]uos natus sum HS (sestertuim) C (centum milia) ita si cav[e]ant/
[se pro ea] summa ex quincuncib(us) omnib(us) annis/
[d(ie) ... Iduu]m Februar(iarium) die natali meo sportulas/
[decuri]onib[us] qui praesentes erunt singul(is)/
[X (denarios) quatern]os Augustalib(us) qui praesentes erunt/
[singul(is) X (denarios)t] ternos daturos si quo pauciores con{t}/
ven[eri]nt amplius inter praesentes pro rata/
divi[dat]ur ut HS (sestertium) V(quinquemilia) ususar(um) quae annuae competunt/
in ha[n]c rem omnib(us) ann(is) die natali meo erogentur/
Traducció:
A Luci Minici Natal Quadroni Ver júnior, fill de Luci, inscrit en la tribu Galèria, cònsol, àugur; procònsol de la província d'Àfrica, llegat d'August, propretor de la província de Mèsia Inferior; inspector dels treballs públics i dels edificis sagrats, inspector de la via Flamínia, prefecte encarregat dels aliments (alimenta), llegat imperial de la legió VI Victoriosa a la província de Britània, tribú de la plebs candidat, qüestor candidat d'Adrià August divinitzat i al mateix temps llegat de la província d'Àfrica, diòcesis de Cartago, del seu pare procònsol, tribú militar de la legió I Auxiliadora Pia Fidel i també de la legió XI Clàudia Pia Fidel i així mateix de la legió XIV Gèmina Màrcia Victoriosa, triúmvir monetal encarregat de la fosa i l'encunyació de les monedes d'or; de plata, de bronze, els sèvirs augustals en raó dels seus mèrits envers ells, segons les paraules del seu testament, que són: "als colons de Bàrcino d'Hispània Citerior, entre els quals he nascut, els deixo 100.000 sestercis amb la condició que, a partir dels interessos a 15% d'aquesta suma, es distribueix; cada any; el dia ...dels idus de febrer; data del meu naixement, una donació de 4 denaris a cadascun dels decurions presents i de 3 denaris a cadascun dels sèvirs augustals presents; si es presenten en menor nombre, que la suma atribuïda a cadascun d'ells s'augmenti en proporció entre els presents, de manera que els 5.000 sestercis resultants dels interessos anuals es destinin a aquest fi anualment el dia de l'aniversari del meu naixement".
Més informació: Luci Minici Natal, la vida d'un senador i campió olímpic barceloní gravada en pedra
ancient Toos region is located between two mountain chains, Hezar Masjed in the north and Binalood in the south. mounds and large sites of Toos region shows its importancy and validity in prehistoric period. it considered four main cities in this area, Tabaran, Nowghan, Radkan and Toroghbaz. Tabaran was the greatest. it overshadowed the other cities of the region.
in 1200 Quzes detroyed the city, and then in 1220 it was completley ravaged by Mongols. but after a few decades it was reconstructed.
finally in 1388 Miranshah the son of Taymor crushed this city and gradually Tabaran was forgotten.
this building that is called Harroonieh, is the oldest and the last monument of the disappeared city. it is reconstructed in 1942.
This Gospels manuscript was written in 937 of the Armenian era [1488 CE] in the province of Ekełeac' by the priest Łazar at the monastery of Surb Awgsend (St. Auxentius). Though the fifteenth-century manuscript was not a terribly costly production (for example, the nimbuses around the evangelists' heads are painted in yellow or orange rather than gold), it later came to be housed in a magnificent binding with large silver plaques showing the Presentation of the christ child at the temple on the front and the Ascension on the back. This silver binding, which is attributable to the seventeenth or early eighteenth century, was likely produced in Kayseri (Turkey). The manuscript's fifteenth-century evangelist portraits show signs of Mongolian artistic influence, stemming from the time when Mongols had conquered the province. For a manuscript of similar style, see the Gospels in Jerusalem, no. 298, copied by Maghak’ia in 1497. The Walters Silver Gospels was used over a long period of time by a succession of owners. Information about its history is given in colophons and ownership inscriptions on the codex's final folios. For example, one note indicates that the book was rebound in 1626, and offered to the church of Surb Astuacacin (Holy Theotokos) in memory of Caruk, Kirakos, and Girigor (fol. 280r). The last date given is the Armenian year 1161 (1712 CE), which may be when the manuscript was rebound.
This Gospels manuscript was written in 937 of the Armenian era [1488 CE] in the province of Ekełeac' by the priest Łazar at the monastery of Surb Awgsend (St. Auxentius). Though the fifteenth-century manuscript was not a terribly costly production (for example, the nimbuses around the evangelists' heads are painted in yellow or orange rather than gold), it later came to be housed in a magnificent binding with large silver plaques showing the Presentation of the christ child at the temple on the front and the Ascension on the back. This silver binding, which is attributable to the seventeenth or early eighteenth century, was likely produced in Kayseri (Turkey). The manuscript's fifteenth-century evangelist portraits show signs of Mongolian artistic influence, stemming from the time when Mongols had conquered the province. For a manuscript of similar style, see the Gospels in Jerusalem, no. 298, copied by Maghak’ia in 1497. The Walters Silver Gospels was used over a long period of time by a succession of owners. Information about its history is given in colophons and ownership inscriptions on the codex's final folios. For example, one note indicates that the book was rebound in 1626, and offered to the church of Surb Astuacacin (Holy Theotokos) in memory of Caruk, Kirakos, and Girigor (fol. 280r). The last date given is the Armenian year 1161 (1712 CE), which may be when the manuscript was rebound.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Unidentified
EVIDENCE
Provenance evidence: Inscription, Shelf Mark
Location in book: Inside Front Cover
Transcription: E. V. 19
COPY
Repository: Bryn Mawr College Library
Call number: A-232
Collection: Special Collections
Copy title: Compendium theologicae veritatis
Author(s): Albertus, Magnus, saint, 1193-1280
Published: Venice, 5 Apr. 1476
Printer/Publisher: Christopherus Arnoldus
FIND IN POP
Bryn Mawr College Library A-232
23.11.2012: probably from an inscribed stone slab recording the victories of a Moabite king, Moab, mid-8th cent. BC. Museum of Israel, Jerusalem.
Inscription: [...and] I built [... and I took] many captives. And I built [the citadel of the royal house. And I [built] Beth-harosh. And with the captives of the Ammonites [I built for the] reservoire a mighty gate. And the small cattle and the cattle [... I carried] there. And the Ammonites saw that they were weakened in every [...]