View allAll Photos Tagged Zodiac_month
Libra
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Virgo
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Pisces
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Тaurus
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
It's the World Lion Day today! The day is to to raise awareness of the majestic hunter, the ultimate feline, the king of the jungle.
It's also the zodiac month of the Leo, those soft and loud kittens, who are warm, action-oriented and driven by the desire to be loved and admired.
To celebrate this day we wanted to gift you fluffy Lion Slippers!
You will find them in the MadPeas' group notices: secondlife:///app/group/07a8657f-71c9-3012-65fc-7da2e790bad3/about
Enjoy!
Sagittarius
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Aquarius
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Cancer
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Leo
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
The Nasrid Palace (Palacios Nazaries) displays Muslim architecture at its pinnacle. The walls, ceilings, and columns are worked in low-relief planes of finely molded, colored plaster which catches the light. Many of the ceilings display a honeycomb of decorative, hanging plaster stalactites. The palace rooms border patios with pools and water cascades. The emphasis on water reflects its preciousness in the Arab world. The Court of Myrtles shows off its long reflecting pool, and the Court of Lions highlights a cross of narrow pools that extend into the interior. Moors stood in the Court of Lions 600 years ago, reading the Koranic poetry adorning the walls, and contemplating Muslim paradise and the twelve lions (zodiac, months, etc.). The Hall of Ambassadors was the audience room for the emirs, highlighted by its spectacular views of the Albaicin hill through the pierced-sculpture windows.
The Nasrid Palace (Palacios Nazaries) displays Muslim architecture at its pinnacle. The walls, ceilings, and columns are worked in low-relief planes of finely molded, colored plaster which catches the light. Many of the ceilings display a honeycomb of decorative, hanging plaster stalactites. The palace rooms border patios with pools and water cascades. The emphasis on water reflects its preciousness in the Arab world. The Court of Myrtles shows off its long reflecting pool, and the Court of Lions highlights a cross of narrow pools that extend into the interior. Moors stood in the Court of Lions 600 years ago, reading the Koranic poetry adorning the walls, and contemplating Muslim paradise and the twelve lions (zodiac, months, etc.). The Hall of Ambassadors was the audience room for the emirs, highlighted by its spectacular views of the Albaicin hill through the pierced-sculpture windows.
Gemini
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Capricorn
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
Scorpio
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
The personification of the year (regens temporum) in the centre. The year holds in his hands the moon and the sun, and below the moon is represented the night, below the sun the day.
In the second circle are the twelve signs of the zodiac. In the outer circle are the labours of the twelve months. January is to be found at "nine o'clock" the order of the months follows the sense of the clock. In January - quite unusual - a hare (rabbit) hunting is going on. In may the man holds a bird's nest and a hollow device. The meaning is not completely clear.
In the inner corners are the four seasons, beginning on the top left with spring, then clockwise the summer, but on the bottom right follows the winter and finally bottom left the autumn.
Outside the frame on top left is "Aurora" = morning;
bottom left "meridies" = noon,
bottom right "vespera" = evening and on top right "Pruina" = rime or hoarfrost (which means northern and cold region). These four persons are the personifications of the four points of the compass. Who observes very accurately finds the half heads of twelve winds.
Source:
digital.wlb-stuttgart.de/sammlungen/sammlungsliste/werksa...[id]=5438&tx_dlf[page]=40
The zodiac as a circle can be found for example on a late roman mosaic from
Sentinum near Ancona (Italy):
Aries
I thought about it once. Now I only have digital photos in my hands. I have no idea where the original drawings are at the moment, they were not sold or donated, they just disappeared. Perhaps someone needs these images ... Technical details: create an image in the head, and immediately begin to make arbitrary movements with a pencil across the drawing field. This is done in one minute. The mobility of the hands at this moment directly depends on the emotions. Then, when there is a template, draw the details. Drawing 1998, cardboard, pencil. Height / Width / Depth: 17.5 x 24.7 x 0.1 cm
January as triple-faced Roman God Janus (Looking in the past, the presence and the future)
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of medievalart.org.uk
A Dutch translation of the illustration of the four-fold micro- and macro-cosmos in the ‘Manual of Byrhtferth‘, Oxford St. John College ms. 17 fol.7v. The ages of man (pueritia (-14 years), adolescentia (-28 years), juventus (- 48 years) and senectus (70 – 80 years) make a clockwise motion.
P. 65 in: FOUR - Marten Kuilman (with coloured diagram):
quadriformisratio.wordpress.com/2013/07/01/four-ages/
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The original scheme is reproduced in:
Burrow 1986, pl. 2; Edson 1997, ill. 5.5 (91); English Romanesque Art 1066-1200, 104; Esmeijer 1978, fig. 53; Evans (M.) 1969, pl. 66; Kauffmann 1975, ill. 21; Kline 2001, fig. 1.9; Murdoch 1984, ill. 290; Singer 1917, 124; Singer and Singer 1917-1919, fig 3; Singer and Singer 1921, fig. 2.
Related manuscripts: Post-Conquest English Computus Manuscripts: Peterborough computus
1. Introduction, transcription and translation
2. Byrthferth's Diagram as symbolic diagram
3. The form of Byrhtferth's Diagram
4. Did the Diagram illustrate Byrhtferth's Enchiridion?
5. The Peterborough computus copy of Byrhtferth's Diagram and related schemata
1. Introduction, transcription and translation
Byrhtferth's Diagram is probably the most famous and most frequently reproduced item in MS 17. It is also a very complex composition, and its interpretation bristles with historical and exegetical problems. To avoid a disproportionately long commentary, we will limit our remarks here to a description of the Diagram, and some observations on its relationship to the copy in the Peterborough computus and to diagrams in Byrhtferth's Enchiridion. A longer interpretive article is in progress.
What follows is a transcription and translation of the text surrounding Byrhtferth's Diagram:
Hanc figuram edidit bryhtferð2 monachus ramesiensis coenobii de concordia mensium atque elementorum.
Hi sunt solares \scilicet dicuntur quia secundum ipsum cursum constant/ menses qui habent dies XXXI. Ianuarius. Martius. Maius. Iulius. Augustus. October. December.
Hi autem XXX \scilicet dies habent secundum solis cursum/ Aprilis. Iunius. September. November. Februarius uero ab omnibus erat.
Retinet hec figura XII signa et duo solstitia. atque bina equinoctia. et bisbina tempora anni. in qua descripta sunt IIII nomina elementorum. et duodenorum uentorum onomata. atque IIII etates hominum. Sunt insimul coniuncta bis bine littere nominis protoplasti ade;
Demonstrat enim uero quales menses lunam XXX quales XXIX habent;
(Byrhtferth, monk of Ramsey Abbey, set forth this diagram of the harmony of the months and the elements.
These are the solar months (so called because they follow the Sun's course) which have 31 days: January, March, May, July, August, October, December. These have 30 (that is, days according to the Sun's course): April, June, September and November. But February deviates from them all.
This diagram contains the twelve signs and also the two equinoxes and the twice-two seasons of the year, within which are inscribed the names of the four elements and the designations of the twelve winds, and also the four ages of man. The twice-two letter of the name of Adam, the first-created man, are also added.
It shows which months have a moon of 30 and which a moon of 29.)
2. Byrthferth's Diagram as symbolic diagram
Diagrams, schemata and tables found in computus manuscripts are of three basic types. The reference table like those which precede (fols. 8r-15v) and follow (fols. 22r-27r) the calendar in MS 17 are designed for consultation, or to manipulate data to solve a problem. Computists also inherited a tradition of pedagogical schemata illustrating scientific principles or providing a graphic summary of information:3 the taxonomy of knowledge on fol. 7r is such a summary, while the drawings accompanying the cosmographical anthology on fols. 35v-40v are essentially scientific illustrations. Derived from pedagogical schemata, but of a higher order of complexity, and with a different function, are symbolic diagrams in which interpenetrating systems of abstract concepts are brought into relation through graphic organization, numerical and geometrical symbolism, colour, and other visual strategies. Symbolic diagrams can contain more or less assertive pictorial representations which allegorize their contents; this diagramming iconography is one of the typical features of Carolingian and Romanesque art. But the symbolic diagram in the strict sense, like the pedagogical schema, presents contents which are primarily textual or conceptual in character. The diagram sidesteps the normally diachronic presentation of words and concepts by distributing them in a spatial arrangement, a diagram. This arrangement allows the material to be compared, juxtaposed, analysed, and interpreted on many levels at once, using a process of "visual exegesis." However, unlike the pedagogical schema, symbolic diagrams are not illustrations of a parent text; rather, they are either completely independent of, or in a kind of collegial relationship with a text. Essentially, the diagram itself functions as a text.
A scientific or pedagogical schema can become a symbolic diagram by the addition of an iconic reference, or by re-orientation to a more metaphysical purpose. When Gerbert of Aurillac wished to illustrate the different types of geometric angles, he used a pedagogical scheme consisting of circles overlapping in various degrees. But then he added an extra diagram, a figura composed of a number of circles, and which contained all the possible types of angles. It had no pedagogical value; it simply satisfied a passion for synthesis. Gerbert made the diagram, in his words, "so that all might be seen together in one. Likewise at the end of the copy of De natura rerum in Oxford, Bodleian Library Auct. F.3.14 (fol. 19v), Isidore of Seville's OT map of the world has been transformed into a maiestas Domini, with Christ seated atop the globe and three praying figures standing in for the three continents. In both cases, a scientific image has become a symbolic one.
3. The form of Byrhtferth's Diagram
Byrhtferth's Diagram, like Gerbert's, was designed "so that all might be seen together in one," and like the Auct. F.3.14 map, the organizing symbolism is that of the maiestas Domini. The rubric announces that this figura is a harmonization of two systems: the twelve months and the four elements. The first is represented by an 8-shaped green band on which is inscribed the twelve signs of the zodiac, and beneath these, the month of the year roughly corresponding to each sign, together with the number of solar days in the month and the length of the lunation that terminates in that solar month. Within this zodiac band is a double diamond. The outer diamond is pinned to the zodiac band by four roundels labeled with the names of the four elements -- earth (blue), air (cream), water (green) and fire (red) -- at the equinoctial and solstitial points. An arc with the date of the solstice or equinox passes over each element-roundel, so preserving the continuous flow of celestial time despite the interception of the static quadrilateral of the sublunary elements.
Within the continuous flow of time is the unmoving world of place, represented by the inner, blue diamond. The Greek and Latin names of the cardinal directions are inscribed in the "bites" in the corners of the diamond. These are linked to the four elements through the twelve winds, whose names lie inside the element roundels. Because they are twelve in number, and pertain to the upper atmosphere, the winds belong to the celestial realm of the outer band; but they also belong to the inner, terrestrial diamond because they are sublunar, meteorological phenomena, and because they are classed according to the cardinal directions. Byrhtferth compromised by grouping them in threes according to the cardinal directions, but locating them in the outer region.
The four elements themselves also bridge the worlds of time and of space. Each has a pair of qualities which link it to its neighbouring elements: these are transcribed on the bars of the inner diamond, which is particularly associated with space. But these paired qualities serve to connect time as well as the material creation. The paired qualities are assigned to the different seasons, and the bars on which they are inscribed form the outer diamond. The arms of this diamond thread through a second series of four roundels containing the name of the season, its length and the date on which it begins. The reminder that each season covers three months carries our eye outwards to the band of three months arching over each season-roundel. But the roundels also relate the four seasons to the four phases of the human life cycle and its duration: puericia lasts 14 years, adolescentia to age 28, iuuentus to age 48, and senectus until 70 or 80.
Hanging between heaven and earth, these roundels are a graphic statement of man's amphibious nature, linked to the heavens through the stages of life as microcosm of celestial time, and to the earth through the name of Adam, formed from the initial letters of the Greek names of the cardinal directions -- a conceit already encountered in the world-map on fol. 6v. Enclosed within ADAM is an eight-spoked wheel, resembling a sundial or horologium, above which is a narrow horizontal strip containing some symbols, a fragment of Ogham or pseudo-Ogham writing, and abbreviated words. These puzzling details (which incidentally are missing from the Peterborough computus copy of the Diagram) await further research and study. Here we will concentrate on the overall form and the explicit messages of the Diagram.
None of the separate components of the Diagram is particularly unusual, yet the Diagram as a whole bespeaks a high degree of synthetic creativity in the way in which it superimposes four common medieval schemata: the syzygia elementorum (the connection of the elements through their paired qualities, and their analogous relationship to the four seasons, four humours of the body, four ages of man etc. through these pairings), the rota of the zodiac, the rota of the months, and the windrose with its four cardinal directions. What binds them together is numerical analogies, particularly the number four, a subject on which Byrhtferth himself has much to say in his textbook on computus, the Enchiridion.
4. Did the Diagram illustrate Byrhtferth's Enchiridion?
Byrhtferth of Ramsey's significance to the origin and shape of MS 17 goes well beyond the few items formally ascribed to him in this manuscript, namely this Diagram, and the Proemium on fols. 12v-13r. The unique manuscript of Byrhtferth's Enchiridion is Bodleian Library Ashmole 328, a quarto volume written in English square minuscule of the early 11th century, but of unknown provenance. Illustrating Byrhtferth's text are a number of computus reference tables, pedagogical schemata, and symbolic diagrams. One of these is a rota of the months and zodiac signs, but without any indication of the number of lunar and solar days in each month.18 Directly after presenting this rota Byrhtferth announces, "Nu her ys gemearcod se circul þe ys zodiacus gehaten, 7 þaera XII monða naman, nu wille we furðor geican þurh Godes mihta" -- "Now that the circle called the zodiac and the names of the twelve months are here written down, we wish, with the aid of God's power, to continue further"). This "further" addition is a second diagram in the form of a Greek cross bound by concentric circles, which Byrhtferth introduces by explaining the dates of the equinoxes and solstices and connecting them to the twelve months and the four elements.21 The diagram, however, shows neither the months nor the elements, but rather the solstices and equinoxes in connection with the seasons.
Byrthferth then turns to a fresh topic ("Exceptis his rebus...") and proceeds to unroll a long chain of analogies between the twelve winds, the four seasons, the four ages of man, the four elements and their qualities, and the four humours of the human body. The diagram, he says, will explain it all. Unfortunately, the diagram has been torn out of the Ashmole manuscript, leaving only a corner.
In 1919, Charles and Dorothea Singer published Byrhtferth's Diagram as a copy of the missing schema in the Ashmole manuscript, claiming that the Diagram fulfilled all the requirements of Byrhtferth's introductory description. But does it? Byrhtferth's introduction does not mention the months, the zodiac, the solstices or the equinoxes; in fact, he had explicitly set these matters aside. Moreover, the Diagram mentions nothing about the humours, a fact that the Singers overlooked to the extent of christening the schema "Byrhtferth's Diagram of the Physical and Physiological Fours," and asserting that it illustrated the medical treatise on fols. 1v-2v of MS 17.24 They could not avoid noticing, however, that the Ashmole diagram was obviously rectangular, and that the legends still legible in the fragment do not correspond to the text in MS 17, but this cast no doubt on their "restoration." It has raised few questions since, though Lapidge and Baker, in their new edition of the Enchiridion, are very much more cautious than previous commentators about equating the MS 17 diagram with the Ashmole schema. Caution is justified: apart from the discrepancies identified above, the Ashmole page would not have been large enough to hold the Diagram, if the scale of the writing on the extant stub is taken as a module. But the major difficulty remains that Byrthferth's text does not permit us to look for a concordia mensium et elementorum at this point. This concordia is the central theme of the Diagram.
Many of the analogies expressed through the Diagram are indeed discussed in the Enchiridion, but not in the context of the missing schema; rather, they are included in an essay on number symbolism which forms the final part of the treatise, and particularly in the section devoted to the number four. Here Byrhtferth explicitly describes the relationship of the elements to the seasons and the ages of man through their paired qualities, the connection of the winds and the cardinal directions, and how the initials of the Greek names for the cardinal directions spell the name of Adam. But he mentions no diagram in connection with these. In sum, it would appear that Byrhtferth's Diagram, like many other symbolic diagrams, stands on its own, and is not an illustration of a particular text -- not even Byrhtferth's own.
The second distinctive aspect of the Diagram is its unusual and evocative shape. By far the most common shape for a schema of the zodiac, months, or winds is a rota, and almost every syzygia elementorum is a circle segmented by a four-lobed knot. Nowhere save in Byrhtferth's Diagram are these contents presented as an elongated diamond within an 8-shaped frame. This is the distinctive graphic framework of a maiestas Domini, that is, the representation, generally in an eschatological context, of Christ manifested in glory. In sum, unlike most symbolic diagrams, Byrhtferth's Diagram does not take a pedagogical schema and fill it with religious content, but takes a religious schema and fills it with computistical content.
digital.library.mcgill.ca/ms-17/folio.php?p=7v&showit...
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The theme of the four ages of man continued after the thirteenth century of the European cultural period, but its character became increasingly symbolic. Genuine four-fold thinking drifted towards a lower division environment. This move – which lasted for almost six-hundred years – increased the (visible) visibility, but decreased the character of real tetradic thinking. The invention of the printing press ‘enabled the widespread dissemination of the literature of symbolism including the new genres of emblem and device’ (RAYBOULD, 2009). The world of painting added to the visualization of the four-fold, but not necessarily to the understanding of a tetradic world view.
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of sacred destinations (Holly Hayes)
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Harvesting wine grapes
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of wikimedia
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of wikimedia
A man sitting on a festive table aboundant with dishes
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of medievalart.org.uk
Pruning the vine
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
A warrior, a knight (here as a crusader)
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
A pig - still fattened with acorns - is just being slaughtered
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of medievalart.org.uk
A hooded man warming up his bare feet at an open fire
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
A man filling wine from a small into a big barrel
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Queen Mary Psalter
11B London BL - Royal 2 B VII fol-82 Sagittarius
This series of 24 images is dedicated to Renzo Dionigi, my first teacher on flickr and soon my friend.
Treshing
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Cutting the wheat with a sickle
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Queen Mary Psalter
12B London BL - Royal 2 B VII fol-83 Capricorn
This series of 24 images is dedicated to Renzo Dionigi, my first teacher on flickr and soon my friend.
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of medievalart.org.uk
Autun Bourgogne Burgund Burgundy
cathedral Saint Lazare tympan tympanon tympanum
zodiac zodiaque Sternzeichen
Monatsarbeiten labors months travaux des mois
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn
Queen Mary Psalter
01A London BL - Royal 2 B VII fol-71v Royal feast in January
This series of 24 images is dedicated to Renzo Dionigi, my first teacher on flickr and soon my friend.
Making hay with a scythe
Chartres, cathedral, stained glass window with the labors of the months and the zodiac
Original photo by courtesy of Walwyn