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This is a superb illuminated leaf with a historiated initial of King David from a Bible that was made in England, probably Oxford, c.1250.
The text on this leaf starts in the “Prologus sive origo psalmorum” or “Prologue or origin of the psalms” which would have opened with “David filius Jesse cum esset in regno suo”. This is the “Pseudo-Bede Prologue. The person known as “Pseudo-Bede” was Manegold von Lautenbach (died c.1103).
The first initial begins a letter sent from Jerome to Eustochiom concerning the Psalter and his corrected translation.
The historiated initial begins the text of the Psalms. This part of the text goes from Psalm 1 through to Psalm 9, verse 12.
The size of the leaf is 196/198mm x 141mm (7 7/10 – 7 8/10ins. x 5 11/20ins.).
On the recto is a historiated initial of king David which is fully described in the detail picture.
PURCHASE DETAILS: -
Purchased from the New England Auction Company Inc., Danbury, Connecticut, USA, Lot 50 in their auction on 22nd. August 2014.
PROVENANCE: -
1.On the verso is a pencil annotation that the leaf is 1250, English, Oxford and “Ege”. It is probable therefore that it is from the same Bible that leaves from which were Folio 13 in Ege’s “Fifty Original Leaves from Medieval Manuscripts, Western Europe, XII-XVI Century”.
2.Also on the verso, in the bottom right corner, is the note “Zion 14”. This is likely the reference of the late Daniel Meyer Friedenberg from whose collection this leaf was being sold by New England Auction Company Inc.
3.Daniel Meyer Friedenberg (24th. February 1923 – 28th. August 2011) who admired achievement, particularly in scholarship and writing, and published several poems, more than 100 articles and seven books He was an expert in Judaica and served as part-time Curator of Coins and Medals at the Jewish Museum of New York from 1962-1982. He believed in philanthropy and donated his collections to museums and colleges, including significant Judaica, Pre-Columbian art, first edition books and modern art.
OTHER LEAVES: -
10 leaves that included 8 historiated initials were Lot 25 in the Sotheby’s sale of “Single Leaves and Miniatures from Western Illuminated Manuscripts” held on 25th. April 1983 where they were described as “These are interesting leaves from a highly finished manuscript. The localisation of thirteenth-century English illumination is notoriously difficult. The present leaves have much in common with the W. de Brailes style.”. These leaves had previously been in the Rosenbaum Collection.
Gwara Handlist 13.
GENERAL COMMENTS: -
Whilst there are traces of old mounts on the verso, this is a superb leaf with decoration of the highest quality.
Santa Maria Maggiore, die grösste und ehrwürdigste unter den rund 80 Marienkirchen Roms, gehört zu den 4 Patriarchalbasiliken und den 7 Pilgerkirchen. Nach der Legende soll die Kirche im 4. Jh. an der Stelle errichtet worden sein, an der es die Madonna im August schneien liess. In der Basilika wird seit dem 7. Jh. ohne Unterbrechung täglich die Messe gefeiert.
Sixtus V. liess sich im rechten Seitenschiff von Domenico Fontana eine Grabkapelle, die Cappella Sistina, errichten. In einem Gewölbezwickel ist ein Fresko mit der Darstellung des Propheten Isaias und des Königs David zu sehen.
Three cuttings. 85 by 60mm, 86 by 60mm, and 92 by 70mm. Single column, at least 11 lines, ruled in ink; gothic hand.
Decoration: Two-line initials in burnished gold with red and blue infills patterned with white tracery. One side of each fragment has a large miniature in an arched compartment with part of floral acanthus borders visible at the top and traces of baguette borders and the tops of foliate initials below the miniatures.
Provenance: In the style associated with the Maître François School, active in Paris ca. 1465–1490. The book was cut up at the time of the French Revolution, and sold by the artist and picture dealer Peter Birmann (1758–1844) to Daniel Burckhardt-Wildt (1759–1819) in 1796. The leaves were mounted in an album made up by Burckhardt-Wildt, and kept in the family until its dispersal in 1983. Purchased from Sotheby's, 25 April 1983, lot 151.
References: Manion, Vines, de Hamel no. 107; Reed Early Bibles no. 56.
Shelfmark: RMM Fragment 45a.
Description reproduced from Medieval and Renaissance Manuscripts in New Zealand Collections (London, 1989) by permission of the authors (Christopher de Hamel, Margaret Manion, and the family of Vera F. Vines).
Original painting by artist
Rae Chichilnitsky.
30"x40".
Stained Glass on Canvas technique.
Acrylic and relief outliner on canvas.
Copyright Protected. All Rights Reserved.
Prints and greeting cards available for sale through my website:
The story of King David and Bat Sheva (Batsheba) has always been a favorite of mine. Often I've wondered how aware Bat Sheva was of her kingly voyeur.
How much of Batsheva's motivation for her nightly ablution was purely hygienic, and how much an exhibitionist's seductive display...
I love the way the bible depicts King David's weakness in the face of Bat Sheva's beauty, and the way it honestly discloses his failure to temptation. The entire story of the crime and the punishments it incurs is simply beautiful.
I find it encouraging that the bible acknowledges that even the great King David, from whose line the Messiah is destined to arise, is also just a man.
The phallic building in the foreground of this elongated format is the Tower of David in Jerusalem, Jerusalem's main fortification since Herod's days.
My model and muse, unlike the biblical Batsheva, requested to stay anonymous...
Limited Edition Giclee Print 720 numbered and signed prints available here: www.digitalartprintgallery.com/0/girls-girls-girls-.more-...
Bat Sheva hanging at my exhibition "Digital Zion": www.flickr.com/photos/israeli-art/3535208249/
This was in a thrift shop. I liked it but wanted to determine the artist before purchasing it. Mystery solved by comparing signatures after I realized it could be by Ben Shahn...
IMG_0660 - Version 4
Wilfred the Hairy (aka Guifré el Pilós), whom we just "met" as the founder of the nearby monastery in Sant Joan de les Abadesses, where his daughter Emma of Barcelona was the first abbess, founded the Monastery of Santa Maria in Ripoll in 879. Here his son Radulf de Barcelona was abbot. This was not only Wilfred´s family business, he was very succesful in the political power game of that time.
The first church was consecrated in 888, but as the monastery grew it was "reconsecrated" in 935, 977 and 1032. When Oliba de Besalú, as well a descendent of Wilfred, was abbot here (1008–1046), this was a cultural center. More than 250 books were on the shelves of the monastery´s library.
The decline started within the 15th century. In 1428 it was severely damaged by an earthquake, the restoration was done in Gothic style.
The church got ruined the first Carlist War, the library burnt down, the last monks had left. In 1847 part of the cloister and soon after, the abbot´s palace got demolished.
The Bishop of Vic organized the rebuilding, so that the church got consecrated again in 1893. The church of today is vastly a product of the reconstruction of th 19th century, but it may be "near" to the romanesque structure.
Here is the famous portal of the church, that of course got damaged, but survived the times. 11,60m wide, 7,25m high - it is hard to take a photo of the whole portal.
I was so impressed and overwhelmed, that, when I returned to the hotel during the siesta-hours, I immediately booked a second night. I knew that this structure would grab me for many hours. I have to say a special "GRACIAS" to the helpful lady at the ticket counter. Of course I will not upload all photos I took in Ripoll...
Over the centuries, the carvings weathered - and got vandalized. The result can be seen on the more detailled shots like this one.
King David (with crown and scepter) sitting on a throne. He is surrounded by four of his musicians. They hold (from left to right) a violin, a bell, a horn and a panpipe.
Die Mariensäule wurde 1857 geweiht, nachdem Pius IX. 1854 das Dogma von der Unbefleckten Empfängnis Mariens verkündet hatte, das besagt, dass Maria frei von der Erbsünde empfangen worden war. Die 11,80 m hohe antike Säule aus Cipollino-Marmor wird von einer Bronzestatue der Madonna, geschaffen von Giuseppe Obici, bekrönt. Die Figuren auf dem Sockel wurden von vier Künstlern geschaffen: König David von Adamo Tadolini, Jesaias von Salvatore Revelli, Ezechiel von Carlo Chelli und Moses von Ignazio Jacometti.
Hinter der Säule ist der Palazzo di Propaganda Fide zu sehen, ein Werk von Gian Lorenzo Bernini und Francesco Borromini. Der Palast ist Sitz der 1622 von Gregor XV. gegründeten Kongregation zur Verbreitung des Glaubens.
This is a nicho altar with images from Gothic Stained Glass Windows which have been transferred onto polymer clay with Lynda Moseley's image transfer technique.
The sides have images of King David, and the front is an image that I reversed the colors on to get the nice turquoise hues.
This is my entry into the PCAGOE September challenge. Thank you to Piddix on Etsy for your digital collage sheets!
Statue of Miriam, paired with a statue of King David.
Found on the east wall of the North Transept of York Minster, as a memorial to Alexandra Studholme (1867-1907).
York Minster, also known as 'The Cathedral and Metropolitical Church of St Peter in York'.
There has been a church in York dedicated to St Peter since the 630s, with a stone church built by Oswald of Northumbria in 637. This church was developed in the 670s with the addition of a school and library (a Minster being an Anglo-Saxon missionary teaching church); in 741 the building burned down and was rebuilt, holding 30 altars. During the Anglo-Saxon period (when York was Eoforwic), and then Viking period (Jorvik) there were a series of Benedictine Archbishops including including Wulfstan (d. 956), Saint Oswald (d.992), and Ealdred (d. 1069).
The cathedral was damaged in 1069 and repaired in 1070 by its first Norman archbishop, Thomas of Bayeux (d. 1100); in 1075 the church was destroyed by the Danes, but rebuilt from 1080, the new building was in the Norman style, with white and red rendering.
Following being made Archbishop of York in 1215, Walter de Gray (d. 1255) ordered the construction of a gothic structure. Work began in 1220, with the North and South Transepts completed in the 1250s in the Early English Gothic Style. The Chapter House was began in the 1260s, completed 1296; the nave was began in 1280s, building on Norman foundations, the outer roof was built in the 1330s, with the vaulting completed in 1360s. The choir (the last Norman structure) was demolished in 1390s, and was replaced 1405. The Central (Lantern) Tower was built from 1420 (replacing a c.13th tower that collapsed in 1407); the towers on the West Front were built 1432-72, after which the Minster was consecrated.
Because of the length of time taken to build the Minster, the architecture shows the development of the Gothic style from Early English to Perpendicular.
The traditional room of the "Last Supper" which a mosque (located above King David's tomb). The room is technically "closed" so access is instead granted through a backdoor. The first floor is King David's tomb and serves as a Jewish prayer room and library.
A preview image from the new batch of six new illustrated Bible stories from the King David section of The Brick Testament website.
The 'menorah' (or 'chanukkiyah' in Hebrew) is a nine-branched candelabrum that is lit during the 8-day Jewish holiday of Hanukkah. The ninth candle (usually placed in the middle of the menorah above the other candles) is called the 'shamash' (the 'helper' or 'servant') and is used to light all the other candles. The menorah is a traditional symbol of Judaism along with the 'Star of David'.
On the first night of Hanukkah, in December, one candle is placed on the far right of the menorah. Each night afterwards, for the next seven nights, one additional candle is lit. Blessings are recited over the newest candle.
The Jaca Cathedral is one of the oldest of the Iberian peninsula, dating back to the 1070s. The building, that was altered many times later, was commissioned by King Sancho Ramírez, who established an episcopal seat in Jaca, then the capital of the Kingdom of Aragon.
The Romanesque cathedral was completed around 1130. In 1395 a blaze destroyed large parts of the cathedral. The ceiling had to be reconstructed in the following decades and got renovated in the 16th century, when the aisles were added and the nave got enlarged.
The cloister, adjoining the cathedral hosts the "Museo Diocesano de Jaca".
Here is the museum´s website:
www.diocesisdejaca.org/index.php/museo-diocesano-de-jaca
I had once admired the capital depicting "King David and his musicians" on the southern porch of the cathedral. This porch was added to the structure later, "reusing" capitals that probably had been before part of a Romanesque cloister. I did not know at that time, that I saw a copy.
This is the original, a masterpiece of the Master of Jaca. King David, seated on a throne, playing the vielle (seen to the very left), is accompanied by an orchestra of 11 musicians, playing different instruments. Here is the right side of the capital.
A capital next to the phantastic tympanum of the Cathédrale Saint-Lazare. A musical ensemble waiting for entering the stage and starting the performance. All have string-instruments and the person far right carries a little drum as well. Maybe this shows King David and his well known musicians.
King David is one of most prominent characters in Christianity, Judaism, and Islam. He was a man of many talents, accomplishing fame as a warrior, musician, and poet. The name "David" means "Beloved" in Hebrew, indicating that he was beloved by God. David was destined to play a special role in the post-Flood human history. Being born a son of a shepherd (Jessy), David was annointed by prophet Samuel to become Israel's king and unify all Israeli tribes. His son, Solomon, built the First Jewish Temple. Jesus Christ was his direct descendant.
It goes like this . . .
The fourth the fifth
The minor fall, the major lift
The baffled king composing ‘Hallelujah’
Hallelujah is a song written by Leonard Cohen, originally released on his album Various Positions (1984). Achieving little initial success, the song found greater popular acclaim through a new version recorded by John Cale in 1991, which inspired a recording of Cale's version by Jeff Buckley in 1994.
en.wikipedia.org/wiki/Hallelujah_(Leonard_Cohen_song)
According to the Hebrew Bible, David was the third king of Israel. In the Books of Samuel, he is described as a young shepherd and harpist who gains fame by slaying Goliath, a champion of the Philistines, in southern Canaan.
Public domain picture of a painting of King David Playing the Harp (1622) by Gerard van Honthorst via Wikimedia Commons w.wiki/5fPP
A Nubian Ibex (wild mountain goat) at Ein Gedi.
Ein Gedi served as a place of refuge for King David as he fled from Saul. 1 Samuel 23:29 says that David "dwelt in strongholds at En Gedi".
En Gedi literally means "the spring of the kid (goat)." This is very fitting, as I saw multiple ibexes while I was here. One time when David was fleeing from King Saul, the pursuers searched the "Crags of the Ibex" in the vicinity of Ein Gedi. In a cave near here, David cut off the corner of Saul's robe (1 Sam 24).
A preview image from the new batch of six new illustrated Bible stories from the King David section of The Brick Testament website.
Il monumento fu inaugurato l'8 dicembre 1857 grazie al lavoro di 220 vigili del fuoco diretti dal Poletti. All'inaugurazione e consacrazione della colonna intervenne lo stesso Pio IX con gran parte della corte pontificia, tanto che per accogliere tutti davanti alla facciata dell'ambasciata di Spagna fu montata una falsa facciata, ben visibile nella storica foto dell'evento. Da 1923 ogni anno i pompieri di Roma offrono nell'occasione della festa dell'Immacolata, una corona di fiori alla Madonna della colonna e dal 1958 il Papa presenzia regolarmente a questa cerimonia.
Nel 1777 venne rinvenuta una colonna di cipollino venato nel corso di lavori di ampliamento del convento delle monache Benedettine di S. Maria in Campo Marzio. Essa era alta quasi 12 metri con un diametro di quasi 1 metro e mezzo. Data la sua fattura incompleta, si constatò subito che essa non doveva essere mai stata utilizzata e forse giaceva ancora nei resti di una officina marmoraria. La sua rozzezza però non piacque a papa Pio VI ed essa rimase accantonata per quasi 80 anni, fino a quando papa Pio IX non decise di innalzarla in onore della Vergine e nell'occasione della promulgazione, nel 1854, del dogma sulla Immacolata Concezione. Il luogo fu scelto per la vicinanza del collegio De Propaganda Fide, dove venivano formati i missionari.
La colonna poggia su un basamento con le statue dei profeti Mosè, Isaia, Ezechiele e David. Fra loro quattro bassorilievi ricordano l'Annunciazione, il sogno di S. Giuseppe, l'incoronazione della Vergine e la promulgazione del dogma. In alto, gli emblemi degli evangelisti e la statua della Madonna (alta 4 metri e realizzata dallo scultore Giuseppe Obici) furono fusi in bronzo nelle fonderie del Vaticano.
All'innalzamento della colonna, nel 1857, lavorarono 220 pompieri che rapidamente portarono l'opera a compimento. Da qui deriva la tradizione, rinnovata ogni anno l'8 dicembre, dell'omaggio di una ghirlanda di fiori offerti dai Vigili del Fuoco alla Madonna.
The monument was inaugurated on December 8, 1857 thanks to the work of 220 firefighters directed by Poletti. Pius IX himself intervened at the inauguration and consecration of the column with a large part of the papal court, so much so that a false facade was mounted to welcome everyone in front of the Spanish Embassy, clearly visible in the historic photo of the event. From 1923 every year the firefighters of Rome offer on the occasion of the feast of the Immaculate Conception, a wreath of flowers to the Madonna of the column and since 1958 the Pope regularly attends this ceremony.
In 1777 a column of cipollino veined was found during the expansion of the convent of the Benedictine nuns of S. Maria in Campo Marzio. It was almost 12 meters high with a diameter of almost 1 and a half meters. Given its incomplete invoice, it was immediately found that it must never have been used and perhaps still lay in the remains of a marble workshop. Its roughness was not liked by Pope Pius VI and it remained shelved for almost 80 years, until Pope Pius IX decided to raise it in honor of the Virgin and on the occasion of the promulgation, in 1854, of the dogma on the Immaculate Conception. The place was chosen because of the proximity of the De Propaganda Fide college, where the missionaries were trained.
The column rests on a base with statues of the prophets Moses, Isaiah, Ezekiel and David. Among them, four bas-reliefs recall the Annunciation, the dream of St. Joseph, the coronation of the Virgin and the promulgation of the dogma. Above, the emblems of the evangelists and the statue of the Madonna (4 meters high and made by the sculptor Giuseppe Obici) were cast in bronze in the Vatican foundries.
When the column was raised in 1857, 220 firefighters worked which quickly brought the work to completion. Hence the tradition, renewed every year on December 8, of the homage of a wreath of flowers offered by the Fire Brigade to the Madonna.
Le monument a été inauguré le 8 décembre 1857 grâce au travail de 220 pompiers dirigés par Poletti. Pie IX lui-même est intervenu lors de l'inauguration et de la consécration de la colonne avec une grande partie de la cour papale, à tel point qu'une fausse façade a été montée pour accueillir tout le monde devant l'ambassade d'Espagne, bien visible sur la photo historique de l'événement. A partir de 1923 chaque année les pompiers de Rome offrent à l'occasion de la fête de l'Immaculée Conception, une couronne de fleurs à la Vierge de la colonne et depuis 1958 le Pape assiste régulièrement à cette cérémonie.
En 1777, une colonne de cipollino veiné a été trouvée lors de l'expansion du couvent des religieuses bénédictines de S. Maria in Campo Marzio. Il mesurait près de 12 mètres de haut pour un diamètre de près d'un mètre et demi. Compte tenu de sa facture incomplète, il a été immédiatement constaté qu'elle ne devait jamais avoir été utilisée et peut-être restait-elle dans les restes d'un atelier de marbre. Sa rugosité n'a pas plu au pape Pie VI et elle est restée en suspens pendant près de 80 ans, jusqu'à ce que le pape Pie IX décide de l'élever en l'honneur de la Vierge et à l'occasion de la promulgation, en 1854, du dogme de l'Immaculée Conception. L'endroit a été choisi en raison de la proximité du collège De Propaganda Fide, où les missionnaires ont été formés.
La colonne repose sur une base avec des statues des prophètes Moïse, Ésaïe, Ézéchiel et David. Parmi eux, quatre bas-reliefs rappellent l'Annonciation, le rêve de saint Joseph, le couronnement de la Vierge et la promulgation du dogme. Au-dessus, les emblèmes des évangélistes et la statue de la Vierge (haute de 4 mètres et réalisée par le sculpteur Giuseppe Obici) ont été coulés en bronze dans les fonderies du Vatican.
Lorsque la colonne a été levée en 1857, 220 pompiers ont travaillé, ce qui a rapidement mené à terme les travaux. D'où la tradition, renouvelée chaque année le 8 décembre, de l'hommage d'une couronne de fleurs offerte par les pompiers à la Madone.