Like Minds @ Social Media Week 13-17 Feb 2012

Photography by Harry Duns (www.harryduns.com)

JP Rangaswami, Salesforce; Jon Ingham, Strategic-HCM; Euan Semple, Consultant; Joanne Jacobs, Strategy Consultant; Neville Hobson, FIR; Delphine Remy-Boutang, IBM; Lee Provoost, Dachis Group

Eric Provoost

Le bain turc (d'après Ingres)

Sint-Gilliskerk (Saint-Gillis church) in the Sint-Gillis Quarter of Bruges, in Flanders, Belgium.

Around 1240, the Saint-Gillis church was built as an auxiliary chapel of the parish of Our Lady. No data has been stored on the view of the first church. Possibly she was of wood. In 1258 the Saint-Gillis church was already mentioned as a parish church. It was not until 1311 that the parish became independent and the adjoining cemetery, which disappeared in the 19th century, was dedicated. Meanwhile, the first church building was replaced by a basilical church, inspired by the Scheldt Gothic.

Four pillars in Tournai limestone and the old window area of the central aisle were preserved. Some parts of the current transept are still 13th-century. Between 1462 and 1479 the second church was extended to a pseudo church church. Until today, little has changed in this form. Hall churches are typical of the brick Gothic of the coastal region.

During the 15th and 16th centuries, a number of important artists, including Hans Memling, Jan Provoost , Lanceloot Blondeel , Pieter Pourbus and the Claeissens family, found their final resting place in and around the church. There are no more leftovers from their graves.

From the middle of the 17th century, the church was adapted to the taste of the baroque. In 1750 the tower was raised on one floor, with the four corner turrets on the second floor being demolished. The Sint-Gilliskerk was then used for demolition several times, but was always spared, despite the poor condition in which it was wrong. At the end of the 19th century, the building underwent a thorough neo-Gothic restoration led by the Ghent architect Auguste Van Assche. This restoration is particularly noticeable in the interior.

The most important piece of art inside is the so-called ' Veelluik van Hemelsdale', with scenes from the life of Jesus, by Pieter Pourbus. There are also paintings from, among others, Jacob Van Oost and Jan Garemijn and numerous other works of art.

Musée du Louvre Paris

(Aelst 1502–1550 Brussels)

The Adoration of the Magi,

oil on panel, 112 x 75 cm, framed

Provenance:

with Lambert J. Nieuwenhuys, Brussels;

Willem II, King of the Netherlands (1792-1849), acquired from L. J. Nieuwenhuys, December 1840, for Hfl. 3.300 (as Lucas van Leyden);

sale, De Vries, Roos & Brondgees, Collection King Wilhelm II, Gothic Hall, Royal Palace, The Hague, 12-20 August 1850, lot 45 (as Lucas van Leyden);

acquired after the sale by Willem Frederik Karel, Prince of the Netherlands (1797-1881), younger brother of King Willem II;

by descent to his daughter Wilhelmina Frederika Anna Elisabeth Maria (1841-1910), Princess of Wied, Princess of the Netherlands, Neuwied;

by descent to her elder son Friedrich Wilhelm Hermann Otto Karl, Prince of Wied (1872-1945), Neuwied;

by descent to his wife, Pauline Olga Helene Emma, Princess of Wied, Princess of Württemberg (1877-1965);

after her death offered for sale by her descendants;

sale, Sotheby’s, London, 5 July 1967, lot 10 (as the Master of 1518, to Hollstein for £ 6.500);

Private collection, Germany

Exhibited:

Düsseldorf, Kunsthistorische Ausstellung, 1904, pp. 77-78, no. 185 (as Herri met de Bles; at the time with monogram L and date 1525 which were later additions)

Literature:

C. J. Nieuwenhuys, Description de la Galerie des tableaux de S. M. Le Roi des Pays-Bas, avec quelques remarques sur l’histoire des peintres et sur le progress de l’art, Brussels 1843, pp. 101-104, no. 40;

M. J. Friedländer, Die Altniederländische Malerei, Die Antwerpener Manieristen, Adriaen Ysenbrandt, Berlin 1933, vol. XI, p. 124, no. 92 (as ‘Der Meister von 1518. Oben dreieckig, ursprünglich wohl geschweift. Falsch signiert L. Die Komposition ist mehrmals kopiert worden’);

M. J. Friedländer, Early Netherlandish Painting, 1974, vol. XI, p. 76, no. 92, pl. 85 (as Master of 1518);

E. Hinterding, F. Horsch, ‘A small but choice collection’, The Art Gallery of King Willem II of the Netherlands (1792-1849), Zwolle 1989, pp. 20, note 65, 43, note 178, 69, no. 45 (as Master of 1518)

The present Adoration of the Magi is a newly-attributed early masterpiece by the Flemish Renaissance polymath Pieter Coecke van Aelst. Painted around 1523, it may be seen as a crowning achievement of the young journeyman, then working in the Antwerp studio of the Master of 1518. Originally conceived for a private oratory or chapel, the high quality of the painted surface and the intricate underdrawing, revealed by infrared reflectography, place the present composition among the finest representations of this biblical subject in early modern Flanders. Coecke’ s marriage of empirical observation with his reception of Romanic styles later saw him lauded also for his designs of tapestries, stained glass, woodcuts, decorations and goldwork. Noted by contemporaries and early art historians, Lodovico Guicciardini called him ‘great’. Georg Braun described him as ‘most excellent’ and in 1604 Karel van Mander celebrated him as ‘ingenious and knowledgeable’ (see E. Cleland, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014, p. 2).

We are grateful to Peter van den Brink for attributing the present painting to Pieter Coecke van Aelst, and for his assistance in cataloguing this lot.

The Genesis of the Adoration of the Magi

The painting has been fully documented with the aid of infrared reflectography (IRR). The IRR displays the underdrawings of the composition, applied with brush and black paint on what appears to be a layer of lead white on top of the ground. The underdrawings are clearly freehanded, applied with brille and energy. All the figures in the foreground were prepared in detail, with elegant, meandering contour lines; the shadows were prepared in advance by means of hatching, parallel strokes, as well as some limited cross-hatching for the deeper shadows. The figures in the middle ground are only loosely sketched in preparation and the figures in the back not at all; they were only added during the paint stage. It is a system that was used again and again in early 16th century Antwerp painters’ studios and we encounter this type of underdrawing not only with the Master of 1518, but also with the so-called Master of the Antwerp Adoration, Adriaen van Overbeke and Jan de Beer. The absence of underdrawing for the brocade and other decorative motifs, visible in the finished painting, was also typical of early 16th century Antwerp painters’ studios.

A close examination of the painting and the underlying drawing reveals the various changes the painter of the Adoration of the Magi carried through. Many of these corrections have to do with small shifts in the position of hands or faces, clearly meant to improve and finalize the composition. The Christ Child itself is a good example to demonstrate this. The underdrawing shows that the right hand was directed more towards the kneeling Caspar, whereas Christ’s left hand had already disappeared inside the golden cup. In painting the scene, the artist decided to show a more restrained Christ Child, since greed is hardly a virtue. At the lower right of the composition the entrance to the Nativity Grotto is visible. In the first arrangement of our Adoration of the Magi, it appears that a ladder was foreseen to the left of the cave entrance, a rather puzzling idea that was abandoned in favour of the present stone staircase. The Geburtshöhle, as it is called in German, is a recurring motif in Christian iconography that was especially popular in early 16th century painting and it occurs in almost every single Antwerp Adoration of the time, as can be witnessed in the various examples that were painted by Jan de Beer and his contemporaries.

The most dramatic change in the composition, however, is to be found in the upper right portion of the painting’s architectural setting. Hanging from a ring set into the arch’s tracery, the artist had planned to paint a decorative festoon, held by two putti on either side, at the entrance of the vaulted gateway. While the ring and putti were repositioned, playing an extraordinary act of pantomime, the festoon never reached the painted stage. It is quite likely that the idea of a painted festoon was abandoned in favour of an enlarged tower.

The present type of underdrawing is most certainly comparable with the handwriting of the Master of 1518, visible in the Lübeck altarpiece, its predella panels in Stuttgart, the Crucifixion triptych in the Holy Blood-Museum in Bruges and the Marriage of the Virgin in St. Louis. However, although the drawings may be comparable, both in function and in method, they differ stylistically and appear not to be by the same hand. The lines of the Lübeck and Bruges underdrawings are a type of highly finished underdrawing that looks like a woodcut in its fixed pattern of parallel- and cross-hatching for the modeling of forms and system of lighting throughout the composition. Employed by other Antwerp Mannerist artists this style of underdrawing is commonly referred to as the ‘woodcut convention’ (see M. W. Ainsworth, Pieter Coecke van Aelst as a Panel Painter, in: E. Cleland a. o., Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, exhibition catalogue, New York 2014, p. 26). Indeed, this very specific type of underdrawing is reminiscent of Dürer woodcuts, where the linear quality and flat two-dimensional approach are in the forefront, creating a clearly readable pattern for assistants to take up the task of painting in the various elements of the composition. Quite often such a pattern is the result of the use of a cartoon, followed by tracing the lines in brush and black paint. In the Lübeck altarpiece underdrawing and painting seem to be two different sides of the coin, two separate parts of the genesis of the altarpiece, not necessarily executed by the same artist.

The underdrawing of the Adoration of the Magi differs stylistically from the Lübeck altarpiece, and more importantly, seems to part of one single process, from the hand of a single artist. As can be judged from the preparation of the greyish white cloak of the black magus Balthasar, the underdrawing has been applied with a swift brush, searching for the right contour lines and volume. This creative energy in the underdrawing phase differs fundamentally with the finished underdrawing in the ‘woodcut convention,’ that has been prepared with the painted composition in mind. When the Adoration of the Magi is compared with the various painted scenes of the Lübeck Altarpiece, there can hardly be any doubt that our painter was trained in the studio of the Master of 1518, whoever he may have been. The colour pattern is strikingly similar and so are the elongated figures, for example Balthasar with his counterpart in the Lübeck Adoration of the Magi. The elegant dancing step of our Balthasar was quite literally replicated from the figure on the extreme left of the Betrothal of the Virgin, next to the young Joseph. The decorative architectural backdrop is evidently based on the examples of the Master of 1518, visible in the Lübeck Altarpiece and even the festoon, held by two putti, as was initially planned for the Adoration, is visible in paint in the background of the Betrothal of the Virgin. However, the figures of the Master of 1518 show his preference for a two-dimensional presentation, as can be seen in its most extreme form in the Magdalene of the Crucifixion triptych in the Holy Blood Museum in Bruges. By contrast, the painter of the Adoration of the Magi placed his figures in different planes of the composition and tried to give them more volume and plasticity. That he did not succeed everywhere can be regarded as a token of his lack of experience.

The young Pieter Coecke in the Studio of the Master of 1518

The Adoration of the Magi is in fact a youthful work by Pieter Coecke van Aelst, who probably finished his training with Bernard van Orley in Brussels, before he came to Antwerp, where he married Anna van Dornicke, before 1526 and became a citizen of Antwerp automatically. In 1527 he would enroll into the Guild of Saint Luke as a free master and started his own workshop. The Adoration of the Magi no doubt was produced when Coecke was still active as assistant or journeyman in the studio of the Master of 1518 and therefore remains within the broad stylistic contours of the older painter. A date between 1522 and 1527 therefore seems most likely, like several other paintings that have been discussed recently within the same context, such as a triptych with the Adoration of the Magi in the collection of Hester Diamond, New York, Christ carrying the Cross in the Basel Kunstmuseum and Christ taking leave of his mother in Glasgow Kelvingrove Art Gallery and Museum. The triptych with the Adoration of the Magi in New York lends itself perfectly well to a detailed stylistic comparison. That work of art is probably the earliest of the four mentioned, slightly earlier than our painting with the same subject. The architecture, the vistas, the use of plans and especially the facial types are interchangeable in such a way that it is safe to assume the same painter at work here. The facial type and even the slightly sad expression of Melchior, to the right of our Adoration, is literally repeated in the figure of the High Priest in the The Presentation of Christ in the Temple. The present Virgin with her downcast eyes finds herself repeated in her counterpart on the left wing of the New York altarpiece and the young man with the trumpet has taken the guise of an angel. The paintings in Glasgow and Basel appear to have been painted slightly later, circa 1525-26 and show how the young painter developed in such a short period. An example of which can be seen in the complicated composition of the Basel picture, with the enormous dynamic of the figures engaged in the procession, far removed from Coecke’s beginnings with the Master of 1518.

A Royal Provenance

The present Adoration of the Magi has a royal provenance. Between 1840 and 1850 it was part of the collection of King William II of the Netherlands. William started collecting long before he would occupy the throne in October 1840; he bought his first paintings in 1815 or 1816, when the Dutch Royal Family still used Brussels as a part-time residence. His first collection was largely destroyed when a fire broke out in the right wing of the Brussels palace where the young prince resided. In 1823 he acquired an important group of Early Netherlandish paintings from the art dealer L.J. Nieuwenhuys. By the end of 1823 he had amassed a collection of nearly fifty paintings, thirty-seven of which were characterized as ‘Gothic’, including masterpieces by Van Eyck, Memling, Van der Weyden and Simon Marmion. William’s love for ‘Flemish Primitives’ was probably fed by the fact that he felt more at home in the Roman Catholic south than the Protestant north, and he spent much of his time in the palace at Brussels.15th and 16th century sacred works became widely available in Europe under the rule of Napoleon Bonaparte. The Nieuwenhuys family dominated this art market in the Rhineland where the ‘Säkularisation’ of 1802 made altarpieces – usually fragmented – accessible to art collectors. Combined with the ‘rediscovery’ of the Flemish primitives this led to a burgeoning enthusiasm for the collecting of early German and Netherlandish art.

Following the Belgian revolution, William’s collection in Brussels was held hostage until 1840, when he had succeeded his father as King of the Netherlands. Shortly after William’s accession, he acquired the present Adoration of the Magi from Lambert J. Nieuwenhuys, for 3300 guilders. This sale was recorded (with the panel at that time being listed as a work by Lucas van Leyden) in an annotated copy of the 1840 auction catalogue, formerly owned by the treasurer of the King’s estate, now in the archives of the RKD. In 1842, the present panel was hung in the newly built Gothic Hall, behind the Kneuterdijk Palace in The Hague, which was specifically built for William’s collection. In a watercolour of the interior of the Gothic Hall, made by Huib van Hove in 1842, the present panel with its typical shape and the frame it still had in the twentieth century, can be found in the right-hand corner in the back, next to Jan Provoost’s The Virgin Mary in Glory, now conserved in the Hermitage, St Petersburg (inv. no. ГЭ-417).

When the King’s collection was auctioned after his death in 1850, the ‘Gothic’ pictures accounted for one third of the sale, among them the present Coecke van Aelst work (with regard to the background or the circumstances of the sale, see Hinterding/Horsch 1989, pp. 38-45; of its content, ibid., pp. 55-114). Several pictures did not find a buyer, probably due to the high reserves, including the Adoration of the Magi. The painting was subsequently sold for the reserve price to Prince Frederik, the younger brother of the deceased William II, together with nineteen other old master paintings, including the Simon Marmion and the triptych of the Heereman family by Jacob Cornelisz. van Oostsanen, conserved at the Rijksmuseum, Amsterdam. Subsequently the Adoration of the Magi remained in Neuwied in the Rhineland for nearly a century, where Frederik’s daughter Marie resided after she married the Prince of Wied. The painting stayed in Frederik’s family until it was offered for sale in 1967. After the sale, the painting remained in private German hands and has now surfaced for the first time since 1967.

When the present picture was exhibited at the Kunsthistorische Ausstellung in Düsseldorf in 1904, it was wrongfully attributed to Herri met de Bles. This was, however, a misconceived suggestion that the painting was of the same hand as the Adoration of the Magi in the Alte Pinakothek, Munich, who was later re-named Pseudo Bles, due to the fact that the original attribution was based on a falsified signature. This Bles-group remained a ‘name of convenience’ for a long time, until Friedländer brought some order in the staggering amount of anonymous triptychs, fragments from compound altarpieces and devotional pictures that were made in the first quarter of the sixteenth century in Antwerp (see M. J. Friedländer, Die altniederländische Malerei, vol. XI, Die Antwerpener Manieristen. Adriaen Ysenbrant, Berlin 1933). It was Friedländer who gave the present Adoration of the Magi to the Master of 1518. The Master of 1518 was identified, and named from the large altarpiece of the Life of the Virgin in Our Lady’s Church in Lübeck, which is placed within a chapel that bears the inscription ‘1518.‘ With this altarpiece Friedländer grouped many pictures that shared the same stylistic features.

Conclusion

The Adoration of the Magi is the centre panel of a triptych, from which the wings, as so often, were separated in the past. The original shape of the top of the panel was altered as well. It most likely would have been comparable to the central Adoration of the Hester Diamond triptych, in its original form. The separation of the centre panel and wings as well as the altered shape, a frequent practice of late 18th and early 19th centuries, occurred before the sale of the panel to King William II, evidenced in the watercolor of the 1840s. The high quality of the painted surface as well as the typical underdrawing were the work of the young Pieter Coecke van Aelst, at the time he was still producing paintings as a journeyman in the Antwerp studio of the Master of 1518. The painting can be dated to circa 1523, in-between the Hester Diamond Adoration triptych and the Basel Christ carrying the Cross and is a significant addition the Flemish polymath’s early oeuvre.

Technical analysis by Gianluca Poldi:

Many non-invasive spectroscopic measures were carried out to study the pigments. The artist chose azurite as the only blue, used together with lead white in different proportions for the sky, the mountains, the various blue clothes including the deep blue of the Virgin Mary’s cloak. The same mineral pigment was employed, together with red lake, to obtain grey-purple tones of some garments. A cobalt blue pigment constitutes the modern integrations in the sky.

All the green areas are made with verdigris (copper acetate), mixed with lead white or lead-tin yellow to achieve brighter colours. This yellow was used alone in the lights of the tree foliage, in light yellow clothes and in many objects to imitate gold, while shadows are obtained with yellow and brown ochre.

Bright, intense red clothes are based on vermillion, shadowed with red lake. A good quality coccid-derived red lake was used in many areas, such as the Virgin’s red dress and the outer part of Caspar’s ermine mantle.

Performance of Isabel Provoost

The Patriarch's Museum is part of the Royal Seminary College of Corpus Christi.

There is a ticket for the museum, that allows to visit the "Capella del Monument" (Monument Chapel), the cloister and the museum itself.

The museum has an invaluable collection of art works, including paintings by Paolo de San Leocadio, Miquel Esteve, Joan de Joanes, Francesc and Joan Ribalta, Pedro de Orrente, El Greco, Dirk Bouts, Jan Provoost, Giovanni Baglione, Bernardino Luini, Giovanni Battista Ricci. There are also copies of works by Caravaggio, Raphael, Sebastiano del Piombo, Tiziano, Andrea del Sarto.

Door Lianne Provoost, Westkapelle

Ruiters met bloemen op het land

Jan Provoost, The Martyrdom of St. Catherine, 1501 [detail].

From the collection of the Royal Museum of Fine Arts Antwerp, Belgium.

At the moment part of: Jan van Eyck, Rogier van der Weyden and the discovery of the world. An excellent exhibition of Rijksmuseum Twenthe Enschede, Holland.

Aberdeen has many commemorative plaques situated throughout the city at various locations of importance, I try to capture as many as I can on my trips out and about, I aim to photo them all at some point posting in this folder for reference .

I found this one at marischal university .

Samuel Seabury (November 30, 1729 – February 25, 1796) was the first American Episcopal bishop, the second Presiding Bishop of the Episcopal Church in the United States of America, and the first Bishop of Connecticut. He was a leading Loyalist in New York City during the American Revolution. He was also a known rival of Alexander Hamilton.

Samuel Seabury was born in North Groton, Connecticut in 1729. His father, also Samuel Seabury (1706–1764), was originally a Congregationalist minister in Groton but was ordained deacon and priest in the Church of England in 1730. He was a rector in New London, Connecticut from 1732 to 1743, and of St George's, Hempstead, New York on Long Island from 1743 until his death.

Samuel Seabury (the son) graduated from Yale College in 1748, and studied theology with his father. He studied medicine in Edinburgh from 1752 to 1753 and was ordained deacon by John Thomas, Bishop of Lincoln, and priest by Richard Osbaldeston, Bishop of Carlisle, on December 21 and 23 respectively, 1753. Seabury was rector of Christ Church, New Brunswick, New Jersey from 1754 to 1757, rector in Jamaica, New York from 1757 to 1766, and of St. Peter's, Westchester (now annexed to The Bronx) from 1766 to 1775.

Revolutionary times

He was one of the signatories of the White Plains Protest of April 1775 against all unlawful congresses and committees, and in many other ways proved himself a devoted loyalist. Seabury wrote the "Free Thoughts on the Proceedings of the Continental Congress" (1774) under the pen name A. W. Farmer (standing for "a Westchester farmer"), which was followed by a second "Farmer's Letter", "The Congress Canvassed" (1774). Alexander Hamilton responded to these open letters in "A Full Vindication of the Measures of the Congress, from the Calumnies of their Enemies". Seabury wrote a third "Farmer's Letter" titled "A View of the Controversy between Great Britain and her Colonies" to answer Hamilton. Hamilton completed the exchange by writing "The Farmer Refuted" (1775).

These three "Farmer's Letters" are forceful presentations of the loyalist claim, written in a plain, hard-headed style. Their authorship was long in question, but it is certain that Seabury claimed them in England in 1783 when he was seeking Episcopal consecration. At the same time, he claimed authorship of a letter under the title "An Alarm to the Legislature of the Province of New York" (1775), not signed by the Westchester farmer, which discussed the power of what he viewed as the only legal political body in the colony. Seabury's clarity of style and general ease of reading set him apart from his ecclesiastical colleagues throughout his life.

Seabury was arrested in November 1775 by local Patriots, and was kept in prison in Connecticut for six weeks. He was prevented from carrying out his ministry and, after some time in Long Island, he took refuge in New York City where he was appointed chaplain to the King's American Regiment in 1778. At the end of the war, he stayed in the United States; he moved to Connecticut and was loyal to the new government.

Post-revolutionary episcopacy

On March 25, 1783, a meeting of ten Episcopal clergy at the Glebe House in Woodbury, Connecticut, elected Seabury bishop as their second choice (a favorite son was elected first, but declined for health reasons). There were no Anglican bishops in the Americas to consecrate him, so he sailed to London on July 7. In England, however, his consecration was considered to be impossible because, as an American citizen, he could no longer take the oath of allegiance to the King. Seabury then turned to the Scottish Episcopal Church.

At that time, the Episcopalians in Scotland were not the established church but a legally recognized but oppressed church that refused to recognize the Hanoverian kings. Earlier scandal had been caused by the presence of two non-juring bishops[citation needed] in America in the 1720s (John Talbot and Robert Welton) who were removed from their positions - Talbot was Rector of St Mary's in Burlington, New Jersey - after being accused of schism in the Church of England in America, which was then under the authority of the Bishop of London.

He was consecrated in Aberdeen on November 14, 1784, with the one condition that in the matter of the Holy Communion he study the Scottish Rite and work for its adoption rather than the English rite of 1662. To the present day the American liturgy adheres to the main features of this Rite in one of its Holy Eucharist Liturgies. Seabury was consecrated bishop by Robert Kilgour, Bishop of Aberdeen and Primus of Scotland; Arthur Petrie, Bishop of Ross and Moray; and John Skinner, coadjutor bishop of Aberdeen. The consecration took place in Skinner's house in Longacre, approximately 500 metres from the present St Andrew's Cathedral, Aberdeen. The chair on which Kilgour sat to perform the consecration is preserved in Holy Trinity Episcopal Church, Keith, Moray.

The anniversary of his consecration is now a lesser feast day on the calendars of the Episcopal Church (United States) and the Anglican Church of Canada and other churches of the Anglican Communion.

Seabury's consecration by the non-juring Scots caused alarm in the British government who feared an entirely Jacobite church in the United States, and Parliament was persuaded to make provision for the ordination of foreign bishops. Seabury's tenacity in the matter had the effect of making a continued relationship between the American and English churches a possibility. The problem was revealed not to be one of liturgical restrictions (the oath) but of political plans.

Seabury returned to Connecticut in 1785 and made New London his home, becoming rector of St James Church there. A meeting of his Connecticut clergy was held during the first week of August 1785 at Christ Church on the South Green in Middletown. At the August 2 reception of the bishop his letters of consecration were requested, read, and accepted. On August 3, the first Anglican ordinations on American soil took place at Christ Church in Middletown. Four men, Henry Van Dyke, Philo Shelton, Ashbel Baldwin, and Colin Ferguson, were ordained to the Holy Order of Deacons that day. On August 7, 1785, Collin Ferguson was advanced to the priesthood, and Thomas Fitch Oliver was admitted to the diaconate. Seabury said of Christ Church, Middletown, "Long may this birthplace be remembered, and may the number of faithful stewards who follow this succession increase and multiply till time shall be no more."

Over the next 100 years there were 274 ordinations in Middletown. The validity of his consecration was at first questioned by some but was recognized by the General Convention of his church in 1789. In 1790 Seabury took charge of the Diocese of Rhode Island also.

In 1792 he joined with Bishops William White and Samuel Provoost, who had received Church of England consecration in 1787, and James Madison (1749–1812), who had received English consecration in 1790, in the consecration of Thomas John Clagett as Bishop of Maryland in 1792, thus uniting the Scottish and the English apostolic successions.

Contribution to liturgy

Seabury played a decisive role in the evolution of Anglican liturgy in North America after the Revolution. His "Communion Office," published in New London in 1786, was based on the Scottish Liturgy of 1764 rather than the 1662 Book of Common Prayer in use in the Church of England. Seabury's defense of the Scottish service—especially its restoration of oblationary language and the epiklesis or invocation of the Holy Spirit in the Prayer of Consecration was adopted into the Book of Common Prayer with minor change by the Episcopal Church in 1789.

The English 1552, 1559, 1604 and 1662 Books of Common Prayers of Consecration ended with the Words of Institution; but the Scottish Rite continued from that point with a Prayer of Oblation based on the ancient classical models of consecration prayers found in Roman and Orthodox Christianity. The English Rites focused on the memorial to the exclusion of sacrificial language in the Prayer of Consecration. Such sacrificial language as remained was placed at the end of the service in an optional Prayer of Thanksgiving for Communion at which point the congregation made a self-offering beseeching God "to accept our sacrifice of praise and thanksgiving." (Liturgies of the Western Church, p. 235).

This was done in order to avoid the suggestion that the Holy Eucharist was a material Peace Offering to God made by his Church in and with Christ by the very same sacrifice he had offered once for all and now made present as a sacrament. The restoration of the full Eucharistic Prayer with the addition of the words "with these thy holy gifts which we now offer unto thee," to "the memorial thy Son hath commanded us to make," in the American Prayer Book restored the connection between "prayers and supplications' and the consecrated elements. The changes undid Cranmer's theology that the eucharist was a mere perpetual memorial sacrifice, albeit one in which the communicants received Christ truly present, but one which negated the Eucharist as a memorial, material sacrifice.

This critical change Episcopal Church's eucharistic doctrine was brought closer to the tradition of the Roman church. In addition to the epiklesis Seabury argued for the restoration of another ancient custom; the weekly celebration of Holy Communion on Sunday rather than the infrequent observance that became customary in most Protestant churches after the Reformation.

In "An Earnest Persuasive to Frequent Communion", published in 1789 in New Haven, he wrote that "when I consider its importance, both on account of the positive command of Christ, and of the many and great benefits we receive from it, I cannot but regret that it does not make a part of every Sunday's solemnity." Seabury was ahead of his time, but within a century the custom of weekly 8 am Eucharist even in 'Low Church' parishes (in addition to the monthly 1st Sunday of the month Holy Communion) was rapidly spreading through many Anglican congregations under the impact of the Liturgical Movement.

By the end of the 20th century many other Protestant denominations had adopted weekly communion if this had not already been their practice (as with the Disciples of Christ).

In Cheshire in 1794, he established the Episcopal Academy of Connecticut, which later became Cheshire Academy.

He died in New London on 25 February 1796, where his remains lie in a small chapel at St. James. The church also features a stained glass window depicting his consecration in Scotland. Seabury's portrait by Ralph Earl is in the collection of the National Portrait Gallery in Washington, D.C.

A notable portrait hangs at the General Theological Seminary, and a smaller painting is to be found at the College of Preachers on the grounds of the Washington National Cathedral.

Seabury was a superior organizer and a strict churchman.

Seabury's "Farmer's Letters" rank him as the most vigorous American loyalist controversialist and, along with his prayers and devotional writings, one of the greatest masters of style of his period. His printed sermons and essays enjoyed wide readership well after his death.

City Hall Park is a public park surrounding New York City Hall in the Civic Center of Manhattan. It was the town commons of the nascent city of New York.

David Provoost came to New Netherland as early as 1638, probably with Governor Kieft. He held several positions and was appointed in 1652 as one of the nine men, elected by the people, to govern New Amsterdam He owned 35 acres (14 ha) around where City Hall Park is now situated.

During the pre-Revolutionary era City Hall Park was the site of many rallies and movements. For instance, in 1765, New Yorkers protested the Stamp Act of 1765 at the site. On March 18, 1766, New Yorkers rejoiced when the Stamp Act was repealed.

In 1766, the Sons of Liberty erected the first “Liberty pole", a commemorative mast topped by a vane featuring the word “liberty", outside the Soldiers’ Barracks. British soldiers chopped it down, and it was replaced five times. A replica dating to 1921 now stands near its original location between City Hall and Broadway.

In 1766, St. Paul's Chapel was completed as a chapel of Lower Manhattan's Trinity Church. It stood in a field some distance from the growing port city to the south and was built as a "chapel-of-ease" for parishioners who did not live near the Mother Church. Two years later, construction began on the new Bridewell, a jail. American Prisoners of War would be held in the Bridewell during the British occupation of New York in the American Revolutionary War.

On July 9, 1776, units of the Continental Army and citizens gathered in the commons to hear the Declaration of Independence read by George Washington, while over 150 British ships and tens of thousands of troops were in the harbor. The Sons of Liberty led a crowd from there down Broadway to Bowling Green and tore down the gilt lead statue of George III of Great Britain there. On November 9, 1783, the American forces recaptured the Civic Center, and George Washington raised the flag in the park. Six years later, General Washington was named the president of the United States of America, and immediately after his inauguration, President Washington went to the renowned St. Paul's Chapel, the oldest surviving church in Manhattan.

In 1802, since the original City Hall of New York City was aging and could not accommodate the growing municipal government, New York City's administration decided to hold a competition for the best new City Hall design. Aaron Burr promised Philadelphia's Benjamin Henry Latrobe that he would win. When he lost, Latrobe bitterly denounced the winners, “bricklayer” John McComb Jr. and French exile Joseph-François Mangin, and their “vile invention". In fact, McComb and Mangin were each accomplished architects, and their design was superior to Latrobe's, but City Hall was their only collaboration, and it was brief. McComb alone oversaw construction and subsequent changes to the design, and Mangin's career seems to have faltered. Decades later, a McComb descendant erased Mangin's name from the original drawings, but Mangin's name was added to the cornerstone of City Hall in 2003. The building was completed in 1812; it was designed in a Federal style with French influence. It was sited to be north of the heart of the city at the time.

By the late 1810s, New York's cultural identity was growing, and in 1818, The Rotunda was built as New York City's first art museum.

Slavery was abolished in New York on July 4, 1827, Emancipation Day, prompting a two-day celebration in the park and a parade.

In 1830, the old debtor prison, New Gaol, was transformed into the city's hall of records. When the building was torn down in 1903, it was New York's oldest municipal building.

New York City's lavish architecture and growing economy attracted tourists, and in 1836, the first New York City luxury hotel was built. Isaiah Rogers, with a reputation for building America's first luxury hotel, designed the six-story Park Hotel, which was commonly known as the Astor House.

In 1842, the Croton Fountain was placed in the center of City Hall Park to celebrate the Croton Aqueduct, New York City's first dependable supply of pure water. The aqueduct drew water from the Croton Dam more than 40 miles (64 km) north of the city and was considered one of the great engineering feats of the 19th century.

Starting in 1861, the Tweed Courthouse was built in the northern portion of the park. The courthouse was widely seen as a symbol of corruption because it was built using funds provided by the corrupt William M. "Boss" Tweed, whose Tammany Hall political machine controlled the city and state governments at the time. It was completed in 1881, twenty years after construction started.

BPS 22, Panorama exhibition, from 24.09.2016 to 22.01.2017, Charleroi, Belgium.

En parallèle à Metamorphic Earth, Panorama revisite le genre du paysage au travers d'une sélection d'œuvres contemporaines issues de la collection de la Province de Hainaut. Les œuvres choisies font ainsi écho au rapport qu'entretient l'homme à la nature, au décor et à son environnement. L'exposition rassemble une quarantaine d'artistes dont certains étoffent le propos avec des pièces récentes (hors collection). Au départ d'une multitude de points de vue, réels ou imaginaires, Panorama aborde le désir de rationaliser l'espace, de le personnifier, de l'appréhender ou de le dominer.

Curatrice : Nancy Casielles

Artistes : Gabriel Belgeonne, Balthasar Burkhard, Marie-Ange Cambruzzi, Jacques Charlier, Michel Cleempoel, Michel Couturier, Michael Dans, Edith Dekyndt, Simona Denicolai & Ivo Provoost, David Evrard, Christine Felten & Véronique Massinger, Michel Francois, Michel Frère, Bruno Goosse, Louise Herlemont, Marin Kasimir, Jan Kopp, Sébastien Lacomblez, Frédéric Lefever, Jacques Lizène, Emilio López-Menchero, Jean-Marie Mahieu, Xavier Mary, Deimantas Narkevicius, Juan Paparella, Pol Pierart, Benoit Platéus, Eric Poitevin, Benoît Roussel, Ruptz, Mira Sanders, Franck Scurti, Allan Sekula, José María Sicilia, André Stas, Thierry Tillier, Massimo Vitali.

www.bps22.be/fr/Expositions/Panorama

www.bps22.be/