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  • "Das Altm��tterchenst��bchen der Kapelle." ("Old women parlor of the chapel.") Photograph of a section of the Moshi Chapel. It is a European style building with corrugated iron roofs and a belfry[?]. To the left a tree trunk and a house can be partly seen. In the background trees are visible.; Cf. LPZ/Album 4/1443, 1444, 1447.

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  • Packet 20: photograph of Saints Industrial School boys leaving chapel going to the cafeteria, Lexington, Mississippi, 1974 January.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ibrahim, Mostafa Rezk; Etman, Mohammed Ali; Tallet, Pierre;

    La statue d’un responsable du Moyen Empire tardif du nom de Renseneb est présentée ici. Elle provient de fouilles clandestines sur le site d’Abydos et a été saisie avec plus de mille autres objets à Damiette, en 2015, par le service des douanes égyptiennes. Le personnage, qui porte les titres de ḫtmtj bjty (trésorier de Basse Égypte) et jmy-r gs pr (directeur du domaine) est identifié au propriétaire d’une statue découverte en 1998 sur le site de Kerma et à celui d’une stèle conservée au musée de Berlin (ÄGM 32/66). L’étude du second titre permet de voir en Renseneb un membre de l’administration locale responsable de la gestion d’un domaine royal rattaché à la chapelle-mâhât de Montouhotep II à Abydos. The topic of this article is the study of a statue belonging to an official from the Middle Kingdom called Renseneb, which was seized by the Egyptian authorities in 2015 in Damiette among more than one thousand artefacts. It which came from some clandestine excavations on the site of Abydos. The owner of the statue, who holds the titles ḫtmtj bjty (treasurer of Lower Egypt) and jmy-r gs pr (director of domain) is supposed to be the same as the owner of a statue discovered in 1998 at Kerma and of a stela kept in the museum of Berlin (ÄGM 32/66). The study of the second title enables Renseneb to be seen as a member of the local administration who was in charge of the management of a royal domain attached to the mâhât-chapel of Mentuhotep II in Abydos.

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    OpenEdition
    Article . 2020
    Data sources: OpenEdition
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      Article . 2020
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  • Authors: Capdepon, Paulino;

    This article focuses on the decline of Spanish ecclesiastical music from the beginning of the 19th century, coinciding with the outbreak of the War of Independence. This decline worsened as a result of the application of successive disentailments by the various liberal governments and the signing of the Concordat of 1851. To remedy this situation, various reform projects and initiatives were proposed by authors such as Eslava, Barbieri, Pedrell and Olmeda, with the ultimate aim of revitalising religious music in Spain and the musical chapels that supported it: such projects, which gained considerable momentum thanks to the Cecilianist movement, were the prologue to the promulgation of the Motu Proprio by Pope Pius X in 1903.

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  • Authors: D. R. Wilson;
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Caron-Roy, Fannie;

    Au moment où se poursuit l’établissement des princes de l’Église dans la campagne romaine par la construction de somptueuses villas, le Concile de Trente (1545-1563) adopte une série de décrets qui entendent réaffirmer les dogmes catholiques et réformer les mœurs du clergé, critiqués par les protestants. Puisque la villa est perçue au 16e siècle comme un lieu où le fidèle peut faire l’expérience d’une retraite spirituelle, ce mémoire souhaite lever le voile sur les pratiques dévotionnelles suburbaines post-tridentines. Pour ce faire, les cycles picturaux de trois chapelles de villas romaines dont la décoration a été réalisée à la suite de cet important concile sont examinés : la chapelle du palazzo Farnese à Caprarola, appartenant au cardinal Alessandro Farnese (1520-1589), la chapelle de la villa d’Este à Tivoli, construite pour le cardinal Ippolito II d’Este (1509-1572), et la chapelle de la villa Mondragone à Frascati, commanditée par le cardinal Marco Sittico Altemps (1533-1595) pour le pape Grégoire XIII (1502-1585). Il s’agit de vérifier l’impact des pratiques dévotionnelles sur le choix des décors dans ces lieux de culte privés. S’attarder à la perception du regardeur de l’époque et au rapport spirituel du public à l’image implique que nous analysions notre corpus à l’aide d’un cadre anthropologique. The taste for countryside palaces among the Princes of the Church was already well established when the Council of Trent (1545-1563) moved to counter the protestant Reformation. This council asserted catholic dogmas and significantly reformed clerical mores. In this context, villas are seen as the perfect stage to realize spiritual ambitions. This thesis thus studies extra-urban devotional practices by examining three chapels in countryside palaces around Rome decorated after the Council of Trent: Cardinal Alessandro Farnese’s (1520-1589) chapel in his villa at Caprarola; the Villa d’Este chapel at Tivoli built for Cardinal Ippolito II d’Este (1509-1572); and the Villa Mondragone chapel at Frascati, ordered by Cardinal Marco Sittico Altemps (1533-1595) for Pope Gregory XIII (1502-1585). We seek to examine the influence of contemporary devotional practices on the iconographic cycles in the private sphere. The public’s perception and spiritual response to the frescoes will be probed through an anthropological approach to images.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Papyrus : Dépôt inst...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Martin Bernal;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao The Historical Journ...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    The Historical Journal
    Article . 1967 . Peer-reviewed
    License: Cambridge Core User Agreement
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao The Historical Journ...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      The Historical Journal
      Article . 1967 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Richard Paul Fuke;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Historical Studies i...arrow_drop_down
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    Historical Studies in Education
    Article
    License: publisher-specific license
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    Historical Studies in Education
    Article . 1989 . Peer-reviewed
    Data sources: Crossref
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      Historical Studies in Education
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      Historical Studies in Education
      Article . 1989 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Anna J. Taylor; Anne A. Fox; I. Waynne Cox;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Index of Texas Archa...arrow_drop_down
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  • Authors: George Lipsitz;
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  • "Das Altm��tterchenst��bchen der Kapelle." ("Old women parlor of the chapel.") Photograph of a section of the Moshi Chapel. It is a European style building with corrugated iron roofs and a belfry[?]. To the left a tree trunk and a house can be partly seen. In the background trees are visible.; Cf. LPZ/Album 4/1443, 1444, 1447.

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  • Packet 20: photograph of Saints Industrial School boys leaving chapel going to the cafeteria, Lexington, Mississippi, 1974 January.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ibrahim, Mostafa Rezk; Etman, Mohammed Ali; Tallet, Pierre;

    La statue d’un responsable du Moyen Empire tardif du nom de Renseneb est présentée ici. Elle provient de fouilles clandestines sur le site d’Abydos et a été saisie avec plus de mille autres objets à Damiette, en 2015, par le service des douanes égyptiennes. Le personnage, qui porte les titres de ḫtmtj bjty (trésorier de Basse Égypte) et jmy-r gs pr (directeur du domaine) est identifié au propriétaire d’une statue découverte en 1998 sur le site de Kerma et à celui d’une stèle conservée au musée de Berlin (ÄGM 32/66). L’étude du second titre permet de voir en Renseneb un membre de l’administration locale responsable de la gestion d’un domaine royal rattaché à la chapelle-mâhât de Montouhotep II à Abydos. The topic of this article is the study of a statue belonging to an official from the Middle Kingdom called Renseneb, which was seized by the Egyptian authorities in 2015 in Damiette among more than one thousand artefacts. It which came from some clandestine excavations on the site of Abydos. The owner of the statue, who holds the titles ḫtmtj bjty (treasurer of Lower Egypt) and jmy-r gs pr (director of domain) is supposed to be the same as the owner of a statue discovered in 1998 at Kerma and of a stela kept in the museum of Berlin (ÄGM 32/66). The study of the second title enables Renseneb to be seen as a member of the local administration who was in charge of the management of a royal domain attached to the mâhât-chapel of Mentuhotep II in Abydos.

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    OpenEdition
    Article . 2020
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      Article . 2020
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  • Authors: Capdepon, Paulino;

    This article focuses on the decline of Spanish ecclesiastical music from the beginning of the 19th century, coinciding with the outbreak of the War of Independence. This decline worsened as a result of the application of successive disentailments by the various liberal governments and the signing of the Concordat of 1851. To remedy this situation, various reform projects and initiatives were proposed by authors such as Eslava, Barbieri, Pedrell and Olmeda, with the ultimate aim of revitalising religious music in Spain and the musical chapels that supported it: such projects, which gained considerable momentum thanks to the Cecilianist movement, were the prologue to the promulgation of the Motu Proprio by Pope Pius X in 1903.

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  • Authors: D. R. Wilson;
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    Authors: Caron-Roy, Fannie;

    Au moment où se poursuit l’établissement des princes de l’Église dans la campagne romaine par la construction de somptueuses villas, le Concile de Trente (1545-1563) adopte une série de décrets qui entendent réaffirmer les dogmes catholiques et réformer les mœurs du clergé, critiqués par les protestants. Puisque la villa est perçue au 16e siècle comme un lieu où le fidèle peut faire l’expérience d’une retraite spirituelle, ce mémoire souhaite lever le voile sur les pratiques dévotionnelles suburbaines post-tridentines. Pour ce faire, les cycles picturaux de trois chapelles de villas romaines dont la décoration a été réalisée à la suite de cet important concile sont examinés : la chapelle du palazzo Farnese à Caprarola, appartenant au cardinal Alessandro Farnese (1520-1589), la chapelle de la villa d’Este à Tivoli, construite pour le cardinal Ippolito II d’Este (1509-1572), et la chapelle de la villa Mondragone à Frascati, commanditée par le cardinal Marco Sittico Altemps (1533-1595) pour le pape Grégoire XIII (1502-1585). Il s’agit de vérifier l’impact des pratiques dévotionnelles sur le choix des décors dans ces lieux de culte privés. S’attarder à la perception du regardeur de l’époque et au rapport spirituel du public à l’image implique que nous analysions notre corpus à l’aide d’un cadre anthropologique. The taste for countryside palaces among the Princes of the Church was already well established when the Council of Trent (1545-1563) moved to counter the protestant Reformation. This council asserted catholic dogmas and significantly reformed clerical mores. In this context, villas are seen as the perfect stage to realize spiritual ambitions. This thesis thus studies extra-urban devotional practices by examining three chapels in countryside palaces around Rome decorated after the Council of Trent: Cardinal Alessandro Farnese’s (1520-1589) chapel in his villa at Caprarola; the Villa d’Este chapel at Tivoli built for Cardinal Ippolito II d’Este (1509-1572); and the Villa Mondragone chapel at Frascati, ordered by Cardinal Marco Sittico Altemps (1533-1595) for Pope Gregory XIII (1502-1585). We seek to examine the influence of contemporary devotional practices on the iconographic cycles in the private sphere. The public’s perception and spiritual response to the frescoes will be probed through an anthropological approach to images.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Papyrus : Dépôt inst...arrow_drop_down
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