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By popular demand (it's us, we're demanding!), here is the inside view of LJS 361, a 14th century manuscript in its original binding, written in Italy. The manuscript contains the opening and closing sections of astronomical and astrological tables on either side of a remnant of commentaries on gospel and epistle readings.
π:
Access '[Astronomical and astrological tables].' through the Penn Libraries catalog.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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i'm telling you academia is such a cult because when you tell people you left a degree program they always try to convince you to return like this random ass woman is telling me i should go back to law school and i was like nah i kinda prefer the kafka route. and she's like what's the kafka route?
i'm like yeah so basically he left the legal field to become some sort of weird insect for a time and he wrote a bit of deranged literature about it and then got tuberculosis and died of starvation.
i'd rather do that than one day find myself telling a young i barely know that it makes sense for her to tank a quarter of a million dollars in a degree that will leave her with nothing but profound depression, something she could easily have for free
Oh mandrake fighting elephant miniature from Bestiary, 1236 -c. 1250, British Library, Harley 3244 f. 39v, we're really in it now
The Ulm MΓΌnster Book-Covers (1506)
Silver and silver-gilt; relief, engraving, burnishing, applied elements, and openwork.
The British Museum, London
Pair of liturgical book covers attributed to a goldsmith working in the circle of Daniel Mauch (1477β1540).
Made for the Gospel Book and the Epistle Book of Ulm Minster.
Decorated with high-relief figures, Gothic architectural canopies, openwork tracery, angels, heraldic shields, and engraved architectural motifs.
The Gospel cover depicts the Virgin and Child, St John the Almoner, St Helena, and the Four Church Fathers: Ambrose, Jerome, Augustine, and Gregory the Great.
The Epistle cover depicts St Vincent of Valencia, St Anthony the Hermit, and the symbols of the Four Evangelists: Matthew, Mark, Luke, and John.
Both covers include gilded details and silver-gilt applied elements.
Recorded in the treasury inventories of Ulm Minster from 1525 onward.
The original heraldic devices may have been altered during the sixteenth century.
A pair of surviving late Gothic German silver book covers.
THE BOOK OF EPISTLES AND THE GOSPELS on the altar of the Gothic Ministers in Ulm
The book covers are rare survivors of the Reformation. They decorated the Book of Epistles and the Gospels on the altar of the Gothic Minster in Ulm. The Epistles cover has the symbols of the four Evangelists with St Antony the Hermit and St Vincent. The Gospels cover has the Virgin and Child with St Martin, Bishop of Tours, and the Empress Helena.
Held by The British Museum.
source
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β . ππ¨π«π π’π―π π¦π ππππ‘ππ«...
"Buongiorno Signore,"
The voice that speaks is tempered, with a melodic accent that echoes decades of practice. He, you find out very quickly, smells of sage, as does the confession booth and further, the chapel room itself. It edges its way towards overwhelming, but you manage, it's almost pleasant, it reminds you of the figure's voice. Theres something else, another scent, coming from the other man that you can't quite place, it eludes you before he interrupts...
The Apostle Paul
Artist: Rembrandt van Rijn (Dutch, 1606-1669)
Date: 1657
Medium: Oil on canvas
Collection: National Gallery of Art, Washington, DC, United States
Description
Throughout his life Rembrandt was fascinated by the apostle Paul, perhaps because Paulβs writings were the most important source for Reformation theology, or perhaps because he personified the Christian ideal of grace received independently of merit. Sitting at a table in his prison cell, the apostle ponders the words he is about to write in the epistle that lies before him. The solemn expression of Paulβs strong features underscores the depth of his belief and sense of purpose in his mission to spread Christianity to the heathens. The sword visible above the book is as much the "sword of the Spirit," the term he used to describe the word of God in his letter to the Ephesians, as it is the symbol of his military prowess before his conversion and the sign of his eventual beheading and martyrdom. The gentle light that illuminates Paulβs head, hand, and epistle has no defined point of origin. By depicting Paul at half length rather than full length, Rembrandt has brought the viewer closer to the figure of the saint, whose intensity of expression is keenly felt.
Friday, 2/20 β Romans 1:8-17
First of all, I thank my God through Jesus Christ for all of you. β¦Iβm always asking that somehow, by Godβs will, I might succeed in visiting you at last. - vv. 8a, 10b
Have you ever thought about how much of the New Testament is just reading peopleβs mail?
In todayβs letter from Paul to the Romans, he spends the majority of the letter saying that heβs grateful for the Roman Christians and that he hopes to visit them soon.
One of the things that makes queerness so divine is the inclination toward found family, community, and collective care. How are you checking on your people these days? Are you writing to them to tell them how grateful you are and how you hope to visit soon?
Spend a few moments writing your own epistle (letter) to your queer kin. Share the good news of queer community.
- Addie Domske
