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Author Topic: Ptolemy Black and White people Zodiac, Black nEuropeans
mena7
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http://medievalpoc.tumblr.com/search/1200s

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Handy Tables’, a parchment codex in small folio (28 x 20 cm), in a modern cover. It contains references to two previous owners. On one of the front leaves one it reads: “Ex libris Fulvii Orsini”(2). Before that, the MS was owned by two Bishops of Brescia, the younger of which wrote on fol. 4v:

Hic liber est mei dominici de dominicis
ueneti episcopi brixensis et fuit ex libris bonae memoriae domini bartolomej episcopi predecessoris mei et allatus est mihi ex brixia Romam 1465 de mense septembris

Ptolemy’s ‘Handy Tables’ (Procheiroi Kanones) are a revised and extended version of the astronomical tables in his ‘Almagest’. Ptolemy designed this set of tables for practical use (especially among astrologers). He only wrote a short introduction giving instructions for using the tables, but he said nothing about the theory underlying them, even though in a few instances he had modified the theory since writing the almagest.

Among the additions to the tables are a chronological table (know as the Kanon Basileion or ‘Ptolemy’s regnal canon’) and a geographical table (the list of 'noteworthy cities’, poleis episemoi) extracted from his Geography.

Ptolemy’s handy tables achieved a more widespread distribution in antiquity than the Almagest. In late antiquity many commentaries were written on them. These were mostly limited to explanations of how to use the tables, but an exception is the so-called 'Great Commentary’ by Theon of Alexandria (late 4th Century AD), which attempts to explain the relationship between the Almagest and the Handy Tables.

Vat. gr. 1291 is the oldest and most beautiful MS copy of the tables that has been preserved. It dates from AD 813-820 (reign of Pope Leo V). Other MS copies of the same age are Leidensis gr. 78 (88?) and Laurent. XXVIII, 26.

There is no reliable edition of the MS, but the Helios miniature has been described in various publications (3).

IMAGE: 345k JPEG of the full miniature
This miniature is found on fol. 9r, and it is assumed to be the original start of the MS. It is of circular design, with a central emblem figuring Helios in his chariot. There are several circles surrounding this emblem and all are subdivided into twelve segments. The inner circle has twelve small naked female figures, six light- and six dark-skinned. Outside that are twelve numbers in Greek (henceforth called 'labels’). Outside that twelve clothed male figures representing the twelve months. Outside that are written the month names in Greek (indicating a specific date in the month) and on the very outside of the figure one may see the emblems of the zodiac signs.

IMAGE: 207k JPEG of the inner circle with the nymphs (enlarged)

The labels written near the nymphs define the date and time in which the Sun enters the zodiac sign depicted in the outermost ring. Boll (1899) calculates from these labels that they are valid for the 3rd Century, but Neugebauer quotes a publication (van der Waerden, 1954) indicating that he was wrong, and that it should be 9th century instead.

The labels are extremely interesting in the light of the labels used in the astrological images of the Voynich MS and will now be describe in more detail. Essentially, they give hours during the day or night, written usng the Greek letters of the alphabet. They are preceded by two characters. The first is always the same and consist of a superimposed omega and rho, to indicate ora (hour). The second looks either like an N or an M with some other small symbols written near them. They indicate either night or day, and the colour of the nymph corresponds with this distinction (light-coloured near M and dark near N).


(source link)





Tagged: medievalpoc Art History Medieval Art 1200s History submission

Posted 3 months ago 62 notes


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http://medievalpoc.tumblr.com/search/1400s

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François de Troy

Elisabeth Charlotte, Duchesse d'Orléans, with a Page

France (c. 1680)

Oil on Canvas, 1.5 x 1.78 m

[IMG]François de Troy[/IMG]


Circle of Gilbert Jackson

Portrait of a Lady (said to be Florence Smyth, b.1634, daughter of Thomas and Florence Smyth of Ashton Court) with Her Black Page


England (c. 1640)

Oil on canvas, 66 x 58.5 cm.


Bristol Museums, Galleries & Archives

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Forty2Tribes
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Mena7 is on one in 2015
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mena7
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Anonymous Artist

King Balthasar, one of the Three Magi, and a Servant, fragment from An Adoration of the Magi

Netherlands (c. 1480-90)

Oil on Panel, 40 x 24 cm.

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Antwerp Mannerist (Anonymous)

The Adoration of the Magi

Netherlands (c. 1520)

Oil on Wood, 68.9 x 54.6 cm.


The Adoration of the Magi was a favorite theme in Antwerp Mannerist painting, which emerged in the first quarter of the sixteenth century and is characterized by its extravagant and theatrical style. Showing a preference for flamboyant gestures, exotic costumes, and eccentric color effects, works such as the present picture were frequently mass-produced for sale on Antwerp’s open art market and for export to southern Europe. The setting, with the crumbling architecture and drawn curtain, here recalls the theatre, as does the stage-like arrangement of the elaborately dressed figures around the Virgin and Child

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Circle of Gilbert Jackson

Portrait of a Lady (said to be Florence Smyth, b.1634, daughter of Thomas and Florence Smyth of Ashton Court) with Her Black Page


England (c. 1640)

Oil on canvas, 66 x 58.5 cm.


Bristol Museums, Galleries & Archives

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Michiel van Musscher

Thomas Hees with his Nephews, Jan and Andries Hees, and Thomas, a Servant

Netherlands (1687)

Oil on Canvas, 76 x 63 cm.


Thomas Hees served as a diplomat in Algiers, Tunis and Tripoli. Among other duties, he negotiated the purchase of the freedom of Dutch slaves and protested against the privateering of Dutch ships. Hees had himself portrayed in a relaxed pose, smoking, and surrounded by the treasures he had acquired in North Africa. An inscription on the back of this painting gives his servant’s name and age: ‘Thomas the negro,17 years old.’

http://medievalpoc.tumblr.com/search/1700s

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Masks of the Italian Theatre Mounted on Horseback: Harlequin

Germany (c.1700-30)

Burcado Theatre Museum, Rome


photo by Ekaterina Mikhaylova-Smolnyakova

Harlequin is the best-known of the zanni or comic servant characters from the Italian Commedia dell'arte. Traditionally believed to have been introduced by Zan Ganassa in the late 16th century, the role was definitively popularized by the Italian actor Tristano Martinelli in Paris in 1584–1585 and became a stock character after Martinelli’s death in 1630.
The Harlequin is characterized by his chequered costume. His role is that of a light-hearted, nimble and astute servant, often acting to thwart the plans of his master, and pursuing his own love interest, Colombina, with wit and resourcefulness, often competing with the sterner and melancholic Pierrot. He later develops into a prototype of the romantic hero.

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Jacques-Antoine-Marie Lemoine
Portrait of Zamor
France (1785)
[Source]

Auguste de Creuse, after Jean-Baptiste André Gautier-Dagoty
Madame du Barry
France (1700s)
[Source]

William Dieterle
Madame du Barry
Film
France (1934)
[Source]


Medievalpoc’s already mentioned the story of Louis Benoit-Zamor, but she held back on quite how epic his story is:


Zamor was born in the town of Chittagong in the state of Bengal (now Bangladesh). In 1773, when he was eleven years old, he was captured by English slave traders, who trafficked him into France via Madagascar and sold him to Louis XV of France.

The King gave the young boy to his mistress, Countess du Barry, and he was christened Louis-Benoit. The Countess developed a liking for the boy and educated him. Zamor developed a taste for literature and was inspired by the works of Rousseau. Till her death, the Countess was under the wrong impression that Zamor was African.

Records of the period suggest that Zamor may have been extremely mischievous as a child She noted in her memoirs:

The second object of my regard was Zamor, a young African boy, full of intelligence and mischief; simple and independent in his nature, yet wild as his country. Zamor fancied himself the equal of all he met, scarcely deigning to acknowledge the king himself as his superior.

Role in the French Revolution

When the French Revolution broke out, Zamor took the side of the revolutionaries and joined the Jacobins. He began to detest Countess du Barry and deplored her lavish lifestyle. He also protested her repeated visits to England with the intention of retrieving her lost jewellery and warned her against protecting aristocrats. Using his influential position in the Committee of Public Safety, Zamor got the police to arrest the Countess in 1792, on her return from one of her many visits to England. The Countess, however, secured her release from jail and found out that the arrest was the handiwork of her page. She promptly dismissed Zamor from her service. Infuriated, Zamor became more vocal and open in his support to the Revolution. He brought further charges against the Countess, which eventually led to her arrest, trial and execution by guillotine. At the trial, Zamor gave Chittagong as his birthplace.

Imprisonment

Soon after the execution of the Countess, Zamor himself was arrested by the Girondins on suspicion of being an accomplice of the Countess and a Jacobin. He was tried and imprisoned, but was able to secure his release. He then fled from France, reappearing only in 1815 after the fall of Napoleon. Zamor bought a house in Rue Maître-Albert near the Latin Quarter of Paris and spent a few years as a schoolteacher.

N.B. It’s possible that Zamor was a person of African descent living in Bangladesh.

That post was actually a submission by user skemono. Before the submission, I didn’t really know anything about Zamor, who is mentioned in it, and his role in the French Revolution explored. I’m always glad to learn more.

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Franz Van Der Mijn


Portrait of Jan Pranger and an Enslaved Man or Servant

Netherlands/West Africa (1742)

Oil on Canvas, 210 x 154.5 cm

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mena7
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Adalbert of Prague accuses the Jews of the Christian slave trade against Boleslaus II, Duke of Bohemia, relief of Gniezno Doors
Black Duke of Bohemia with his Black guard listening to a Black Bishop. The Duke, the guard and the cardinals have wooly hair.

https://en.wikipedia.org/wiki/Slavery#/media/File:Gniezno_Boleslaus_II.jpg

Boleslaus II the Pious (Czech: Boleslav II. Pobožný) (c. 932 - 7 February 999) was a Bohemian nobleman, a member of the Přemyslid dynasty[1] and was the ruling Duke of Bohemia from 972 until his death.

https://en.wikipedia.org/wiki/Boleslaus_II,_Duke_of_Bohemia

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The Reign of Boleslaus II[edit]

The son of Boleslaus I[2] and Biagota, Boleslaus II became Duke (or Prince) on his father's death. Boleslaus maintained good relations with the Ottonian German kings, and in 975 supported Otto II during the civil war against Henry II, Duke of Bavaria. In 977, Boleslaus again attacked Bavaria, but on this occasion was barred from annexing any lands by Otto II.

Christianity[edit]

Boleslaus' reign is most notable for the foundation of the Diocese of Prague in 973,[3] placed at that time within the jurisdiction of the Archbishop of Mainz. In 982, Adalbert of Prague (later known as Saint Adalbert) was appointed to head the bishopric until he abandoned his primacy to lead a mission to the Old Prussians in 994. The alliance between Poland and Bohemia was overturned between 977 and 985, and Poland participated in invasions led by the German Emperor against Bohemia. However, in 985 or 990 Poland acquired Silesia at the expense of Bohemia.

Complete Unity[edit]





Duchy of Bohemia during the reign of Boleslav I and Boleslav II.
On 28 September 995, Boleslaus and his confederate Vršovci stormed Libice in southern Bohemia and massacred the members of the Slavník dynasty.[4] This clan had been the main rival of Přemyslid power in Bohemia. Boleslaus' brutal triumph ensured the unity of Bohemia under a single ruler.

Marriages and issue[edit]

Boleslaus' first wife Adiva, was perhaps the daughter of Edward the Elder, King of England, who married "a prince near the Jupiter mountains", meaning the Alps. His second wife was Emma of Mělník. His sons were:
Boleslaus III, his eldest son and successor
Wenceslaus, died as an infant

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mena7
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http://diasporicroots.tumblr.com/tagged/Afro-european-history

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Two iconic Venetian Renaissance paintings, Vittore Carpaccio’s Miracle of the True Cross at the Rialto Bridge, also known as The Healing of the Possessed Man, of 1494, which includes two black gondoliers, and his Hunting on the Lagoon of ca. 1490-95 (figure above) which includes a couple of black boatmen, show black Africans at work in water activities, but there is no way of telling whether they are enslaved or free. Africans in Renaissance representations could be either slaves, freedmen (that is, ex-slaves), or freemen (that is, people who had never been slaves, but one or both of whose parents probably had been). This latter category could have included people of part-African ancestry, who had only one African parent, of whom within a generation there was a significant number.

-Differentiating the status of Africans in representations, Revealing the African Presence in Renaissance Europe

Mena: Two Black Venetians boat owner. According to alternative historian Venice was a Jewish state until their conversion to Christianity in the 12 cent CE. The ruling merchant families in Venice were Cryptojewish Christians. Many of the banking and merchant family of Venice migrated to the Netherland and later England during the European colonization of the world. The name Venicia may mean Phoenicia.

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mena7
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The Adoration of the Kings, detail. Circle of Jan Gossaert. Flemish (c. 1520s). Oil on wood panel (triptych).

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mena7
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Black European Noble Women

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Cameos featuring detailed profiles of Black men and women in precious metals and jewels were popular in many European countries. The ones above date circa 1600-1800. Some art historians relate the style above to depictions of the goddess Diana, others relate them to the association of Blackness and wealth that came though trade in the Middle ages and Renaissance.

You can read more about cameos like these in Black Africans in Renaissance Europe By K. J. P. Lowe, p. 204-206, and Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England By Peter Erickson & Clark Hulse, p. 193-198

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DD'eDeN
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I found this blog post & cmments on the ancient pre-Islamic Arabian zodiac and Celtic calendars:
http://www.leiden-islamblog.nl/articles/an-ancient-zodiac-from-arabia-discovered

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xyambuatlaya

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