Medieval Theme Decorations. Website To Decorate Pictures. Vinyl Window Decorations.
Medieval Theme Decorations
- A thing that serves as an ornament
- (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
- The process or art of decorating or adorning something
- (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
- (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
- chivalric: characteristic of the time of chivalry and knighthood in the Middle Ages; "chivalric rites"; "the knightly years"
- Medieval is the first album of the heavy metal group Tierra Santa, from La Rioja (Spain). The album has 8 songs and was put on sale in 1997. The album was inspired by medieval histories.
- Very old-fashioned or primitive
- relating to or belonging to the Middle Ages; "Medieval scholars"; "Medieval times"
- Of or relating to the Middle Ages
- The first major constituent of a clause, indicating the subject-matter, typically being the subject but optionally other constituents, as in “poor he is not.”
- subject: the subject matter of a conversation or discussion; "he didn't want to discuss that subject"; "it was a very sensitive topic"; "his letters were always on the theme of love"
- provide with a particular theme or motive; "the restaurant often themes its menus"
- The subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic
- a unifying idea that is a recurrent element in literary or artistic work; "it was the usual `boy gets girl' theme"
- An idea that recurs in or pervades a work of art or literature
medieval theme decorations - Weaving Sacred
Weaving Sacred Stories: French Choir Tapestries and the Performance of Clerical Identity (Conjunctions of Religion and Power in the Medieval Past)
Spanning the backs of choir stalls above the heads of the canons and their officials, large-scale tapestries of saints’ lives functioned as both architectural elements and pictorial narratives in the late Middle Ages. In an extensively illustrated book that features sixteen color plates, Laura Weigert examines the role of these tapestries in ritual performances. She situates individual tapestries within their architectural and ceremonial settings, arguing that the tapestries contributed to a process of storytelling in which the clerical elite of late medieval cities legitimated and defended their position in the social sphere.
Weigert focuses on three of the most spectacular and little-studied tapestry series preserved from the fifteenth and early sixteenth centuries: Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai), Life of Saint Steven (Saint-Steven, Auxerre [now Musee du Moyen Age, Paris]), and Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans). Each of these tapestries, measuring over forty meters in length, included elements that have traditionally been defined as either lay or clerical. On the prescribed days when the tapestries were displayed, the liturgical performance for which they were the setting sought to merge the history and patron saint of the local community with the universal history of the Christian church. Weigert combines a detailed analysis of the narrative structure of individual images with a discussion of the particular social circumstances in which they were produced and perceived. Weaving Sacred Stories is thereby significant not only to the history of medieval art but also to art history and cultural studies in general.
THE GREEN MAN
The Breinton Morris - Who is the Green Man? --------------------------------------------------------------------------- A good search of many churches and cathedrals will often lead you to discover, somewhere, a carving of a human head within a mass of leaves. Sometimes, the leaves appear to grow out of the head itself; at other times the human head seems to be a chance result of the configuration of the leaves. What is the meaning of this particular type of carving? It seems to be a recurring theme amongst the many grotesque figures adorning many churches. Earliest datings of this type of design put them in the 2ndC, where they are never found in churches but on memorial monuments to rich citizens in places like Trier. These monuments were not Christian tombs, but by the 4thC they were making an appearance on these, too. There is an example of one of these in Poitiers. It was not until the 6thC that the Green Man found his way into a place of Christian worship. This was again in Trier, where Bishop Nicetius took some of these carvings from the ruin of a nearby Roman temple and built them into a new pair of pillars in his cathedral. For 500 years these carvings of the Green Man occupied a very prominent place until blocked up behind brick during restoration work in the 11thC. And during that time the motif became much more widely known and used in church decoration. In most churches now it is unusual to find a Green Man placed prominently, but examples do exist. In Kinnersley church (Herefordshire) the carved wooden screen on the altar has a Green Man at the very centre. But usually he'll be found disguised as a roof-boss, hidden in a corner, or lurking under a misericord seat. It is known that stonemasons drew on many pagan themes for their decorations but we have few pointers as to the meaning behind this particular figure. Sometimes a Green Man carving is given a particular title- Silvanus (god of the forest) at the Abbey of Saint Denis, France; and Okeanus (both god of the sea and a satyr) in Mundanya, Istanbul. This has led many to seek clues in myth, legend and religion. John Barleycorn - celebrated in song - shows the same themes of death and rebirth, as does the Green Knight in the Arthurian story of Sir Gawain. Medieval legends of the Wild Men - dressed in leaves, living in the forest and venturing forth to take food, have been connected with the Green Man. In some stories of Robin Hood - the robber and hero dressed in green - he attains godlike status and links with the Horned God Herne. Present-day Western pagan thought identifies the Green Man as the symbol of the qualities of godhood within the male, as well as being an expression of the cycle of life/death/rebirth and its relationship with the transcendent life-force, the Goddess, the female expression of divinity. His re-adoption by some present-day morris sides as the Fool reflects the seasonal nature of the morris, its roots in fertility celebrations, and the nature of its maleness. So, who is the Green Man? The answer to this riddle is certainly not straightforward..... Some theologians like Rabanus Maurus (8thC) said they represented the sins of the flesh - lustful and wicked men doomed to eternal damnation. This seems to be a long way from the meaning they must have held for those who used them on the memorials to their dear departed six centuries previously: In fact, they continued to be used as tomb carvings long after the church masons stopped using them inside their buildings. This link with death has led some to describe the Green Man as the symbol of the natural cycle of mortal life- birth, life, death, decay. To Christians, it is this cycle that the soul can overcome with Faith. To some others the cycle continues - from decay back to the soil, to food from the soil, back into life - a symbol of the continuous regeneration of life and the interdependence of all things. Another direction we can take when looking for the meaning behind the Green Man is to study the character known in England as 'Jack-in-the- Green'. This was a figure who joined the May-Day revels in the 19thC, becoming particular!y associated with the chimney sweeps who along with many other trades, used this national holiday as an opportunity to boost their lean income with a little begging. In return, they provided some entertainment of rowdy variety. This involved them dressing up in gaudy tinsels and ribbons, with blackened faces "like morris dancers" and performing a rough and ready dance around a Jack-in-the-Green to the music of shovels, sticks, drums, and whistles. The Jack was a man inside a conical framework of wicker covered with leaves. A small gap was left in this, through which the occupant could peer- very like some of the Green Man figures in the churches. The Jack had to be built by the sweeps. If any rival group of tradesmen appeared with one, a bloody fight often ensued. There were many complaints of the rowdy and dru
Castle Themed Event
Another Citizen's Bank NH corporate event. This event was held at The Grappone Conference Center in Concord New Hampshire. The theme for this years event was Medieval. The entire perimeter of the conference room had 12 ft castle walls with burning torches, banners, flags knights in amour and even a draw bridge.