Whitsun - Wikipedia, the free encyclopedia
Whitsun (also Whitsunday, Whit Sunday or Whit) is the name used in the UK for the Christian festival of Pentecost, the seventh Sunday after Easter, which ...昨夜讀"15世紀的英國私人生活" (英文本)
沒想到movable feasts (：可移動慶節；非固定慶節：日期每年變換、不固定的慶節（
In Christianity, a moveable feast or movable feast is a holy day – a feast day or a fast day – whose date is not fixed to a particular day of the calendar year but moves in response to the date of Easter, the date of which varies according to a complex formula. Easter is itself a "moveable feast".[citation needed]
By extension, other religions' feasts are occasionally described by the same term. In addition many countries have secular holidays that are moveable, for instance to make holidays more consecutive; the term "moveable feast" is not used in this case however.
By metaphoric extension, a movable feast was used by Ernest Hemingway to mean the memory of a splendid place that continues to go with the moving traveler for the rest of life, after he has had the experience of it and gone away. The author used the term A Moveable Feast for the title of his late-life memoirs of his early life as a struggling writer in Paris in the 1920s. He said to a friend: "If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast."[1]
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Moveable feasts in Christianity
- Triodion – the period of 70 days before Easter (Eastern and Oriental Orthodox, Greek-Catholic)
- Septuagesima – 63 days (ninth Sunday) before Easter (Pre–Vatican II Calendar)
- Saturday of Souls – 57 days before Easter (Eastern and Oriental Orthodox, Greek-Catholic)
- Sexagesima – 56 days (eighth Sunday) before Easter (Pre–Vatican II Calendar)
- Quinquagesima Sunday – 49 days (seventh Sunday) before Easter (Pre–Vatican II Calendar)
- Shrove Monday – 48 days before Easter. (Western Christianity)
- Shrove Tuesday/Mardi Gras – 47 days before Easter. (Western Christianity; not technically a moveable feast, because it is not a holiday on any church calendar)
- Ash Wednesday – 46 days before Easter. (Western Christianity; strictly speaking, not a feast but a fast, characterised by solemnity and acts of self-denial)
- Triumph of Orthodoxy – 42 days before Easter (Eastern and Oriental Orthodox, Greek-Catholic)
- People's Sunday – 41 days before Easter (in Malta)
- Mothering Sunday – 21 days before Easter (Anglicanism)
- Passion Sunday – 14 days before Easter (Anglicanism)
- Lazarus Saturday – 8 days before Easter (Eastern and Oriental Orthodox, Greek-Catholic)
- Palm Sunday – 7 days before Easter
- Maundy Thursday – 3 days before Easter
- Good Friday – 2 days before Easter (Good Friday is actually a fast rather than a feast. See Ash Wednesday above.)
- Holy Saturday - 1 day before Easter
- Easter – the date around which the others are placed
- Saint Gregory's Day – 3 days after Easter (in Malta)
- The Octave of Easter or Divine Mercy Sunday, also known as Low Sunday or Quasimodo Sunday – the Sunday after Easter.
- Radonitsa – 8 or 9 days after Easter (Eastern Orthodox)
- Ascension Day – 39 days after Easter
- Pentecost – 49 days after Easter (50th day of Easter)
- Whit Monday or Pentecost Monday – the day after Pentecost
- Trinity Sunday – 56 days after Easter (Western Christianity)
- All Saints – 56 days after Easter (Eastern and Oriental Orthodox, Greek-Catholic), but in the West this feast is fixed on November 1
- Corpus Christi – 60 days after Easter (Western Christianity)
- feast days of some significant saints' days, if a moveable feast falls too close to their usual date.
Some of the fixed feasts in Christianity
- Christmas – December 25
- Octave of the Nativity – January 1
- Presentation of Christ in the Temple – February 2
- Transfiguration – August 6
- Dormition of the Theotokos/Assumption of Mary – August 15
- Exaltation of the Cross – September 14
- feast days of most individual saints
References
- ^ Hotchner, A.E., Papa Hemingway, New York: De Capo Press, 2005, p.?
External links
倫敦工商總會（London Chamber of Commerce and Industry）
━━ n. 商業, 通商, 貿易; 交渉, 交際; 性交.
Department of Commerce 〔米〕 （the 〜） 商務省.chambern.
- A room in a house, especially a bedroom.
- A room where a person of authority, rank, or importance receives visitors.
- chambers A room in which a judge may consult privately with attorneys or hear cases not taken into court.
- chambers Chiefly British. A suite of rooms, especially one used by lawyers.
- A hall for the meetings of a legislative or other assembly.
- A legislative or judicial body.
- A board or council.
- A place where municipal or state funds are received and held; a treasury.
- An enclosed space or compartment: the chamber of a pump; a compression chamber.
- An enclosed space in the body of an organism; a cavity: the four chambers of the heart.
- A compartment in a firearm, as in the breech of a rifle or the cylinder of a revolver, that holds the cartridge in readiness for firing.
- An enclosed space in the bore of a gun that holds the charge.
- To put in or as if in a chamber; enclose or confine.
- To furnish with a chamber.
- To design or manufacture (a firearm) to hold a specific type of cartridge.
[Middle English chaumbre, from Old French chambre, from Late Latin camera, chamber, from Latin, vault, from Greek kamarā.]
bridal
 | n. A marriage ceremony; a wedding. adj.
[Middle English bridale, wedding, wedding feast, from Old English br[ymacr]dealo : br[ymacr]d, bride; see bride + ealu, ale; see ale.]
Florence and Central Italy, 1400–1600 a.d. |
|  Enlarge | |  Cassone, 1461–65 Marco del Buono Giamberti (Italian, Florentine, 1402–1489); Apollonio di Giovanni di Tomaso (Italian, Florentine, 1414/17–1465) Italian (Florence) Painted and gilded gesso on poplar, set with a wooden panel painted in tempera and gold; 39 1/2 x 77 x 32 7/8 in. (100.3 x 195.6 x 83.5 cm) John Stewart Kennedy Fund, 1913 (14.39) |
| The front panel of this cassone represents the conquest of Trebizond, on the Black Sea, by the Ottoman Turks under Sultan Mehmed II on August 14, 1461. This event resulted in the ouster of the Venetians from Constantinople and the gift of their property to the Florentines. The side panels of the cassone are decorated with the crest 紋章（の頂部）of the Florentine Strozzi family. |
cassone (käs-sô'nā) , the Italian term for chest or coffer, usually a bridal or dower chest, highly ornate and given prominence in the home.
Among furniture types, a cassone is a rich and showy type of chest, which may be painted, carved and gilded.
The cassone ("large chest") was one of the trophy furnishings of rich merchants and aristocrats in Italian culture, from the Late Middle Ages onward. The cassone was the most important piece of furniture of that time. It was given to a bride and placed in the bridal suite. It would be given to the bride during the wedding, and it was the bride's parents's contribution to the wedding. Since a cassone contained the personal goods of the bride, it was a natural vehicle for painted decoration commemorating the marriage in heraldry and flattering allegory. The side panels offered a flat surface for a suitable painting, with subjects drawn from courtly romance or from Scripture or holy legends. Some Tuscan artists in Siena and Florence specialized in such cassone panels, which were preserved as autonomous works of art by 19th century collectors, who sometimes discarded the cassone itself. Great Florentine artists of the 15th century were called upon to decorate cassoni.
A typical place for such a cassone was in a chamber at the foot of a bed that was enclosed in curtains. Such a situation is a familiar setting for depictions of the Annunciation or the Visitation of St. Anne to the Virgin Mary. A cassone was largely immovable. Chairs were reserved for important personages. Often pillows scattered upon the floor of a chamber provided informal seating, and a cassone could provide a backrest and a table surface. The symbolic "humility" that modern scholars read into Annunciations where the Virgin sits reading upon the floor, perhaps underestimates this familiar mode of seating.
In the 15th century, a new classicising style arose, and early Renaissance cassoni of central and northern Italy were carved and partly gilded, and given classical décor, with panels flanked by fluted corner pilasters, under friezes and cornices, or with sculptural panels in high or low relief.
A cassone that was provided with a high panelled back and sometimes a footrest, for both hieratic and practical reasons, becomes a cassapanca ("chest-bench"). Cassapanche were immovably fixed in the main public room of a palazzo, the sala or salone. They were part of the immobili ("unmoveables"), perhaps even more than the removable glazed window casements, and might be left in place, even if the palazzo passed to another family.
A cossone is a High Renaissance piece of furniture resembling a chest. Used to sit on, eat on, sleep on, and store things in. When a couple was married it was typical for the bride's parents to give a cassone as a gift to the family who their daughter was marrying into as a consolation for the finical responsibilities they have taken which come along with the new bride. A cassone typically had a molded base with claw feet. This piece was used as a console table as well
(3) ((米略式))パーティー［デート, 遊び］に出かける.
(4) 引退する, 引き下がる.
(5) ((米俗))死ぬ, くたばる.
The cassone ("large chest") was one of the trophy furnishings of rich merchants and aristocrats in Italian culture, from the Late Middle Ages onward. The cassone was the most important piece of furniture of that time. It was given to a bride and placed in the bridal suite. It would be given to the bride during the wedding, and it was the bride's parents's contribution to the wedding. Since a cassone contained the personal goods of the bride, it was a natural vehicle for painted decoration commemorating the marriage in heraldry and flattering allegory. The side panels offered a flat surface for a suitable painting, with subjects drawn from courtly romance or from Scripture or holy legends. Some Tuscan artists in Siena and Florence specialized in such cassone panels, which were preserved as autonomous works of art by 19th century collectors, who sometimes discarded the cassone itself. Great Florentine artists of the 15th century were called upon to decorate cassoni.
A typical place for such a cassone was in a chamber at the foot of a bed that was enclosed in curtains. Such a situation is a familiar setting for depictions of the Annunciation or the Visitation of St. Anne to the Virgin Mary. A cassone was largely immovable. Chairs were reserved for important personages. Often pillows scattered upon the floor of a chamber provided informal seating, and a cassone could provide a backrest and a table surface. The symbolic "humility" that modern scholars read into Annunciations where the Virgin sits reading upon the floor, perhaps underestimates this familiar mode of seating.
In the 15th century, a new classicising style arose, and early Renaissance cassoni of central and northern Italy were carved and partly gilded, and given classical décor, with panels flanked by fluted corner pilasters, under friezes and cornices, or with sculptural panels in high or low relief.
A cassone that was provided with a high panelled back and sometimes a footrest, for both hieratic and practical reasons, becomes a cassapanca ("chest-bench"). Cassapanche were immovably fixed in the main public room of a palazzo, the sala or salone. They were part of the immobili ("unmoveables"), perhaps even more than the removable glazed window casements, and might be left in place, even if the palazzo passed to another family.
A cossone is a High Renaissance piece of furniture resembling a chest. Used to sit on, eat on, sleep on, and store things in. When a couple was married it was typical for the bride's parents to give a cassone as a gift to the family who their daughter was marrying into as a consolation for the finical responsibilities they have taken which come along with the new bride. A cassone typically had a molded base with claw feet. This piece was used as a console table as well
References
- Wilhelm von Bode, Italian Renaissance Furniture
- Civilta del legno: mobili dalle collezioni di Palazzo Bianco e del Museo degli Ospedali di S. Martino, Genova, Palazzo Bianco, 1985. Exhibition catalogue ISBN 88-7058-149-7
- Heinrich Kreisel, Die Kunst des deutschen Möbels vol.I, "Von der Änfangen bis zum Hochbarock" 1968. Comparable German kast.
- Frida Schottmüller, Wohnungskultur and Möbel der Italienischen Renaissance, (Stuttgart, Verlag Julius Hoffman) 1921. Interior decoration and furniture of the Italian Renaissance. Still indispensable.
- Peter Thornton, The Italian renaissance interior 1400–1600. (New York: Abrams) 1991
External links
- Medieval & Renaissance Chests and Trunks Includes cassoni of the 14th-16th centuries
Japan Steps Out
By PAUL KRUGMAN
Guess who's breaking with economic orthodoxy.
Japan Steps Out
New York Times
For three years economic policy throughout the advanced world has been paralyzed, despite high unemployment, by a dismal orthodoxy. Every suggestion of action to create jobs has been shot down with warnings of dire consequences. If we spend more, the ...
New York Times
For three years economic policy throughout the advanced world has been paralyzed, despite high unemployment, by a dismal orthodoxy. Every suggestion of action to create jobs has been shot down with warnings of dire consequences. If we spend more, the ...
step out,
(1) （場所を）短時間離れる, ちょっと外出する
(2) ((古風))歩調を速める.(3) ((米略式))パーティー［デート, 遊び］に出かける.
(4) 引退する, 引き下がる.
(5) ((米俗))死ぬ, くたばる.
orthodoxy
- 音節
- or • tho • dox • y
- 発音
- ɔ'ːrθədɑ`ksi | -dɔ`k-
- レベル
- 社会人必須
- orthodoxyの変化形
- orthodoxies (複数形)
[名]
1 [C][U]正統派的信念［慣行］；正教的信仰［慣行］.
2 [U]正説；正統性；正教性.
3 ((O-))[U]東方正教会（の信仰［教義］）.
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