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The author traces the Ryves family in 16th century Oxford, England to their arrival in Virginia in the 17th century. He then follows the the expanding Rives / Reaves / Reeves / Reives line across the American south, midwest, and west.

The author traces the Ryves family in 16th century Oxford, England to their arrival in Virginia in the 17th century. He then follows the the expanding Rives / Reaves / Reeves / Reives line across the American south, midwest, and west.

369 pages. Irish language. 9.76x6.69x2.17 inches. In Stock.

Garri Pottera zhdet samoe strashnoe ispytanie v zhizni - smertelnaya shvatka s Volan-de-Mortom. Zhdat pomoschi ne ot kogo - Garri odinok kak nikogda… Druzya i vragi Garri predstayut v sovershenno neozhidannom svete. Granitsa mezhdu Dobrom i Zlom stanovitsya vse prizrachnee… V 7-y, finalnoy knige Dzh.K.Roling raskryvaet vse magicheskie tayny.

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Au cours des siecles, les empereurs byzantins accumulent dans leur palais de Constantinople tout un tresor de reliques, en particulier celles du Christ: la Vraie Croix, la Couronne d'epines et les autres instruments de la Passion, mais aussi des reliques du Christ vivant, comme le Mandylion d'Edesse, portrait miraculeux de Jesus. Concentrees dans la chapelle palatine du Pharos, ces reliques sont un instrument politique et leur detention renforce la legitimite imperiale. Elles suscitent la convoitise des Occidentaux qui, apres la prise de Constantinople en 1204, s'en emparent: au milieu du XIIIe siecle, le roi de France saint Louis se procure les plus importants et les depose a la Sainte-Chapelle/ Du Pharos a Paris, mais aussi a la chapelle de Versailles, les reliques du Christ connaissent ainsi une histoire spectaculaire, dont on pose ici les jalons.

Au cours des siecles, les empereurs byzantins accumulent dans leur palais de Constantinople tout un tresor de reliques, en particulier celles du Christ: la Vraie Croix, la Couronne d'epines et les autres instruments de la Passion, mais aussi des reliques du Christ vivant, comme le Mandylion d'Edesse, portrait miraculeux de Jesus. Concentrees dans la chapelle palatine du Pharos, ces reliques sont un instrument politique et leur detention renforce la legitimite imperiale. Elles suscitent la convoitise des Occidentaux qui, apres la prise de Constantinople en 1204, s'en emparent: au milieu du XIIIe siecle, le roi de France saint Louis se procure les plus importants et les depose a la Sainte-Chapelle/ Du Pharos a Paris, mais aussi a la chapelle de Versailles, les reliques du Christ connaissent ainsi une histoire spectaculaire, dont on pose ici les jalons.

Scholarly investigation of devotional images from the medieval period has never explored, in a European context, the question of Marian paintings functioning as portable relics. The model of the picture-reliquary: a single, diptych, or triptych panel comprising the portrait of the Virgin and Child painted on wood (or, more rarely, on gilded glass, verre eglomise) set in a large framework encrusted with relics (occasionally with precious stones) was particularly widespread in the territory of Little Poland from c. 1420. Polish reliquaries, known until the beginning of the sixteenth century, should be considered as an adaptation of iconic types and forms of Byzantine provenance, which were reinterpreted in the painting of the Italian Trecento. Of particular note is the Siennese model of the portable Marian altar piece made popular from the 1330s-40s. From the comparative study of the works, concerning their similarities and their antiquity, one envisages the advent of such a formal concept in Poland either directly from Italy, or by the intermediary of Bohemia. The diffusion of picture-reliquaries, typical of Tuscan art, forms part of the general movement toward a renewal of piety in central Europe in the fifteenth century, the devotio moderna. As a result, alongside singular representations, especially venerated in the course of liturgical or paraliturgical offices, one sees less costly reliquaries spread in private space. Appreciated in the intimate setting of convents - Franciscan and Dominican - as well as that of the daily life of the laity, these relics were used as domestic altars or as folding altars for travel. These images of religious affection constitute an artistic phenomenon of the late Middle Ages. And, several similar reliquaries known later do not guarantee a veritable continuity of the ancient model to the modern era.

100% Satisfaction is Guaranteed! For New condition books in our store; You will be the first user. You will be the first to open the book cover. For Used condition books in our store; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. For all our books; Cargo will be delivered in the required time. There are no problems in page content and in the paper. There are no problems except minor faults.

Buy with confidence! Book is in good condition with minor wear to the pages, binding, and minor marks within 1.08

Used. Very Good conditions. May have soft reading marks and name of the previous owner.

Age Range: 9 and up Grade Level: 4 and up Series: Harry Potter (French) (Book 1479) Mass Market Paperback: 891 pages Publisher: Gallimard Jeunesse (October 1, 2008) Language: French ISBN-10: 2070615375 ISBN-13: 978-2070615377 Product Dimensions: 7 x 4.9 x 1.8 inches

No marks or highlighting in the book. Our copy is paperback showing slight cover curl at the corner tips.

Scholarly investigation of devotional images from the medieval period has never explored, in a European context, the question of Marian paintings functioning as portable relics. The model of the picture-reliquary: a single, diptych, or triptych panel comprising the portrait of the Virgin and Child painted on wood (or, more rarely, on gilded glass, verre eglomise) set in a large framework encrusted with relics (occasionally with precious stones) was particularly widespread in the territory of Little Poland from c. 1420. Polish reliquaries, known until the beginning of the sixteenth century, should be considered as an adaptation of iconic types and forms of Byzantine provenance, which were reinterpreted in the painting of the Italian Trecento. Of particular note is the Siennese model of the portable Marian altar piece made popular from the 1330s-40s. From the comparative study of the works, concerning their similarities and their antiquity, one envisages the advent of such a formal concept in Poland either directly from Italy, or by the intermediary of Bohemia. The diffusion of picture-reliquaries, typical of Tuscan art, forms part of the general movement toward a renewal of piety in central Europe in the fifteenth century, the devotio moderna. As a result, alongside singular representations, especially venerated in the course of liturgical or paraliturgical offices, one sees less costly reliquaries spread in private space. Appreciated in the intimate setting of convents - Franciscan and Dominican - as well as that of the daily life of the laity, these relics were used as domestic altars or as folding altars for travel. These images of religious affection constitute an artistic phenomenon of the late Middle Ages. And, several similar reliquaries known later do not guarantee a veritable continuity of the ancient model to the modern era.

Au lendemain du terrible incendie qui a frappé Notre-Dame de Paris le 15 avril 2019, le musée du Louvre a ouvert grand ses portes aux chefs d??uvre de la cathédrale pour les mettre à l?abri. C?est ainsi qu?une partie inestimable du trésor, célèbre pour les reliques insignes qu?il abrite, en particulier celle de la Couronne d?épines, a trouvé refuge au sein du musée.Rescapés d?une histoire mouvementée, calices, ciboires, étoles, livres anciens et précieuses reliques se trouvent ainsi exceptionnellement réunis, avant de regagner leur écrin restauré, l?admirable sacristie élevée au milieu du xixe siècle au pied de la cathédrale par Jean-Baptiste Lassus et Eugène Emmanuel Viollet-le-Duc.Cet ensemble forme le chapitre le plus récent d?une histoire millénaireque l?ouvrage retrace au gré des inventaires, des récits historiques, des peintures, des manuscrits enluminés et des gravures, tissant entre plusieurs époques de l?histoire de l?art et de l?architecture un fil unique et passionnant.