Canon Law is a collection of ecclesiastical constitutions for the regulation of the Church of Rome, consisting for the most part of ordinances of general and provincial councils, decrees promulgated by the popes with the sanction of the cardinals, and decretal epistles and bulls of the popes. There is also a canon law for the regulation of the Church of England, which under certain restrictions is used in ecclesiastical courts and in the courts of the two universities.
In the Roman Church these collections came into use in the 5th and 6th centuries. The chief basis of them was a translation of the decrees of the four first general councils, to which other decrees of particular synods and decretals of the popes were added. In the time of Charlemagne the collection of Dionysius the Little acquired almost the authority of laws. Equal authority, also, was allowed to the spurious 9th-century collection of decretals falsely ascribed to Isidore, Bishop of Seville. After the 10th century systematical compendiums of ecclesiastical law began to be drawn from these canons, the most important being that of the BenedictineGratian of Chiusi, finished in 1151. Within ten years after its appearance the Universities of Bologna and Paris had their professors of canon law, who taught from Gratian's work, which superseded all former chronological collections. After the appearance of the Decretum Gratiani, new decrees of councils and new decretals were promulgated, which were collected by Raymond of Pennaforte under the name of Decretales Gregorii Noni (1234); and the later decretals, etc, collected by Boniface VIII, were published as the sixth book of the Gregorian Decretals in 1298, all these having the authority of laws.
Pope Clement V published a collection of his decrees in 1313. About the year 1340 the decretals of John XXII were published (Extravagantes Johannis XXII); and at a later period the subsequent decretals, to the time of Sextus IV. (Extravagantes Communes) appeared. These Extravagantes have not altogether the authority of law. Under Pope Pius IV a commission was appointed to revise the Decretum Gratiani, the work being completed under Gregory XIII, and sanctioned by bull in 1580. The authority of the canon law in England, since the Reformation, depends upon the statute 25th Henry VIII, according to which such ecclesiastical laws as were not repugnant to the laws of the realm and the king's prerogative were to remain in force until revised. This revision was never made. A body of 141 canons was drawn up for the English church in 1603-4, and these are still partially in force, so far as concerns the clergy. Research Canon Law
A clock is an instrument for measuring time and indicating hours, minutes, and usually seconds, by means of hands moving on a dial-plate, and traditionally differing from a watch mainly in having the movement of its machinery regulated by a pendulum, and in not being portable. A clock also chimes, though the term clock is frequently, and incorrectly, applied to the non-chiming instruments for measuring time, which are technically known as a timepiece.
The use of a horologium, or hour-teller, was common even amongst the ancients, but their time-pieces were nothing else than sun-dials, hour-glasses, and clepsydrae. In the earlier half of our era we have accounts of several attempts at clock construction : that of Boethius in the 6th century, the clock sent by Harun al Rashid to Charlemagne in 809, that made by Pacificus, archdeacon of Verona, in the 9th century, and that of PopeSylvester II in the 10th century. It is doubtful, however, if any of these was a wheel-and-weight clock, and it is probably to the monks that we owe the invention of clocks set in motion by wheels and weights. In the 12th century clocks were made use of in the monasteries, which announced the end of every hour by the sound of a bell put in motion by means of wheels. From this time forward the expression, 'the clock has struck,' is often met with. The hand for marking the time is also made mention of.
In the 14th century there are stronger traces of the later system of clock-work. Dante particularly mentions clocks. Richard, abbot of St Albans in England, made a clock in 1326, such as had never been heard of until then. It not only indicated the course of the sun and moon, but also the ebb and flood tide. Large clocks on steeples likewise were first made use of in the 14th century. Watches are a much later invention, although they have likewise been said to have been invented as early as the 14th century. A celebrated clock, the construction of which is well known, was set up in Paris for Charles V in 1379, the maker being Henry de Vick, a German. It probably formed a model on which clocks were constructed for nearly 300 years, and until Huyghens applied the pendulum to clock-work as the regulating power, about 1657. The great advantage of the pendulum prior to the invention of electronic oscillators is that the beats or oscillations of a pendulum all occupy substantially the same time (the time depending on its length), hence its utility in imparting regularity to a time-measurer. The mechanism by which comparative regularity was previously attained, though ingenious and simple, was far less perfect; and the first pendulum escapement that is, the contrivance by which the pendulum was connected with the clock-work, was also less perfect than others subsequently introduced, especially Graham's dead-heat escapement, invented in 1700.
In a watch, prior to the invention of electronics, the balance-wheel and spring served the same purpose as the pendulum, and the honour of being the inventor of the balance-spring was contested between Huyghens and the English pliilosopher Dr. Hooke. Various improvements followed, such as the chronometerescapement, and the addition of a compensation adjustment, by which two metals having unequal rates of expansion and contraction under variations of temperature are combined in the pendulum or the balance-wheel, so that, each metal counteracting the other, the vibrations are isochronous under any change of temperature. This arrangement was perfected by Harrison in 1726, and was especially useful in navigation. Research Clock
The double-headed eagle is a familiar symbol which originates from the German eagle which is depicted looking right, and the Russian eagle which is depicted looking left. When Charlemagne was made Kaiser of the Holy Roman Empire he joined the two symbolic eagles together to form a double-headed eagle looking simultaneously both east and west. Research Double-Headed Eagle
Gallican Church was a distinctive name applied to the Roman Catholic Church in France. The peculiarity of this church consisted not in any diversity of doctrine or practice from those generally held and observed by Roman Catholics in other countries, but in maintaining a greater degree of independence of the Papal see, more especially by denying the validity of many of the decretals issued since the time of Charlemagne, and refusing to allow the pope to interfere with the civil jurisdiction of the state and the sovereign rights of the crown. The freedom asserted in this respect was increasingly recognized by the pragmatic sanctions of 1269 and 1438, and was still more clearly established by the Quatuor Propositiones Cleri Gallicani (Four Propositions of the French Clergy), drawn up in convocation by the French clergy in 1682. These were:
1. The pope in secular matters has no power over princes and kings, and cannot loose their subjects from allegiance to them.
2. He is subject to the decrees of a general council.
3. His authority in France is regulated by fixed canons and the laws and customs of the kingdom and church.
4. In matters of faith his decision is not unalterable (irreformable).
During the French Revolution the Gallican Church practically disappeared, and though Napoleon extorted from Pius VII a concordat for its re-establishment, no agreement was arrived at as to its organization. With the return of the Bourbons the bishops deprived by Napoleon were restored, and a new concordat concluded in 1817; but its unpopularity led the government to exact from ecclesiastics an expression of adherence to the articles of 1682.
The July revolution in 1830 gave full freedom to all denominations, and a clause was inserted in the Constitutional Charter expressly declaring that each person professes his religion with equal liberty, and obtains for his worship the same protection. Latterly, and especially since the Vatican Council of 1870, the position of the Gallican Church towards the popes essentially changed, and the older Gallicanism is now said to be represented by the Old Catholics of France. Research Gallican Church
Iconolatry is the worship of religious symbols or icons.In Christianity iconolatry refers to the worship or adoration of the images of sacred personages connected with the Christian religion, as images intended to represent angels, the Virgin Mary, saints, martyrs, etc. Iconolatry must not be confounded with idolatry, which worships objects as being themselves divine or possessing supernatural power.
The worship or adoration of images was not common in the church for several centuries after Christ, and in its earlier stages it excited strong feelings, especially in the Eastern section of the church, as illustrated by the rise of the Iconoclasts. The second council of Nicasa taught that images were to be retained, but that they were not to be objects of adoration in the strict sense, though it was right to salute, honour, and venerate them, and to burn lights and incense before them. This decree was rejected by Charlemagne and by a council at Frankfort in 794, but the practice of image-worship finally established itself in the West. Roman Catholics maintain that the cultus of images is 'relative,' and that they are not in themselves really adored or honoured, 'but that all adoration and veneration is referred to the prototypes, in as much as images have no dignity or excellence to which such honour properly appertains.' Research Iconolatry
Ivory carving is the art of carving ivory for ornamental or useful purposes, practised from prehistoric to modern times. The ivory most frequently used is obtained from elephant tusks, but other types of ivory or substitute materials include the tusks, teeth, horns, and bones of the narwhal, walrus, and other animals, as well as vegetableivory and synthetic ivories. The earliest ivory carvings known were made in the Old Stone Age. The inhabitants of Europe in the Perigoridan period more than 20,000 years ago produced great numbers of ivory, bone, and horn carvings, with nude female figures being the most common subject. Representations of animals occur most often in the subsequent Magdalenian period. In Egypt the art of ivory and bone carving was developed in predynastic times, before 3000 BC . Large numbers of carved figures of men and women, as well as carved combs, hairpins, and handles, have been found in Egyptian tombs dating from predynastic and early dynastic periods. Objects found in Egyptian tombs of later date include carved ivory weapon hilts and furniture and caskets inlaid with ivory carvings.
Mesopotamian ivories frequently show strong Egyptian influence. They include a series of tablets carved with figures in low relief, made at the ancient Assyrian capital Nineveh. The Minoans in Crete, and later the ancient Greeks, were noted for their ivory carvings. The Minoans carved small acrobats and snake goddesses.
The Greeks were famous especially in the 5th century BC for their chryselephantine statues, often of heroic size, in which the flesh was represented in carved ivory and the hair and garments in sculptured gold. Among the Romans, in late imperial times, consular diptychs of carved ivory were much in demand. A consular diptych was a two-leafed tablet decorated with portraits and scenes commemorating the inauguration of a consul. It contained a sheet of wax for writing and was given to friends. Ivory carving flourished under the Byzantine Empire, particularly in the 5th and 6th centuries and from the 10th to the 13th century. Christian figures, symbols, and scenes were the subjects most commonly depicted on ivory book covers, icons, boxes, shrines, crosiers, crucifixes, door panels, and thrones. A masterpiece of Byzantine ivory is the Throne of Maximilian. Most Byzantine carvings, however, were in the form of a diptych. In Europe during the reigns of Charlemagne and his successors in the 9th and 10th centuries, elaborately carved ivory book covers, reliquaries, and altarpieces were produced.
Relatively little ivory carving was undertaken in Romanesque Europe, but it reached great heights in the Gothic period. Gothic ivories from the 13th to the 15th century were chiefly religious, as in earlier periods, but were more for private devotions than ecclesiastical use. Popular objects included diptychs with deeply carved figures and elaborate architectural decoration. Especially fine work was produced in Paris. During the 15th and 16th centuries, ivory carving was not popular, but in the baroque and rococo periods in the 17th and 18th centuries it again came into vogue, especially in Germany and the Netherlands. German craftsmen were known for richly ornamented ivories; Flemish craftsmen produced statuettes and other sculpture- inspired ivory carvings. France again became an important ivory- carving centre. The chief centres of the industry were the French cities of Dieppe and Paris, where large numbers of crucifixes and other religious objects were produced.
During the 18th century, however, the demand for ivories diminished. Ivory recovered its popularity in decorative arts in the Art Nouveau style at the end of the 19th century. Old ivory carvings are especially valued by 20th-century collectors of ivory, but very little ivory work is now produced in the western hemisphere. Muslim craftsmen in the Middle East created ivory inlay in intricate arabesque patterns on furniture and other woodwork. In the Far East the best-known ivories are those of India, Japan, and particularly China. Indians carved figures of their gods and ornate caskets, often imitating Italian styles. Japanese netsukes, small carved purse toggles, are often made of ivory. The Chinese have traditionally esteemed ivory and encouraged their artists to work in it. The art still flourishes today; objects created include statuettes, chess pieces, fans, screens, toilet articles, chopsticks, and models of buildings and boats. The Chinese are world famous for their ivory curiosities, particularly the concentric ivory balls carved one inside the other by Cantonese craftsmen. In Inuit, African, and American Indian cultures, carving in ivory, horn, and bone has been practised from the earliest times to the present day. Research Ivory Carving
Alcibiades was an Athenian general and statesman. He was born in 450 BC and died in 404 BC.
An Athenian of high family and of great abilities, but of no principle, he was the son of Cleinias, and a relative of Pericles, who also was his guardian. In youth he was remarkable for the beauty of his person, no less than for the dissoluteness of his manners. He came under the influence of Socrates, but little permanent effect was produced on his character by the precepts of the sage. He acquired great popularity by his liberality in providing for the amusements of the people, and after the death of Cleon attained a political ascendancy which left him no rival but Nicias. Thus he played an important part in the long-continued Peloponnesian war.
In 415 he advocated the expedition against Sicily, and was chosen one of the leaders, but before the expedition sailed he was charged with profaning and divulging the Eleusinian mysteries, and mutilating the busts of Hermes, which were set up in public all through Athens. Rather than stand his trial he went over to Sparta, divulged the plans of the Athenians, and assisted the Spartans to defeat them. Sentence of death and confiscation was pronounced against him at Athens, and he was cursed by the ministers of religion. He soon left Sparta and took refuge with the Persian satrap Tissaphernes, ingratiating himself by his affectation of Persian manners, as he had previously done at Sparta by a similar affectation of Spartan simplicity.
He now began to intrigue for his return to Athens, offering to bring Tissaphernes over to the Athenian alliance, and latterly he was recalled and his banishment cancelled. He, however, remained abroad for some years in command of the Athenian forces, gained several victories, and took Chalcedon and Byzantium. In 407 BC he returned to Athens, but in 406, the fleet which he commanded having suffered a severe defeat, he was deprived of his command. He once more went over to the Persians, taking refuge with the satrap Pharnabazus of Phrygia, and here he was assassinated in 404 BC.
*Alcuin
Alcuin (real name Ealhwine) was an English theologian and scholar. He was born in 755 and died in 804. He was the confidant, instructor, and adviser of Charles the Great (Charlemagne). . He was educated and latterly had the management of the school at York. Alcuin having gone to Rome, Charlemagne became acquainted with him at Parma, invited him in 782 to his court, and made use of his services in his endeavours to civilize his subjects. To secure the benefit of his instructions Charlemagne established at his court a school, called Schola Palatinci, or the Palace School. In the royal academy Alcuin was called Flaccus Albinus. Most of the schools in France were either founded or improved by him; thus he founded the school in the abbey of St Martin of Tours, in 796, after the plan of the school in York. Alcuin left the court in 801, and retired to the abbey of St Martin of Tours, but kept up a constant correspondence with Charles to his death in 804. He left works on theology, philosophy, rhetoric, also poems and letters, all of which have been published. Research Alcibiades
Alfred Rethel was a German painter. He was born in 1816 at Diepenbend and died in 1859. He studied at Dusseldorf under Schadow, and became famous by his fresco, 'Scenes from the Life of Charlemagne' for Aix-la-Chapelle painted in 1844, and the water colour 'Hannibal crossing the Alps'. Research Alfred Rethel
BARON Antoine-Jean Gros was a French historical painter. He was born in 1771 at Paris and died in 1835 by committing suicide. He studied art under David, and subsequently became a staff officer in the French army. In this position he produced his picture of the Victor of Arcola, by which he secured the favour of Napoleon. In 1804 he produced his Plague at Jaffa, tvith Napoleon visiting the sick, a work which was crowned at the Louvre. He painted various battle scenes; but his chief work is probably the Cupola of St. Genevieve at Paris, exhibiting the saint protecting the throne of France, represented by Clovis, Charlemagne, St Louis, and Louis XVIII. The artist received for it 100,000 francs and the title of baron. The rise of the romantic school deprived him of his popularity, and he drowned himself in the Seine in 1835. Research Antoine-Jean Gros
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Abbreviations
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