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Movements, leaders, victories and the continuing fight for equality.
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Wilmington, North Carolina once had a thriving Black middle class and an elected interracial government. In 1898 white supremacists used violence to overthrow that government, kill Black residents and drive many others from the city.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
| Douce Apocalypse | |
|---|---|
| The Bodleian Library | |
 | |
| Date | 1354 X 1372 |
| Place of origin | England |
| Language(s) | Old French and Latin |
| Patron | Edward I of England and Eleanor of Castile |
| Material | Parchment |
| Size | 31.1 centimetres (12.2 in) x 20.3 centimetres (8.0 in) |
| Contents | Book of Revelation and commentary |
| Accession | Douce 180 |
The Douce Apocalypse is an illuminated manuscript of the Book of Revelation, dating from the third quarter of the 13th century, preserved in the Bodleian Library under the reference Douce 180. The manuscript contains 97 miniatures. It has been called "one of the glories of English thirteenth-century painting".[1]
The manuscript contains in its first historiated initial two characters, a knight and a lady kneeling in prayer before the Trinity and bearing the arms of two sponsors of the manuscript: Edward, Prince of Wales and future Edward I of England, and his wife, Eleanor of Castile. The work was carried out in successive stages between 1254, the date of their marriage, and 1272, when the prince acceded to the throne.[2] On stylistic and other grounds a more precise date of between 1265 and 1270 has been proposed.[3] The manuscript was made in Westminster,[4] or perhaps Canterbury.[5] No later owner is identified until the 19th century, when it was put up for sale at Christie's by William Wilson in 1833. It was acquired the same year by Francis Douce, who left his collection to the Bodleian Library at the University of Oxford on his death in 1834.[6]
The manuscript is composed of two parts. The first (ff. 1–12) contains an incomplete text of the Book of Revelation in Old French, including anonymous comments without miniatures and a large historiated initial at the beginning. The second (ff. 13r–61r) contains the same text in Latin with comments taken from those traditionally attributed to Berengaudus. This second part contains 97 miniatures, each occupying half a page. It remains unfinished, with some of the miniatures still in draft form. The style of the miniatures is directly inspired by that current at the time of Saint Louis in Paris. It may have been made in the same workshop as the manuscript of the Apocalypse of the Bibliothèque nationale de France MS Lat. 10474.[7] Three slightly different styles are distinguishable, suggesting that three artists may have been responsible. The binding of the manuscript, dating from the 1580s, is of gold-stamped leather over pasteboard.[6]
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The Douce Apocalypse is an illuminated manuscript of the Book of Revelation, dating from the third quarter of the 13th century, preserved in the Bodleian Library under the reference Douce 180. The manuscript contains 97 miniatures. It has been called "one of the glories of English thirteenth-century painting".
English Apocalypse manuscripts are illustrated manuscripts that contain the text of Revelation or a commentary on Revelation. Most of these were copied between 1250 and 1400. They include the vernacular Anglo-Norman Apocalypses. These manuscripts can be divided by the language and form of the Apocalypse text. Many manuscripts have a Latin text, others have an Anglo-Norman prose text and others have a French verse text combined with a Latin text. Two manuscripts do not have a separate text, but incorporate excerpts from the text into the illustrations. The illustrations can be divided into several iconographic groups. Paul Meyer and Léopold Delisle, in their book L'Apocalypse en français au XIIIe siècle (Paris MS fr. 403), 2 vols., Paris, 1901, were the first scholars to try to list, describe and categorize the Apocalypse manuscripts. M. R. James also wrote about illustrated Apocalypse manuscripts in his book The Apocalypse in Art, London, 1931. Since M. R. James' work, there have been a number of more recent studies by R. Freyhan, George Henderson, Peter Klein, Suzanne Lewis, Nigel Morgan and Lucy Sandler.
James Flint (born 1968) is a British novelist and journalist. Born in Stratford-upon-Avon in 1968, he did a journalistic apprenticeship on the Times of India in New Delhi before studying philosophy and psychology at Wadham College, Oxford. On graduating he spent a year in New York City studying jazz theory and technique, returning to the UK to take an MA in Philosophy and Literature at the University of Warwick. After graduating, he worked at The Independent newspaper in London, before becoming a contributing editor of the Mute magazine and a section editor of Wired UK. Flint is the author of the novels Habitus, 52 Ways to Magic America, which won the Amazon.co.uk Bursary Award for the year 2000; and The Book of Ash, which was inspired by the life of the nuclear artist James Acord and won the 2003 Arts Council Writers’ Award. He has also published a short story collection Soft Apocalypse – Twelve Tales from the Turn of the Millennium (2004: Au Diable Vauvert). His short fiction has appeared in collections published by Penguin Books, the New English Library and the ICA. When it was published in France in 2002, Habitus was judged as in the top five foreign novels of that year's Rentrée Littéraire. In 2002, one of Flint's stories (The Nuclear Train) was filmed for Channel 4 by the director Dan Saul. Flint also scripted the film installation Little Earth and co-wrote 'Like an Octogenarian' with Sebastian Doggart for A&E Network's 2006 show 15 Films About Madonna. Between 2004 and 2007 he ran the Film Tent at the Port Eliot Festival, which featured films and talks from filmmakers including Mike Figgis and Kevin Allen. In December 2006, Flint took a full-time position as the digital Arts and Features editor at the Telegraph Media Group. In 2007 he oversaw the set up and launch of Telegraph Earth and was subsequently promoted to be the editorial head of digital development. After spending a year as General Manager of Telegraph TV, he was appointed editor of the weekly world edition of the Telegraph newspaper and its sister website telegraph.co.uk/expat. As of July 2021, he is currently the co-founder and CEO of the health communications start-up Hospify.
The Fifteen Signs before Doomsday (alternatively known as the Fifteen Signs of Doomsday, Fifteen Signs before Judgement, in Latin Quindecim Signa ante Judicium, and in German 15 Vorzeichen des Jüngsten Gerichts) is a list, popular in the Middle Ages because of millenarianism, of the events that are supposed to occur in the fortnight before the end of the world. It may find an origin in the apocryphal Apocalypse of Thomas and is found in many post-millennial manuscripts in Latin and in the vernacular. References to it occur in a great multitude and variety of literary works, and via the Cursor Mundi it may have found its way even into the early modern period, in the works of William Shakespeare.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →The Greenwood District.
