Title page of Vexilla Regis Quotidie, compiled by Lucy Bradlee Stone and printed in 1893 by Merrymount Press. University of California Libraries. While the Altar Book was being prepared, Updike worked on other titles. The first of these was Vexilla Regis Quitidie, completed in 1893.
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Gustav Holst used both the words and the plainchant melody of Vexilla regis in The Hymn of Jesus (1917). Dante makes an early literary allusion in Inferno, where Virgilius introduces Lucifer with the Latin phrase Vexilla regis prodeunt inferni. Dante's reference is itself later referenced in Walter M. Miller, Jr.'s A Canticle for Leibowitz. Vexilla regis is mentioned in Stephen's discussion of his aesthetic theory in chapter V of A Portrait of the Artist as a Young Man by James Joyce.
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Vexilla regis (The royal banner), WAB 51, is the final motet written by the Austrian composer Anton Bruckner.
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Anton Bruckner composed a motet based on Vexilla Regis, and Knut Nystedt a choral setting of O Crux Splendidior.
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Vexilla is a genus of sea snails, marine gastropod mollusks in the family Muricidae, the murex snails or rock snails.
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Other units, such as infantry cohortes and centuriae, and cavalry alae and turmae, may have had their own vexilla. In addition, vexillationes with their own vexilla would have designated units of special troops outside the usual military structure, such as vexillarii (re-enlisted veterans), who may have served separately from the cohorts of their ordinary comrades.
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Vexilla taeniata is a species of sea snail, a marine gastropod mollusk in the family Muricidae, the murex snails or rock snails.
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Vexilla variabilis is a species of sea snail, a marine gastropod mollusk in the family Muricidae, the murex snails or rock snails.
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Vexilla vexillum, common name the vexillum rock shell, is a species of sea snail, a marine gastropod mollusk in the family Muricidae, the murex snails or rock snails.
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Bruckner composed it on 9 February 1892. The work, the manuscrit of which is archived at the Österreichische Nationalbibliothek,U. Harten, p. 466 is based on the Latin hymn Vexilla Regis by Venantius Fortunatus.
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Palladia were processed around the walls of besieged cities and sometimes carried into battle.Kitzinger, 109-112 In this more offensive role they may also be referred to as "vexilla" (singular vexillum, Latin for "battle standard").
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The only extant Roman vexillum, 3rd century AD. alt= Modern reproduction of a Roman cavalry vexillum The vexillum (; plural vexilla) was a flag-like object used as a military standard by units in the Ancient Roman army.
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It features a guest appearance by Dennis Ostermann of In Strict Confidence on the song Vexilla Regis Inferni. A third album "Icolation" was released in October 2007. It continued the concept of Trinity, using themes from the second part of The Divine Comedy, Purgatorio.
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Nauportus had been plundered by the road builders in 14 AD, according to Tacitus.Tacitus Annales, 1.20: Interea manipuli ante coeptam seditionem Nauportum missi ob itinera et pontes et alios usus, postquam turbatum in castris accepere, vexilla convellunt direptisque proximis vicis ipsoque Nauporto, quod municipii instar erat, ...
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The six districts of the Lower Valais were known as "banners" (vexilla). These were conquered over time and ruled as subject lands by the Republic. They only came to be referred to as dizains as they acceded to the Rhodanic Republic and the Swiss canton, during 1802-1815\.
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After their inauguration, the interior was first painted red-pink plaid. The original windows bore large letters inside. It was a German translation of the Latin hymn Vexilla Regis (The banners of the king issue forth). The letters appeared dark in the day before the light shining from the outside through the windows.
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Over the main door of the church is the motto ' (Hail to the cross, our only hope) - a line from the ancient Latin hymn Vexilla Regis Prodeunt. The inside of the church is adorned with important statues, a wooden carved altar, and gold leaf wrought iron railings. The stained windows also depict important Catholic Saints, and each window was donated by a parishioner.
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As part of the ceremony of processing to the abbey with this sacred relic, she commissioned her friend, the Italian nobleman and religious poet Venantius Fortunatus, later to become bishop of the city, to write a poem to mark the occasion. For this, he produced the hymn Vexilla Regis, considered to be one of the most significant Christian hymns ever written, which is still sung for services on Good Friday.
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The Centro Italiano Studi Vessillologici (Italian Centre of Vexillological Studies), or CISV, is a free, non-profit association of vexillology and heraldry lovers. The centre aims principally at promoting vexillological studies and preserving related documents. It was founded in 1972 in Turin and is a FIAV member since 1973. Starting from 1974, the centre has an official, six-monthly, journal called Vexilla Italica (Latin for "Italian Flags"), reserved to its members.
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The origins are thought to be a stanza added in the tenth century to an ancient Roman hymn to the True Cross of Christ, Vexilla Regis. This sixth stanza is as follows: which roughly translates: O hail the cross our only hope in this passiontide grant increase of grace to believers and remove the sins of the guilty. As a stand-alone motto, the expression can appear as or as in the original hymn, , meaning essentially the same.
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Comes Glusiano de Casate (Latin: Comes Glusianus de Casate; Italian: Cosmo or Cosimo Giussiano; born in Milan, date unknown; died in Rome, 8 April 1287) was an Italian ecclesiastical lawyer and Roman Catholic Cardinal. He came from an important family, de magno sanguine natus (born from high blood), as his funeral monument states. He was learned in the law, "tu sapiens pectus iuris vexilla ferebas."Vincenzo Forcella, Inscrizioni delle chiese ed altre edifici di Roma Vol.
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Schmidt (2009), p. 77 Guidons (vexilla) of these deities were stored inside the temple and were only to leave the room during a war. Thietmar wrote this when the Lutici were allies of the emperor, an alliance he opposed, and included his Radgosc report with the purpose of advising the Germans against it. He also explicitly turned to the reader and advised them to not follow the Lutician cult, but instead adhere to the Holy Bible.
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Legionary inscription: "VEXILLA TIO LEG VI FERR" ("Detachment of Legion VI Ferrata"), Hecht Museum, Haifa, Israel Legio sexta ferrata ("Sixth Ironclad Legion") was a legion of the Imperial Roman army. In 30 BC it became part of the emperor Augustus's standing army. It continued in existence into the 4th century. A Legio VI fought in the Roman Republican civil wars of the 40s and 30s BC. Sent to garrison the province of Judaea, it remained there for the next two centuries.
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The word vexillum is a derivative of the Latin word, velum, meaning a sail, which confirms the historical evidence (from coins and sculpture) that vexilla were literally "little sails": flag-like standards. In the vexillum, the cloth was draped from a horizontal crossbar suspended from a staff. That is unlike most modern flags in which the "hoist" of the cloth is attached directly to a vertical staff. The bearer of a vexillum was known as a vexillarius or vexillifer.Vexillum. Flagspot.
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Nearly all of the present-day regions of Italy preserve the use of vexilla. Many Christian processional banners are in the vexillum form; usually these banners are termed labara () after the standard adopted by the first Christian Roman emperor Constantine I replaced the usual spear point with the "Chi-Rho" symbol ☧. For example, a vexillum is used by the Legion of Mary as the term for its standards. A small version is used on the altar and a larger one leads processions.
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Gustav Holst used both the words and the plainchant melody of Pange lingua along with Vexilla regis in Hymn of Jesus (1917). The last two verses of Pange lingua (Tantum ergo) are often separated out. They mark the end of the procession of the monstrance in Holy Thursday liturgy. Various separate musical settings have been written for this, including one by Giovanni Pierluigi da Palestrina, one by Franz Schubert, eight by Anton Bruckner, one by Maurice Duruflé, and one by Charles-Marie Widor.
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A vexillatio (plural vexillationes) was a detachment of a Roman legion formed as a temporary task force created by the Roman army of the Principate. It was named from the standard carried by legionary detachments, the vexillum (plural vexilla), which bore the emblem and name of the parent legion. Although commonly associated with legions, it is likely that vexillationes included auxiliaries. The term is found in the singular, referring to a single detachment, but is usually used in the plural to refer to an army made up of picked detachments.
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Roman ensigns, standards, trumpets etc. The term vexillum (plural vexilla) is used more generally for any object, such as a relic or icon, used as a standard in battle, and may be considered the offensive equivalent of the more defensive palladium in this context.Ryan, William Francis,The Bathhouse at Midnight: An Historical Survey of Magic and Divination in Russia, pp. 237-239, 1999, Penn State Press, , 9780271019673 Vexillology, or the study of flags, derives its name from this word and a vexilloid is a standard that is not of conventional flag form.
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The vexillum was a flag-like object used as a military standard by units in the Ancient Roman army. The word vexillum itself is a diminutive of the Latin word, velum, meaning a sail, which confirms the historical evidence (from coins and sculpture) that vexilla were literally "little sails" i.e. flag-like standards. In the vexillum the cloth was draped from a horizontal crossbar suspended from the staff; this is unlike most modern flags in which the 'hoist' of the cloth is attached directly to the vertical staff.
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In 569, Justin and Sophia together reportedly sent a relic of the True Cross to the Frankish princess Radegund, who founded a monastery at Poitiers to house it. The event was commemorated in Vexilla Regis by Venantius Fortunatus. They are also recorded as sending relics to Pope John III (reigned 561-574) in an attempt to improve relations – the Crux Vaticana very likely dates from John's reign, perhaps around 568 or 569.McClanan, 167 Older scholars thought, mainly on the basis of imperial head-dress, that Justin I (r.
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The first Christians to arrive in the Solomon Islands were Spanish. The explorer Álavaro de Mendaña de Neyra arrived on the island of Santa Isabel on 9 February 1568 and claimed the territory for Spain. Since 1568 was a thousand years after Venantius Fortunatus, Bishop of Poitiers, had composed the great hymn to the holy cross, Vexilla Regis, the explorers erected a cross on Santa Isabel Island - the explorers' devotion endures in the patronage of the Holy Cross of the present-day cathedral. The first Mass in the south Pacific was celebrated by a Franciscan missionary who had travelled with Mendaña.
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A number of them, the so-called "Roman sceptres" (, rhōmaïka skēptra) resembled to old vexilla, featuring a hanging cloth (, vēlon, from Latin velum). Further insignia of this type included the eutychia or ptychia (), which probably bore some representation of Victory. A further group, collectively known as skeuē (σκεύη), is mentioned in the De Ceremoniis, mostly old military standards handed down through the ages. They were the laboura (λάβουρα), probably a form of the labarum; the kampēdiktouria (καμπηδικτούρια), descendants of the batons of the late Roman drill-masters or campiductores; the signa (σίγνα, "insignia"); the drakontia (δρακόντια) and the banda.
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Jonas described it further: "There stone images crowded the nearby woods, which were honoured in the miserable cult and profane former rites in the time of the pagans".Ibi imaginum lapidearum densitas vicina saltus densabat, quas cultu miserabili rituque profano vetusta Paganorum tempora honorabant . With a grant from an officer of the palace at Childebert's court, an abbey church was built with a sense of triumph within the heathen site and its "spectral haunts".ut, ubi olim prophano ritu veteres coluerunt fana, ibi Christi figerentur arae et erigerentur vexilla, habitaculum Deo militantium, quo adversus aërias potestates dimicarent superni Regis tirones .
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Poets and composers have used long metre for more than a millennium: Venantius Fortunatus (c.530-c.600/609) wrote "Vexilla regis", and probably also wrote "Quem terra, pontus, aethera", both of which are in long metre. Metrical psalters include many such tunes, some of which are still sung today, such as "All people that on Earth do dwell", a paraphrase of Psalm 100 sung to a tune that first appeared in the Genevan Psalters of 16th century. Many church hymns are also based on long metre tunes, such as the Good Friday hymn When I Survey the Wondrous Cross.
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Both words and tune are quoted in a number of musical works. Gounod took a very plain melody based on the chant as the subject of his "March to Calvary" in the oratorio "La rédemption" (1882), in which the chorus sings the text at first very slowly and then, after an interval, fortissimo. Franz Liszt wrote a piece for solo piano, Vexilla regis prodeunt, S185, and uses the hymn at the beginning and end of Via crucis (The 14 stations of the Cross), S53. Anton Bruckner composed a motet based on strophes 1, 6 and 7 of the text (1892).
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A flaw in the inscriptions is that they put the entries concerning Laelianus' activities in the Parthian War under Lucius Verus. This war transpired over the years 161 through 166; Valarie Maxfield observes, "If he was aged twenty at the time of his tribunate he will have been nearly 60 when he accompanied Verus to the Parthian war, earning dona on the consular scale of four coronae and (probably) four hastae and four vexilla."Maxfield, The Dona Militaria of the Roman Army (Durham theses, Durham University, 1972), p. 37 During that war, Laelianus opposed Germanic tribes, the Sarmatians, Armenians and Parthia; for his efforts, Laelianus was awarded dona militaria.
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Tacitus reports that in year 14 the town was plundered by mutinous Roman forces that has been sent to build roads and bridges.Tacitus Annales, 1.20: Interea manipuli ante coeptam seditionem Nauportum missi ob itinera et pontes et alios usus, postquam turbatum in castris accepere, vexilla convellunt direptisque proximis vicis ipsoque Nauporto, quod municipii instar erat, ... Remains of Nauportus were found in present-day Vrhnika in central Slovenia. A Late Roman emporium with warehouses and a central market was located and excavated at river banks. Traces of the defense system of Claustra Alpium Iuliarum, a guard tower, and a Late Roman castellum can be seen in Vrhnika and its vicinity.
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An illustration of eleven Imperial Roman vexilloids. A vexilloid is any flag- like (vexillary) object used by countries, organisations, or individuals as a form of representation other than flags. American vexillologist Whitney Smith coined the term vexilloid in 1958, defining it as This includes vexilla, banderoles, pennons, streamers, heraldic flags, standards, and gonfalons. The first most primitive proto-vexilloids may have been simply pieces of cloth dipped in the blood of a defeated enemy in pre-historic times, and the precursors of all later vexilloids and flags.. The use of flags replaced the use of vexilloids for general purposes during late medieval times between about 1100 to about 1400.
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Later, around 530, St. Benedict would arrange the weekly order of monastic psalmody in his Rule. Later, in the 6th century, Venantius Fortunatus created some of Christianity's most enduring hymns, including "Vexilla regis prodeunt" which would later become the most popular hymn of the Crusades. The Guidonian Hand The earliest extant music in the West is plainsong, a kind of monophonic, unaccompanied, early Christian singing performed by Roman Catholic monks, which was largely developed roughly between the 7th and 12th centuries. Although Gregorian chant has its roots in Roman chant and is popularly associated with Rome, it is not indigenous to Italy, nor was it the earliest nor the only Western plainchant tradition.
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In 569, Justin and Sophia together reportedly sent a relic of the True Cross to Radegund. The event was commemorated in Vexilla Regis by Venantius Fortunatus. They also sent relics to Pope John III in an attempt to improve relations: the Cross of Justin II in the Vatican Museums, a crux gemmata, and a reliquary of the True Cross perhaps given at this point, has an inscription recording their donation and apparently their portraits on the ends of the arms on the reverse. This led to creation of poems by Venantius Fortunatus, which referred to Justin and Sophia as the new Constantine and the new Helena, and indicating Sophia's major role in the presentation of the relic.
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Baden’s earliest works were penned in a national-romantic style, while his church music works display a close bond to the prevalent Palestrina style of the period. His works from 1950 onwards, were heavily influenced by French Neo-classicism, and in the 60s Baden would also employ twelve-tone techniques, with an increasing use of dissonance. Spring 1965 saw Baden travelling to Vienna to meet Hanns Jelinek, a student of Schönberg and Berg – a visit that led to a stylistic liberation for the Norwegian composer. The following year, this liberation came into fruition in his sole twelve-tone work Hymnus per alto, flauto, oboe e viola with a text from the Latin hymn Vexilla Regis.
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The Genoese flag with the red cross was used alongside this "George's flag", from at least 1218, and was known as the insignia cruxata comunis Janue ("cross ensign of the commune of Janua"). The flag showing the saint himself was the city's principal war flag, but the flag showing the plain cross was used alongside it in the 1240s.Aldo Ziggioto, "Genova", in Vexilla Italica 1, XX (1993); Aldo Ziggioto, "Le Bandiere degli Stati Italiani", in Armi Antiche 1994, cited after Pier Paolo Lugli, 18 July 2000 on Flags of the World. The cross ceased to be a symbol directly associated with the "taking of the cross", the resolve to fight in a crusade, after the failure of the crusades in the 14th century.
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Her abbey was named for the relic of the True Cross that Radegund obtained from the Byzantine Emperor Justin II. Although the bishop of Poitiers Maroveus refused to install it in the abbey, at Radegund's request king Sigebert sent Eufronius of Tours to Poitiers to perform the ceremony. To celebrate the relic and its installation into Sainte-Croix, Venantius Fortunatus composed a series of hymns, including the famous Vexilla Regis, considered to be one of the most significant Christian hymns ever written, which is still sung for services on Good Friday, Palm Sunday, as well as the Exaltation of the Holy Cross Radegund was a close friend of Junian of Maire; Junian and Radegund are said to have died on the same day, 13 August 587.
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Fortunatus is best known for two poems that have become part of the liturgy of the Catholic Church, the Pange lingua gloriosi proelium certaminis ("Sing, O tongue, of the glorious struggle"), a hymn that later inspired St Thomas Aquinas's Pange Lingua Gloriosi Corporis Mysterium. He also wrote Vexilla Regis prodeunt ("The royal banners forward go"), which is a sequence sung at Vespers during Holy Week. This poem was written in honour of a large piece of the True Cross, which explains its association also with the feast of the Exaltation of the Holy Cross. The relic had been sent from the Byzantine Emperor Justin II to Queen Radegund of the Franks, who after the death of her husband Chlotar I had founded a monastery in Poitiers.
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The Rex caeli sequence from the Bamberg Manuscript of the treatise Musica enchiriadis, (2nd half of the 9th century, Germany) The Latin sequence has its beginnings, as an artistic form, in early Christian hymns such as the Vexilla Regis of Venantius Fortunatus. Venantius modified the classical metres based on syllable quantity to an accentual metre more easily suitable to be chanted to music in Christian worship. In the ninth century, Hrabanus Maurus also moved away from classical metres to produce Christian hymns such as Veni Creator Spiritus. The name sequentia, on the other hand, came to be bestowed upon these hymns as a result of the works of Notker Balbulus, who popularized the genre in the ninth century by publishing a collection of sequentiae in his Liber Hymnorum.
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Respecting Abbot Stephen’s solemn warning and knowing that the Benedictine Rule mentions the Ambrosianum four times (for vigil RB 9:4, lauds RB 12:4/13:11 and vespers RB 17:8), Bernard included the major hymns from Milan. But for the small hours of terce, sext and none, the Rule uses the word hymnus; on this basis they added 21 non-Milanese texts to the hymnal for use at terce and compline. That made it possible to again sing the great classics such as Vexilla regis for Holy Week, Conditor alme siderum in Advent, or Quem terra pontus for the Marian feasts. Consciously following the same principles as the first generation, they kept the 34 primitive hymns, except for a few textual variants made for the sake of orthodoxy.
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Anton Bruckner used the Dresden amen in several motets (Christus factus est WAB 11, Virga Jesse WAB 52 and Vexilla regis WAB 51), the finale of his Fifth Symphony and the adagio of his last symphony, the Ninth, while Gustav Mahler incorporated it into the last movement of his first symphony, "Titan". Manuel de Falla quoted from it in his incidental music for Calderón de la Barca's El gran teatro del mundo. Alexander Scriabin inserted a theme reminiscent of the Dresden amen in the first movement (Luttes ["Struggles"]) of his Symphony no. 3. Eric Ball's tone poem The Kingdom Triumphant, a musical picture of the first and second coming of Christ, uses the Dresden amen prior to the presentation of the hymn Helmsley with its associated words "Lo, He comes with clouds descending".
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The processions of the day, hymns "Crux fidelis" by King John of Portugal, and Eberlin's "Tenebrae factae sunt", followed by "Vexilla Regis" is sung, translated from Latin as the standards of the King advance, and then follows a ceremony that is not a real Mass, it is called the "Mass of the Pre-Sanctified.". This custom is respected also by forgoing the Mass, this is to take heed to the solemnity of the Sacrifice of Calvary. This is where the host of the prior day is placed at the altar, incensed, elevated so "that it may be seen by the people" and consumed. Germany and some other countries have laws prohibiting certain acts, such as dancing and horse racing, that are seen as profaning the solemn nature of the day.
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Dio XXXVIII.10.2 Dio implies that he did so out of cowardice, in order to avoid the imminent clash with the opposition, but it is more likely that he was pursuing a large enemy cavalry force, probably Sarmatians. A Bastarnae host, which had crossed the Danube to assist the Histrians, promptly attacked, surrounded and massacred the Roman infantry, capturing several of their vexilla (military standards).Dio XXXVIII.10.3 and LI.26.5 This battle resulted in the collapse of the Roman position on the lower Danube. Burebista apparently annexed the Greek cities (55–48 BC).Crişan (1978) 118 At the same time, the subjugated "allied" tribes of Moesia and Thrace evidently repudiated their treaties with Rome, as they had to be reconquered by Augustus in 29–8 BC (see below).
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M° Michael D'AlessandraThe second part of the concert, consisting of symphonic and choral sacred music, saw the deployment of the largest orchestra the Church had ever experienced. Performing were the London Oratory School Schola, Michael D'Alessandra, The Rome Philharmonic Orchestra and M°Cristiano Serino. The choir and orchestra performed Vexilla Regis, a variation on Franz Liszt's Via Crucis conducted by Michael D'Alessandra, connected to Septem postrema verba, a concerto for choir, orchestra and cello solo written by M°Cristiano Serino conducting it. The last seven words of Jesus Christ on the cross were utilised for the libretto, culminating towards the core of the concert: D'Alessandra's Missa Sylvestri II, a funeral Mass, beginning with an eerie Kyrie Eleison progressing to a fast-paced Sanctus, through a solemn Benedictus, reminiscent of German baroque progressions and Russian Orthodox melodies, and concluding with an elegiac Agnus Dei.
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These would be his first steps to succeed him as the chapel master. In 1784, the brotherhood of Saint Cecilia, the traditional guild of the musicians, was founded in Rio de Janeiro. Nunes Garcia, at 17, was allowed to sign the foundation act, as he was already recognized as a professional music teacher. By the end of the 1780s, he had already a large repertoire of his own: a Litany for Our Lady for 4 voices and organ, in 1788; the anthems O Redemptor Summe Carmen and Pange Lingua, both in 1789; and the works a capella for all the Holy Week of the See, the Bradados or Passions, of these the most important was Bradados de 6ª feira maior (CPM 219), or Passion for Good Friday; this work originally included some motets classified – and nowadays sung – apart: Crux Fidelis (CPM 205), Heu Domine (CPM 211), Popule Meus (CPM 222), Sepulto Domino (CPM 223), and Vexilla Regis (CPM 225).
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Gules, Praetorians insignia Or. The coat of arms is the labarum of the Praetorian Guard in gold on a red background.Note that the coat of arms of the rione was established by Council Resolution no. 20 of 20 August 1921, which describes it without showing its image. The image that is most frequently used, that is a "generic" sign of a legion with an aquila, is historically inaccurate for two reasons: first, the Resolution evidently referred to the "specific" insignia of the Praetorian guard (with reference to the Castra Praetoria), that is, the scorpio which appeared on the vexilla of the guard as a sign of gratitude towards the Emperor Tiberius (who was born under this zodiac sign); second, the aquila could only be carried by the Aquilifer of a legion, and certainly could not appear on the vexillum of the Praetorians, who could not form a legion since they resided within the city.
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