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30-530: The list is transmitted only in a 7th-century manuscript preserved in the Chapter Library of Verona . The most recent critical edition is that of Timothy Barnes (1982). Earlier editions include those by Theodor Mommsen (1862), Otto Seeck in his edition of the Notitia dignitatum (1876), and Alexander Riese in his Geographi Latini minores (1878). The document comprises a list of the names of all

60-589: A life of Saint Martin of Tours by a scribe is usually considered to mark the conventional dating of the founding of the Library: "my name is Ursicinus, Lector of the Church of Verona ", confirming that he finished the work in the consulship of Agapitus (517). [REDACTED] Media related to Duomo (Verona) at Wikimedia Commons 45°26′49″N 10°59′49″E  /  45.447045°N 10.996849°E  / 45.447045; 10.996849 Adoration of

90-538: Is apparent from the discontinuity midway in the list between the dioceses of Pannoniae and Britanniae. The eastern half of the list circles the Mediterranean neatly anticlockwise from south to north or, in continental terms, from Africa, through Asia, to Europe. The arrangement of the western half is less tidy, though it is approximately anticlockwise from north to south, or from Europe to Africa. The barbarian peoples listed may in some instance have lived outside of

120-520: Is disputed. The Magi are usually shown as the same age until about this period, but then the idea of depicting the three ages of man is introduced: a particularly beautiful example is seen on the façade of the cathedral of Orvieto . Occasionally from the 12th century, and very often in Northern Europe from the 15th, the Magi are also made to represent the three known parts of the world: Balthasar

150-425: Is very commonly cast as a young African or Moor, and old Caspar is given Oriental features or, more often, dress. Melchior represents Europe and middle age . Early Renaissance paintings of this theme, such as by Fra Angelico and Fra Lippi, emphasize the pomp and pageantry of the scene. From the 14th century onward, large retinues are often shown, the gifts are contained in spectacular pieces of goldsmith work, and

180-569: The Life of Christ . Stories throughout the Middle Ages started circulating, which speculated who exactly were the three kings who were famous for visiting the Christ child. Many people assumed that they came from somewhere in the east. Eventually it was decided that the three kings would represent the three main continents at the time; Europe, Asia, and Africa. The three names that prevailed over

210-587: The Blessed Virgin Mary under the designation Santa Maria Matricolare . It is the episcopal seat of the Diocese of Verona . It was erected after two Palaeo-Christian churches on the same site had been destroyed by an earthquake in 1117 . Built in Romanesque style, the cathedral was consecrated on September 13, 1187. The structure was later modified by several renovation interventions, although

240-1030: The Epiphany (January 6). The Eastern Orthodox Church commemorates the Adoration of the Magi on the Feast of the Nativity (December 25). The term is anglicized from the Vulgate Latin section title for this passage: A Magis adoratur . In the earliest depictions, the Magi are shown wearing Persian dress of trousers and Phrygian caps , usually in profile, advancing in step with their gifts held out before them. These images adapt Late Antique poses for barbarians submitting to an Emperor, and presenting golden wreaths, and indeed relate to images of tribute -bearers from various Mediterranean and ancient Near Eastern cultures going back many centuries. The earliest are from catacomb paintings and sarcophagus reliefs of

270-647: The patron saints of travelling merchants, and so international trade in general, and large numbers of their patrons no doubt came from the various international business communities from different countries resident in Antwerp. In the Greek world, Cretan painter Michael Damaskinos revitalized the Greek Italian Byzantine style by mixing it with Venetian painting in his rendition of the Adoration of

300-537: The 14th century. The Baroque addition at the upper part of the facade is part of 17th-century additions. On the south side of the church is a second portal executed in the so-called Lombard or Como style. The main apse has retained its integrity and as such is an example of mid-12th-century architecture. The bell tower , begun in the 16th century by Michele Sanmicheli and left unfinished, has two orders of columns with highly decorated capitals, bas-reliefs and traces of 14th-century frescoes . It contains nine bells in

330-543: The 4th century. Crowns are first seen in the 10th century, mostly in the West, where their dress had by that time lost any Oriental flavour in most cases. The standard Byzantine depiction of the Nativity included the journey or arrival of the mounted Magi in the background, but not them presenting their gifts, until the post-Byzantine period, when the western depiction was often adapted to an icon style. Later Byzantine images often show small pill-box like hats, whose significance

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360-722: The Eastern Half and 303–314 for the Western Half of the Roman empire. The most recent work by Timothy Barnes and Constantin Zuckerman concludes that the entire document belongs to a single moment, c. 314, the eastern and western parts corresponding to the respective spheres of responsibility of the emperors Licinius and Constantine during the period between Licinius' defeat of Maximinus Daza in 313 and his own defeat in his first civil war with Constantine in 316–317. The text on

390-715: The Magi The Adoration of the Magi or Adoration of the Kings or Visitation of the Wise Men is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi , represented as kings, especially in the West, having found Jesus by following a star , lay before him gifts of gold , frankincense , and myrrh , and worship him. It is related in the Bible by Matthew 2:11 : "On entering

420-533: The Magi around 1590. The island of Crete was held by the Venetian Empire and the painting style was known as the Cretan School The scene often includes a fair diversity of animals as well: the ox and ass from the Nativity scene are usually there, but also the horses, camels, dogs, and falcons of the kings and their retinue, and sometimes other animals, such as birds in the rafters of

450-657: The Magi at the crib is the usual subject, but their arrival, called the "Procession of the Magi", is often shown in the distant background of a Nativity scene (usual in Byzantine icons), or as a separate subject, for example in the Magi Chapel frescos by Benozzo Gozzoli in the Palazzo Medici Riccardi , Florence . Other subjects include the Journey of the Magi, where they and perhaps their retinue are

480-475: The Magi's clothes are given increasing attention. By the 15th century, the Adoration of the Magi is often a bravura piece in which the artist can display their handling of complex, crowded scenes involving horses and camels, but also their rendering of varied textures: the silk, fur, jewels and gold of the Kings set against the wood of the stable, the straw of Jesus's manger and the rough clothing of Joseph and

510-584: The centuries for the three kings were Gaspar (or Caspar) , Melchior , and Balthasar . The prominence of this story, as well as the three kings or magi, is due to the great theological significance that the Biblical story holds, their exotic clothes and looks, as well as their great and expensive gifts. In the church calendar , the event is commemorated in Western Christianity as the Feast of

540-577: The dismantled Porta dei Mesi at Ferrara . The lunette depicts the Virgin holding the Christ child in high relief, centered between two low relief scenes, the Annunciation to the Shepherds (left) and the Adoration of the Magi (right). On the lintel in medallions are the three theological virtues , Faith , Charity and Hope . Ten figures of prophets are set in the doorposts and jambs ;

570-508: The four symbols of the Evangelists and the Hand of God are set above in the barrel vault of the first story of the porch. Set into the walls on either side of the portal are figures of Roland and Oliver , who as holy warriors, remind one of the constant need to provide protection to the church. The Gothic windows in the façade provide evidence of the renovation that took place in

600-553: The house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh. And having been warned in a dream not to return to Herod , they left for their own country by another path". Christian iconography considerably expanded the bare account of the Biblical Magi described in the Gospel of Matthew ( 2:1 – 22 ). By

630-526: The later Middle Ages this drew from non-canonical sources like the Golden Legend by Jacobus de Voragine . Artists used the expanded Christian iconography to reinforce the idea that Jesus was recognized, from his earliest infancy, as king of the earth. The adoration scene was often used to represent the Nativity, one of the most indispensable episodes in cycles of the Life of the Virgin as well as

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660-519: The left is the original Latin, divided into lines beginning with capital letters. The original text uses the interpunct (·) to separate entries and is mostly unicase . The text on the right is an English translation. Latin original English translation Chapter Library of Verona Verona Cathedral ( Italian : Cattedrale Santa Maria Matricolare; Duomo di Verona ) is a Roman Catholic cathedral in Verona , northern Italy , dedicated to

690-688: The main Chapel ( Cappella Maggiore ), also by Sanmicheli. The Chapter Library of Verona Cathedral ( Biblioteca Capitolare della Cattedrale di Verona ) is claimed to be the world's oldest library in continuous function. Such is its importance that it has been dubbed the "Queen of ecclesiastical collections". Many ancient works of the Classical tradition have survived only because of the Chapter Library, including: It holds also important early Christian writings, such as: The following signature in

720-665: The only figures, usually shown following the Star of Bethlehem , and there are relatively uncommon scenes of their meeting with Herod and the Dream of the Magi . The usefulness of the subject to the Church and the technical challenges involved in representing it have made the Adoration of the Magi a favorite subject of Christian art: chiefly painting, but also sculpture and even music (as in Gian-Carlo Menotti 's opera Amahl and

750-485: The plan has remained unchanged. The façade is divided into three parts, with a pediment and a two storied projecting porch or protiro embellished with sculpture, which is the work of the twelfth-century sculptor Nicholaus, who also executed and signed the entranceway at the abbey church of San Zeno , also in Verona, and Ferrara Cathedral . The portico is supported on the backs of two griffins , similar to those from

780-465: The provinces of the empire (c. 100 in total), organised according to the twelve newly created regional groupings called dioceses . Although the dioceses are presented in a single list, they are not ordered in a single geographical sequence but rather in two separate eastern and western groups, the eastern group (Oriens, Pontica, Asiana, Thraciae, Moesiae, Pannoniae) preceding the western (Britanniae, Galliae, Viennensis, Italiae, Hispaniae, Africa). The split

810-479: The provincial structure of the empire, but they are all clearly regarded as living within the empire. Even in the cases of those barbarians clearly living within provinces, however, the Laterculus suggests that a meaningful distinction was drawn between "civilized" and "uncivilized" areas. Theodor Mommsen had dated the provincial situation in the list to 297, but later research changed the estimate to 314–324 for

840-457: The scale of A. The tenor weight is 4566 kg. The bells are rung with the tradition of Veronese bellringing art . The current appearance of the interior dates from the 15th-century renovations. It has a nave and two aisles divided by tall pilasters in red Verona marble , which support Gothic arcades . The first three chapels on each side are in the same style, and house mostly Renaissance artworks by Veronese artists. The nave ends with

870-621: The shepherds. The subject was especially popular with the artists of Antwerp Mannerism from about 1500 to 1530. These mostly anonymous artists lived in the Golden Age of Antwerp , as it took over from Bruges as the leading business city of the Low Countries , capturing a huge proportion of the explosion in international trade that followed the development by the Portuguese of the sea route from Asia. The Magis were regarded as

900-409: The stable. From the 15th century onwards, the Adoration of the Magi is quite often conflated with the Adoration of the Shepherds from the account in the Gospel of Luke (2:8–20), an opportunity to bring in yet more human and animal diversity; in some compositions ( triptychs for example), the two scenes are contrasted or set as pendants to the central scene, usually a Nativity . The "adoration" of

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