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One of the somewhat obscure secondary products of restoration of the magnificent interior paintings of the miracle rev anti aging church is the inventory and typological classification of edged weapons depicted in 16th century murals uncovered, reinforced and restored by the multinational team of project specialists.

Although it may be accused of partiality, the volume is the only testimony ten years after the completion of the restoration of the magnitude and the real weight of the international effort knowingly demeaned in the Romanian literature after As exaggerated as it may be5, the context of relevance is not the one of the sword owner and implicit of the warrior mystiquebut the context of the sword as a cultural object6.

Paraphrasing Jean Guilaine, the sword is the most sophisticated object created by prehistoric metallurgy, comprising, up to the end of Renaissance, the most advanced technology of the time7. While the sword is an instrument of order, the opposite is not less true. The duality of the material sword- spiritual sword is consciously used as a plea against sinful bloodshed, by both the crusaders of Emperor Sigismund of Luxembourg and the Taborite radicals10, in the form of arma carnalia-arma spiritualia by Jakoubek of Střbor, the ideologist of moderate Hussitism and the main successor of Jan Hus Thus, we find that the sword as a multiple meaning cultural image is present as vividly during the Crusades as during the Pre-Reformation, both in the religious milieus and in the vernacular literate ones, in the West as well as at the periphery geographic and theological of Catholic Europe.

As such, the image of the sword in the Old Testament12 is the representation of divine immanence and justice, or the divine 8 Richard W. There are numerous such Old Testament examples, and we select here only those that might miracle rev anti aging been more popular to a 15th - 16th century miracle rev anti aging We believe that the ultimate and fatal character of the sword is beyond disputation, as an instrument of judicial, divine and human violence, an exemplum of the Last Judgment.

Simultaneously, the sword is the familiar war tool, which was forbidden to the Israelites under Philistine occupation 1 Sam. The sword is also the familiar instrument that serves as an accessory to Solomonic justice, in the well-known episode of the two mothers who disputed the child 1 Kingswhere, through the brutality the simple presence of the sword imparts to the scene, the shocking immanence and ultimate, irremediable character of royal justice is revealed, which is, in fact, the real intention of the wise king.

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Moreover, the sword also appears not only as a positive instrument for executing the divine will the killing of Amalekite King Agag by Samuel 1 Sam. In the New Testament, the sword does not lose any of its spiritual and profane roles, being equally in both its roles familiar and impressive for the medieval audience. Do what is miracle rev anti aging, and miracle rev anti aging will have praise from the same.

Such stylistic usage can be seamlessly joined conceptually with the image of the sword as an instrument of martyrdom, first in the scenes depicting the Decollation of St. The force of the sword as a cultural image in the New Testament reaches, however, its maximum intensity in the Apocalypse of St.

The weapons seem to be instruments of violence exclusively reserved for characters, while the real people represented in mural painting are prevented to be tainted by such violence, whether this is judicial or not, divinely sanctioned or discretionary.

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Specifically, the painter sets the shape of the sword within the scene he is currently painting, using both a material pattern a real weapon, seen, understood and memorizedand a mental miracle rev anti aging, and these two models interact dynamically.

Kaeuper, op.

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While such tiny interventions in very important areas, cycles, scenes or icons in the altar, nave and tower, where the canon is very strict and the execution miracle rev anti aging reserved for the masters are inconsequential from the point of view of the iconographic canon, they acquires sufficient freedom to manifest throughout scenes and areas of lesser importance, which are less noticeable and less canonically strict in the Menology on the vault of the burial chamber, or on the walls of the narthex, which is a cycle with an iconographic program that emerged only in the middle of the fourteenth century, and was set structurally towards the end of the century, remaining though relatively fluid in shape In such areas of relative artistic freedom, the lines are more sketched, the touches are faster, and the tones are flatter, while the representations are species and not individuals.

The table below summarizes, very briefly, the statistics of the presence of swords and sabers in the wall paintings of Probota 15 Suzy Dufrenne, Problèmes iconographiques dans la peinture monumentale du début du XIVe siècle, in L'art byzantin au début du XIVe siècle, Beograd,p. By analogy with the execution swords used in Central Europe, including Transylvania, starting with the 15th century.

Karabela is the name of a particular type of saber, in usage with the Venetians and their Dalmatian mercenaries throughout the 15th to 17th centuries, without a clear etymology, although clearly originating in the curved saber of the Late Medieval Ottoman-Persian Islam 14th th centurythe nimcha or shamshir the origin of French cimeterre and English miracle rev anti aging. This absence is natural, miracle rev anti aging to the particular iconography thematic, as the only scene in which the presence of edged weapons would have been justified i.

In the scenes located within the tower above the nave, only the second upper registry, below the Pantocrator, is of interest to our research. Among the angelic representations of the Heavenly Hierarchy, the Powers and the Dominions are armed with swords, the former with sheathed weapons, and the latter with swords in their hands.

A very rapid typological overview reveals that all the swords depicted here fall within the typology illustrated by the Menologion of Emperor Basil II 11th centuryschematized by Timothy Dawson Within the timeframe of the interior painting of Probota, the cross-guard and pommel shapes depicted on the swords carried by the Powers and dominions have long been out of use in Europe.

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In the nave of the church, the painting contains relatively few representations of edged weapons, mainly in the equipment of the military saints in the lower registry of the lateral apses: Saints Artemios, Niketas and Agathonas in the southern apse, James the Persian, Procopius and Mercurius on the northeast wall, Saints Theodore both Tiro and Stratelates miracle rev anti aging, Demetrius, Nestorius, George, 17 Timothy Dawson, Angus McBride, Byzantine Infantryman.

Eastern Roman Empire,Osprey Publishing,p.

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George bear swords, with both saints Theodore sharing a single sword between their shields. The military saints, mimicking Archangel Michael, bear only swords with handles cross-guards, grips and pommels fall somewhat in the same typological series illustrated by the Menologion of Basil II. With one exception, all the characters armed thus bear sword and not sabers.

In the burial chamber, the depictions of swords and sabers appear only in the scenes of the Menology synaxarionwhich covers the calendar between September 1st St. Simeon Stylites and February 29th St.

Of the scenes of the burial chamber synaxarion, are martyrdoms, and in 54 of these scenes, the instrument of martyrdom is the sword or saber.

In some other scenes, the military kit of the torturers includes swords or swords, while the instruments of martyrdom are spears, stones, cudgels, axes, saws, wild horses or wild animals. Since the Menology is the only cycle with a sufficient number of scenes depicting swords and sabers justifying a statistic analysis, the distribution of 18 The same scene, in the 14th century Palaeologan paintings, contains only standard depictions of guards armed with swords, cf.

Tzigaridas, Οι τοιχογραφίες του καθολικού της μονής Βατοπεδίου, in Byzantium and Serbia in the 14th century, ed.

Oikonomides, pl. The edged weapons appearing in these scenes are assigned to one of the two categories see above, Table 1i. Within these categories we discriminate a separate group each: likenesses of execution swords, and sabers showing the clear depiction of a back-edge.

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The inventory of edged weapon depictions from the narthex murals follows the same procedure as in the burial chamber. The painted synaxarion in the narthex covers the period between March 1st St. Of the scenes, 91 are scenes of martyrdom, and 51 of these have as instruments of martyrdom a sword or a saber.

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Outside the Menology, depictions of swords appear also in the icon of Archangel Michael, on the left of the western portal, as well as in the equipment of some Ecumenical Councilors painted on the six tympana of the narthex.

As a result, we can leave aside scenes and icons where the sword is an accessory of a background character, such as guards or soldiers in the Passion cycle.

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Taking into consideration the Heavenly Hierarchy, the Archangels, the Military Saints, and the active characters in the Passion, as well as in the Assumption and the Menology scenes, we can not fail to notice an important fact: all the positive characters who are depicted armed are sword bearers, without exception. In fact, this conclusion is not new.

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In fact, the causality should be reversed: not the persecutors and the torturers are associated with the Ottomans, and individualized therefore by their curved sabers, but the miracle rev anti aging and torturers have the attributes of curved sabers and become, consequently and over time, associated with the Ottomans including by art historians. The Jew who raises the sword on the Lord is as non-Muslim as possible, without any ambiguity or interpretation.

As for the association between the saber as weapon of choice and a certain way of life with negative, anti-civilization, connotationsits history is as long in Eastern Europe is as long as the history of the Byzantine Empire itself Contemporary to the timeframe of Probota wall painting, the curved, single-edged saber, with or without back-edge, was already known and used in this region for centuries. Taking into account the theoretical and methodological foundation the iconography of Moldavian medieval churches is based upon, i.

A single-edged sword about 94 cm long, probably curved, paramerion21, was by the 10th century already in use with the Byzantine light cavalry and then adopted, by midth century, also by the heavy cavalry kleibanophoroi 22, as well as by the line infantry skutatoi and archers psiloi Parameria are certainly a 19 Like the history of mankind, see above, footnote 6. Since the Naumachika is most likely a post compilation, one can include the drepanon in the military equipment of the 9th th century.

Historically, the exact shape of the paramerion is still undefined.

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The portrait of Emperor Nikeforos Focas in a 14th century manuscript portrays him with a curved saber, unsheathed and raised on his shoulder Fig. In the fourteenth and fifteenth centuries however the saber is omnipresent in the Balkans, being equally used by Serbs, Bulgars, Byzantines and Turks. The contact of the Europeans with the cavalry saber is effected through the Central Asian nomads Turkish, Iranian and Ugric tribes as early as the 5th century.

Radiografiile toracice au evidențiat semne în ambii plămâni.

Most pictographic sources make us believe that the arsenal of the Central Asian Turkic tribes did not include, until the middle of 9th century, sabers or curved-bladed swords. At best, the contemporary local iconographic sources Fig. One cannot exclude the possibility, however, that straight bladed, single-edged swords pallasch type may be present in significant numbers, as the level of detail of the respective sources, does not allow to discriminate the two-edged swords, 24 John Haldon, op.

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At the eastern limit of Central Asia, the association miracle rev anti aging the material culture of a nomadic and pastoral way of life and the sword with one edge blade more or less curved as a miracle rev anti aging of choice, is proven since the Late Bronze Age, in the region of Inner Chinese Mongolia in the area of Upper Xia-chia-tien culture This structure of cavalrymen and horse archers equipment remains almost unchanged throughout the 12th to 14th centuries, although the ethnic composition of the Byzantine army is changing It is not difficult to believe that, for the author or copyist of a Menologion at the times of the Fall of Constantinople, the curved saber is a distinctive visual feature of various groups of mercenary horsemen, who turn to full-time banditry whenever they are unpaid30, as well as of the Turks, whether Selgiukids or Ottomans, the new Scourge of God.

One can assert, without erring much, that the proto- Xionggnu sword of the end of the Bronze Age is at the origin of all similar edged weapons throughout the Middle East and Eastern Europe, from the late antiquity and to the Middle Ages, balloon anniversaire suisse anti aging well as the Dao swords that are part of the arsenal imperial China since the 1st century AD and up to Miracle rev anti aging ed.

The association between soldiers of low social station irregulars, auxiliaries and barbarian or semi-barbarian mercenarieswhich make up such troops, and the Asian invaders, emerges and evolves within the register of traditional culture, as a result of their common aspect, acutely perceived by a more or less urbanized agrarian civilization, which is that of chaotic and violent behavior of such armed groups of people, whether they are Imperial irregulars recruited from the proletariat, most often of non-Greek origin, of the Byzantine peripheryauxiliaries or temporary allies recruited from among the semi-nomadic pastoral tribes of the Asian world, or invaders proper.

The association between the curved saber and the negative characters is at its strongest, however, outside the universe of the Byzantine Commonwealth.

Most of the visual sources come from Western Europe, the earliest ones being related to the Crusades, while the most semantically penetrating ones date from the late Renaissance, i. In this context, we can only conclude that the negative meanings borne by the sword miracle rev anti aging in the cultural association between hostile, non-Christian Asia that includes the schismatic Byzance, at least on the level of the popular-soldiery perception and this weapon of choice of the Asian and Muslim light cavalry, opposing the crusaders in the Eastern Mediterranean and Anatolia.

The transfer of this negative cultural image into the mural painting of the Moldavian churches of the 16th century, which image, as shown above, is not found in the rest of the Palaeologan and post-Palaeologan art imagery, emphasizes, once more, the cultural if not artistic attachment of Early Modern Moldavia to the European Renaissance. În ceea ce privește imaginile culturale, amprenta credinței contemporane asupra imaginii sacre este una dintre cele mai bune surse disponibile, deoarece modificarea minoră, miracle rev anti aging, a scenei canonice dezvăluie miracle rev anti aging în care persoana obișnuită pictorul a perceput un anumit comportament, obiect, persoană sau fenomen.

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Nicolae din mănăstirea Probota și cei ai altor câteva biserici pictate ale Moldovei. Lista ilustrațiilor: Fig. M-rea Probota.

Imagine de ansamblu a bolții gropniței, cu scene din Menolog. Distribuția spadă-sabie în echipamentul torționarilor reflectă media generală a reprezentărilor din interiorul bisericii. Imagine de ansamblu a zidului sudic al gropniței, cu scene din Menolog.