#Saint George of the Greeks

[epestrefe]

Άγιος Γεώργιος των Ελλήνων Αμμοχώστου,Κύπρος

Ο Άγιος Γεώργιος των Ελλήνων αποτελούσε τον καθεδρικό ναό των ορθοδόξων Κυπρίων στα χρόνια της ύστερης φραγκοκρατίας και την εποχή της ενετοκρατίας στην Αμμόχωστο. Πιστεύεται ότι περατώθηκε μετά το 1360 και είναι σπάνιο δείγμα φραγκοβυζαντινού ρυθμού, που ενσωματώνει πληθώρα στοιχείων του γοτθικού ρυθμού -τον οποίο εισήγαγαν οι Φράγκοι στην Κύπρο- αλλά γενικά διατηρεί τη μορφή και τη δομή ορθόδοξου βυζαντινού ναού. Υπέστη μεγάλες ζημιές κατά την πολιορκία της Αμμοχώστου από τους Οθωμανούς το 1571 και έκτοτε εγκαταλήφθηκε. Ωστόσο, ακόμα και σήμερα οι επισκέπτες μπορούν να παρατηρήσουν ίχνη των τοιχογραφιών (αγιογραφία) που τον κοσμούσαν στη δεξιά κόγχη.

Πηγή:Wikipedia

[sidebee-hive]

Mar Jaris, an Eastern (Greek) Orthodox monastery in Wadi Qelt, Palestine. Also known as the Monastery of Choziba, it hosts the relics of Saint George of Choziba and Saint John of Choziba.

Around AD 500, it changed from a lavra to a monastery. It has not been consecutively inhabited throughout its entire existence due to conquests, but has stayed true to its origins as a place of worship that is built into the cliff.

(images taken from Wikimedia Commons)

[monogreek]

Church of Saint George the Trophy-bearer (11th century), Anthidona (eastern Boeotia)-Greece / fresco : Saint George, early 17th century (Theban school)

(ph. Yorgos Yannakos, June 26-2024)

[andijaart]

+++ 🙏🏻God Bless🕊️ +++

Orthodox St Gabriel Urgebadze Icon, handicraft, Гавриил (Ургебадзе) a piece of cloth consecrated on the relics of the saint, wooden box

💫 International Orthodox Art Corporation Andcross

May the blessing of the Lord be upon you!

[graysoniconography]

Saint George the Great Martyr

Icon by me

The Holy Great Martyr George the Victory-Bearer, was a native of Cappadocia (a district in Asia Minor), and he grew up in a deeply believing Christian family. His father was martyred for Christ when George was still a child. His mother, owning lands in Palestine, moved there with her son and raised him in strict piety.

When he became a man, Saint George entered into the service of the Roman army. He was handsome, brave and valiant in battle, and he came to the notice of the emperor Diocletian (284-305) and joined the imperial guard with the rank of comites, or military commander.

The pagan emperor, who did much for the restoration of Roman might, was clearly concerned with the danger presented to pagan civilization by the triumph of the Crucified Savior, and intensified his persecution against the Christians in the final years of his reign. Following the advice of the Senate at Nicomedia, Diocletian gave all his governors full freedom in their court proceedings against Christians, and he promised them his full support.

Saint George, when he heard the decision of the emperor, distributed all his wealth to the poor, freed his servants, and then appeared in the Senate. The brave soldier of Christ spoke out openly against the emperor’s designs. He confessed himself a Christian, and appealed to all to acknowledge Christ: “I am a servant of Christ, my God, and trusting in Him, I have come among you voluntarily, to bear witness concerning the Truth.”

“What is Truth?” one of the dignitaries asked, echoing the question of Pontius Pilate. The saint replied, “Christ Himself, Whom you persecuted, is Truth.”

Stunned by the bold speech of the valiant warrior, the emperor, who had loved and promoted George, attempted to persuade him not to throw away his youth and glory and honors, but rather to offer sacrifice to the gods as was the Roman custom. The confessor replied, “Nothing in this inconstant life can weaken my resolve to serve God.”

Then by order of the enraged emperor the armed guards began to push Saint George out of the assembly hall with their spears, and they then led him off to prison. But the deadly steel became soft and it bent, just as the spears touched the saint’s body, and it caused him no harm. In prison they put the martyr’s feet in stocks and placed a heavy stone on his chest.

The next day at the interrogation, powerless but firm of spirit, Saint George again answered the emperor, “You will grow tired of tormenting me sooner than I will tire of being tormented by you.” Then Diocletian gave orders to subject Saint George to some very intense tortures. They tied the Great Martyr to a wheel, beneath which were boards pierced with sharp pieces of iron. As the wheel turned, the sharp edges slashed the saint’s naked body.

At first the sufferer loudly cried out to the Lord, but soon he quieted down, and did not utter even a single groan. Diocletian decided that the tortured one was already dead, and he gave orders to remove the battered body from the wheel, and then went to a pagan temple to offer thanks.

At this very moment it got dark, thunder boomed, and a voice was heard: “Fear not, George, for I am with you.” Then a wondrous light shone, and at the wheel an angel of the Lord appeared in the form of a radiant youth. He placed his hand upon the martyr, saying to him, “Rejoice!” Saint George stood up healed.

When the soldiers led him to the pagan temple where the emperor was, the emperor could not believe his own eyes and he thought that he saw before him some other man or even a ghost. In confusion and in terror the pagans looked Saint George over carefully, and they became convinced that a miracle had occurred. Many then came to believe in the Life-Creating God of the Christians.

Two illustrious officials, Saints Anatolius and Protoleon, who were secretly Christians, openly confessed Christ. Immediately, without a trial, they were beheaded with the sword by order of the emperor. Also present in the pagan temple was Empress Alexandra, the wife of Diocletian, and she also knew the truth. She was on the point of glorifying Christ, but one of the servants of the emperor took her and led her off to the palace.

The emperor became even more furious. He had not lost all hope of influencing Saint George, so he gave him over to new and fiercesome torments. After throwing him into a deep pit, they covered it over with lime. Three days later they dug him out, but found him cheerful and unharmed. They shod the saint in iron sandals with red-hot nails, and then drove him back to the prison with whips. In the morning, they led him back to the interrogation, cheerful and with healed feet, and the emperor asked if he liked his shoes. The saint said that the sandals had been just his size. Then they beat him with ox thongs until pieces of his flesh came off and his blood soaked the ground, but the brave sufferer, strengthened by the power of God, remained unyielding.

The emperor concluded that the saint was being helped by magic, so he summoned the sorcerer Athanasius to deprive the saint of his miraculous powers, or else poison him. The sorcerer gave Saint George two goblets containing drugs. One of them would have quieted him, and the other would kill him. The drugs had no effect, and the saint continued to denounce the pagan superstitions and glorify God as before.

When the emperor asked what sort of power was helping him, Saint George said, “Do not imagine that it is any human learning which keeps me from being harmed by these torments. I am saved only by calling upon Christ and His Power. Whoever believes in Him has no regard for tortures and is able to do the things that Christ did” (John 14:12). Diocletian asked what sort of things Christ had done. The Martyr replied, “He gave sight to the blind, cleansed the lepers, healed the lame, gave hearing to the deaf, cast out demons, and raised the dead.”

Knowing that they had never been able to resurrect the dead through sorcery, nor by any of the gods known to him, and wanting to test the saint, the emperor commanded him to raise up a dead person before his eyes. The saint retorted, “You wish to tempt me, but my God will work this sign for the salvation of the people who shall see the power of Christ.”

When they led Saint George down to the graveyard, he cried out, “O Lord! Show to those here present, that You are the only God in all the world. Let them know You as the Almighty Lord.” Then the earth quaked, a grave opened, the dead one emerged from it alive. Having seen with their own eyes the Power of Christ, the people wept and glorified the true God.

The sorcerer Athanasius, falling down at the feet of Saint George, confessed Christ as the All-Powerful God and asked forgiveness for his sins, committed in ignorance. The obdurate emperor in his impiety thought otherwise. In a rage, he commanded both Athanasius and the man raised from the dead to be beheaded, and he had Saint George again locked up in prison.

The people, weighed down with their infirmities, began to visit the prison and they there received healing and help from the saint. A certain farmer named Glycerius, whose ox had collapsed, also visited him. The saint consoled him and assured him that God would restore his ox to life. When he saw the ox alive, the farmer began to glorify the God of the Christians throughout all the city. By order of the emperor, Saint Glycerius was arrested and beheaded.

The exploits and the miracles of the Great Martyr George had increased the number of the Christians, therefore Diocletian made a final attempt to compel the saint to offer sacrifice to the idols. They set up a court at the pagan temple of Apollo. On the final night the holy martyr prayed fervently, and as he slept, he saw the Lord, Who raised him up with His hand, and embraced him. The Savior placed a crown on Saint George’s head and said, “Fear not, but have courage, and you will soon come to Me and receive what has been prepared for you.”

In the morning, the emperor offered to make Saint George his co-administrator, second only to himself. The holy martyr with a feigned willingness answered, “Caesar, you should have shown me this mercy from the very beginning, instead of torturing me. Let us go now to the temple and see the gods you worship.”

Diocletian believed that the martyr was accepting his offer, and he followed him to the pagan temple with his retinue and all the people. Everyone was certain that Saint George would offer sacrifice to the gods. The saint went up to the idol, made the Sign of the Cross and addressed it as if it were alive: “Are you the one who wants to receive from me sacrifice befitting God?”

The demon inhabiting the idol cried out, “I am not a god and none of those like me is a god, either. The only God is He Whom you preach. We are fallen angels, and we deceive people because we are jealous.”

Saint George cried out, “How dare you remain here, when I, the servant of the true God, have entered?” Then noises and wailing were heard from the idols, and they fell to the ground and were shattered.

There was general confusion. In a frenzy, pagan priests and many of the crowd seized the holy martyr, tied him up, and began to beat him. They also called for his immediate execution.

The holy empress Alexandra tried to reach him. Pushing her way through the crowd, she cried out, “O God of George, help me, for You Alone are All-Powerful.” At the feet of the Great Martyr the holy empress confessed Christ, Who had humiliated the idols and those who worshipped them.

Diocletian immediately pronounced the death sentence on the Great Martyr George and the holy Empress Alexandra, who followed Saint George to execution without resisting. Along the way she felt faint and slumped against a wall. There she surrendered her soul to God.

Saint George gave thanks to God and prayed that he would also end his life in a worthy manner. At the place of execution the saint prayed that the Lord would forgive the torturers who acted in ignorance, and that He would lead them to the knowledge of Truth. Calmly and bravely, the holy Great Martyr George bent his neck beneath the sword, receiving the crown of martyrdom on April 23, 303.

The pagan era was coming to an end, and Christianity was about to triumph. Within ten years, Saint Constantine (May 21) would issue the Edict of Milan, granting religious freedom to Christians.

Of the many miracles worked by the holy Great Martyr George, the most famous are depicted in iconography. In the saint’s native city of Beirut were many idol-worshippers. Outside the city, near Mount Lebanon, was a large lake, inhabited by an enormous dragon-like serpent. Coming out of the lake, it devoured people, and there was nothing anyone could do, since the breath from its nostrils poisoned the very air.

On the advice of the demons inhabiting the idols, the local ruler came to a decision. Each day the people would draw lots to feed their own children to the serpent, and he promised to sacrifice his only daughter when his turn came. That time did come, and the ruler dressed her in her finest attire, then sent her off to the lake. The girl wept bitterly, awaiting her death. Unexpectedly for her, Saint George rode up on his horse with spear in hand. The girl implored him not to leave her, lest she perish.

The saint signed himself with the Sign of the Cross. He rushed at the serpent saying, “In the Name of the Father and of the Son and of the Holy Spirit.” Saint George pierced the throat of the serpent with his spear and trampled it with his horse. Then he told the girl to bind the serpent with her sash, and lead it into the city like a dog on a leash.

The people fled in terror, but the saint halted them with the words: “Don’t be afraid, but trust in the Lord Jesus Christ and believe in Him, since it is He Who sent me to save you.” Then the saint killed the serpent with a sword, and the people burned it outside the city. Twenty-five thousand men, not counting women and children, were then baptized. Later, a church was built and dedicated to the Most Holy Theotokos and the Great Martyr George.

Saint George went on to become a talented officer and to amaze the world by his military exploits. He died before he was thirty years old. He is known as Victory Bearer, not only for his military achievements, but for successfully enduring martyrdom. As we know, the martyrs are commemorated in the dismissal at the end of Church services as “the holy, right victorious martyr....”

Saint George was the patron saint and protector of several of the great builders of the Russian state. Saint Vladimir’s son, Yaroslav the Wise (in holy Baptism George), advanced the veneration of the saint in the Russian Church. He built the city of Yuriev [i.e., “of Yurii.” “Yurii” is the diminutive of “George”, as “Ivan” is of “John”], he also founded the Yuriev monastery at Novgorod, and he built a church of Saint George the Victory Bearer at Kiev.

The day of the consecration of Saint George’s Church in Kiev, November 26, 1051 by Saint Hilarion, Metropolitan of Kiev and All Rus, has entered into the liturgical treasury of the Church as a special church feastday. Yuriev Day is beloved by the Russian people as an “autumn Feast of Saint George.”

The name of Saint George was also borne by the founder of Moscow, Yurii Dolgoruky (+ 1157), who was the builder of many churches dedicated to Saint George, and the builder of the city of Yuriev-Polsk. In the year 1238 the heroic fight of the Russian nation against the Mongol Horde was led by the Great Prince Yurii (George) Vsevolodovich of Vladimir (February 4), who fell at the Battle at the Sita River. His memory, like that of Igor the Brave, and defender of his land, was celebrated in Russian spiritual poems and ballads.

The first Great Prince of Moscow, when Moscow had become the center of the Russian Land, was Yurii Danilovich (+ 1325), the son of Saint Daniel of Moscow, and grandson of Saint Alexander Nevsky. From that time Saint George the Victory Bearer, depicted as a horseman slaying the serpent, appeared on Moscow’s coat of arms, and became an emblem of the Russian state. This has strengthened Russia’s connections with Christian nations, and especially with Iberia (Georgia, the Land of Saint George).

(www.oca.org/saints/lives/2015/…)

Saint George the Victory Bearer and Great Martyr, pray for us!

[dontdenymeshakespeare]

Favourite Books of 2024

This was the year of the return of the travel. I started the year by going to Montreal to visit family, then I went on a mother-daughter trip to Cape Cod. I also went to Vermont and Montreal again to visit family as well to Maine and eastern Massachusetts for a reading holiday and walks on the beach. I also got the opportunity to go back to London, my favourite city in the world. (You can read…

[vestaignis]

Скальные церкви Лалибэлы, Эфиопия.

Одной из главных достопримечательностей страны является город Лалибэла, бывший в течение долгих столетий религиозным центром и местом паломничества. Одиннадцать высеченных в красноватых скалах церквей Лалибэлы с XVI века возбужлают непреходящий интерес. Самый большой из них, храм Христа Спасителя (Бетэ Мэдхане Алем), достигает в длину 33,7 метра, в ширину 23,7 метра и в высоту 11,6 метра. Наиболее почитаемым из храмов является храм Девы Марии (Бетэ Марйам), где окна имеют форму римских и греческих крестов, свастик и плетеных крестов. Церковь стоит в большом дворе, который с невероятными усилиями был вырублен прямо в скале. Позднее в северной стене внутреннего двора была высечена церковь Креста (Бетэ Мэскэль). На противоположной стороне двора находится церковь Богородицы (Бетэ Дэнагыль), посвященная мукам Пресвятой Девы. Через тоннель-лабиринт можно пройти к другим скальным храмам, связанным с дворо��.

Церковь Святого Георгия (Бетэ Гийоргис), покровителя эфиопов, грузин и англичан, вырублена в виде крестообразной в плане башни с равными поперечинами креста. Она сначала была выбита как цельный блок в скале, потом ей придали форму греческого креста, и, наконец, выдолбили внутреннюю часть. Крыша церкви расположена на уровне поверхности земли, сама-же церковь стоит в глубокой яме, и к ней можно добраться только через тоннель.

Кстати, церкви – это и памятник инженерной мысли средневековой Эфиопии: близ многих из них расположены колодцы, которые наполняются с помощью сложной системы, основывающейся на использовании местных артезианских скважин (при этом город расположен на горном хребте на уровне 2500 метров над уровнем моря!).

Rock churches of Lalibela, Ethiopia.

One of the main attractions of the country is the city of Lalibela, which for many centuries was a religious center and a place of pilgrimage. Eleven churches of Lalibela, carved into the reddish rocks, have been of enduring interest since the 16th century. The largest of them, the Cathedral of Christ the Savior (Bete Medhane Alem), is 33.7 meters long, 23.7 meters wide and 11.6 meters high. The most revered of the temples is the Church of the Virgin Mary (Bete Maryam), where the windows are shaped like Roman and Greek crosses, swastikas and woven crosses. The church stands in a large courtyard, which was cut directly into the rock with incredible effort. Later, the Church of the Cross (Bete Meskel) was carved into the northern wall of the courtyard. On the opposite side of the courtyard is the Church of the Virgin Mary (Bete Denagyl), dedicated to the sufferings of the Blessed Virgin. Through a labyrinthine tunnel you can get to other rock temples connected to the courtyard.

The Church of St. George (Bete Giyorgis), the patron saint of Ethiopians, Georgians and the English, is carved out in the form of a cross-shaped tower with equal crossbars. It was first knocked out as a solid block in the rock, then it was given the shape of a Greek cross, and finally the inside was hollowed out. The roof of the church is located at ground level, the church itself is in a deep pit, and can only be reached through a tunnel.

By the way, the churches are also a monument to the engineering thought of medieval Ethiopia: near many of them there are wells that are filled with a complex system based on the use of local artesian wells (while the city is located on a mountain ridge at an altitude of 2500 meters above sea level!).

Источник:/tury.ru/sight/id/14007-skalnye-cerkvi-lalibely-14007,/iz.ru /898617/gallery/lalibela#,/putidorogi-nn.ru/100-chudes-sveta/28-skalnie-tserkvi-lalibeli,/art-links.livejournal.com/2396486.html.

[greater-than-the-sword]

Seeing the trailer for Millie Bobby Brown's new movie makes me wonder if I've ever actually seen or heard of the "knight rescues damsel from dragon" trope played completely straight before, or if that's something of a dead unicorn trope.

I realize there's the classic "Saint George and the Dragon," but even in that case the princess was never bodily in any danger, it was the kingdom and the lands which were beset and the princess acted more as a diplomat hiring him on behalf of her country.

Perhaps the trope originator is the Greek myth of Perseus and Andromeda? You have the princess chained up to be offered to a (sea) dragon for the purpose of a ritual sacrifice, so it's not like the dragon really "kidnapped" her, and it's missing any mention of a tower, but it ticks more boxes than any I can think of

[girlactionfigure]

THURSDAY HERO: Princess Alice

Amazing story! Princess Alice was an unconventional royal who prioritized helping others over wealth and privilege. She devoted her life to good deeds and spiritual growth, and was notable among European royalty for taking Jews into her home during the Holocaust.

Princess Alice stood out for another reason: she was deaf from birth.

Born in 1885 at Windsor Castle, Alice was the great-granddaughter of Queen Victoria. She learned to lip read at a young age, and could speak several languages. Alice was widely regarded as the most beautiful princess in Europe.

At age 17, Alice fell in love with dashing Prince Andrew of Greece and they were married in 1903. Alice and Andrew had four daughters and a son. Their son Philip would later be married to Queen Elizabeth II. Alice communicated with her children mainly in sign language.

Political turmoil in Greece forced the royal family into exile. They settled in a sleepy suburb of Paris, where Alice threw herself into charitable work helping Greek refugees. Her husband left her for a life of gambling and debauchery in Monte Carlo.

Relying on the charity of wealthy relatives, Alice found strength in her Greek Orthodox faith. She became increasingly religious, and believed that she was receiving divine messages and had healing powers. She yearned to share her faith and mystical experiences with others, but instead was dismissed as mentally unhinged.

Alice had a nervous breakdown in 1930. She was committed against her will to a mental institution in Switzerland, with a dubious diagnosis of schizophrenia. Alice did not even get a chance to say goodbye to her children. Her youngest, 9 year old Philip, returned from a picnic to find his mother gone.

Alice tried desperately to leave the asylum, but was kept prisoner in Switzerland for 2 1/2 years. During that time, her beloved son Philip was sent to live with relatives, and her four daughters married German princes. Alice was not allowed to attend any of their weddings.

Finally, in 1932, Alice was released. She became a wanderer, traveling through Europe by herself, staying with relatives or at bed & breakfast inns. In 1935, Alice returned to Greece, where she lived alone in a modest two bedroom apartment and worked with the poor.

The Germans occupied Athens in April 1941. Alice devoted herself to relieving the tremendous suffering in her country. She worked for the Red Cross, organizing soup kitchens and creating shelters for orphaned children. Alice also started a nursing service to provide health care to the poorest Athenians.

In 1943, the Germans started deporting the Jews of Athens to concentration camps. Alice hid a Jewish widow, Rachel Cohen, and her children in her own apartment for over a year. Rachel’s late husband, Haimaki Cohen, was an advisor to King George I of Greece, and Alice considered it her solemn duty to save the remaining Cohen family.

Alice lived yards from Gestapo headquarters. When the Germans became suspicious of her and started asking questions, she used her deafness as an excuse not to answer them. Alice kept the Cohen family safe until Greece was liberated in 1944.

After the war, Alice founded her own religious order, the Christian Sisterhood of Martha and Mary, and became a nun. She built a convent and orphanage in a poverty-stricken part of Athens. Alice dressed in a nun’s habit consisting of a drab gray robe, white wimple, cord and rosary beads – but still enjoyed smoking and playing cards.

In 1967, after a Greek military coup, Alice finally returned to Great Britain. She lived at Buckingham Palace with her son Philip and daughter-in-law, Queen Elizabeth II.

Alice died in 1969. She owned no possessions, having given everything to the poor. Before she died, Alice expressed a desire to be buried at the Convent of Saint Mary Magdalene on the Mount of Olives in Jerusalem, but instead was laid to rest in the Royal Crypt in Windsor Castle.

In 1988, almost 20 years after she died, Alice’s dying wish was finally granted. Her remains were sent to Jerusalem, where she was buried on the Mount of Olives.

In 1994, Alice was honored by the Holocaust Memorial in Jerusalem (Yad Vashem) as Righteous Among The Nations. Her son Prince Philip said of his mother’s wartime heroism, “I suspect that it never occurred to her that her action was in any way special. She was a person with a deep religious faith, and she would have considered it to be a perfectly natural human reaction to fellow beings in distress.”

Video

[whencyclopedia]

Interview: Medieval Christian Art in the Levant

Medievalists retain misconceptions and myths about Oriental Christians. Indeed, the fact that the Middle East is the birthplace of Christianity is an afterthought for many. During the Middle Ages, Christians from different creeds and confessions lived in present-day Lebanon, Syria, Israel, and Palestine. Here, they constructed churches, monasteries, nunneries, and seminaries, which retain timeless artistic treasures and cultural riches.

James Blake Wiener speaks to Dr Mat Immerzee to clarify and contextualize the artistic and cultural heritage of medieval Christians who resided in what is now the Levant.

Dr Immerzee is a retired Assistant Professor at Universiteit Leiden and Director of the Paul van Moorsel Centre for Christian Art and Culture in the Middle East at Vrije Universiteit Amsterdam.

Saint Bacchus Fresco

James Gordon (CC BY)

JBW: ​​The largest Christian community in what is present-day Lebanon is that of the Maronite Christians – they trace their origins to the 4th-century Syrian hermit, St. Maron (d. 410). The Maronite Church is an Eastern Catholic Syriac Church, using the Antiochian Rite, which has been in communion with Rome since 1182. Nonetheless, Maronites have kept their own unique traditions and practices.

What do you think differentiates medieval Maronite art and architecture from other Christian sects in the Levant? Due to a large degree of contact with traders and crusaders from Western Europe, I would suspect that we see “Western” influence reflected in Maronite edifices, mosaics, frescoes, and so forth.

MI: Especially in the 13th century, the oriental Christian communities enjoyed an impressive cultural flourishing which came to expression in the embellishment of churches with wall paintings, icons, sculpture, and woodwork and the production of illustrated manuscripts, but what remains today differs from on one community or region to another. In Lebanon, several dozens of decorated Maronite and Greek Orthodox churches are encountered in mountain villages and small towns in the vicinity of Jbeil (Byblos), Tripoli, the Qadisha Valley, and by exception in Beirut, but only a few still preserve substantial parts of their medieval decoration programs. Most churches fell into decay after the Christian cultural downfall in the early 14th century when the pressure to convert became stronger. While many church buildings were left in the state they were, others were renovated in the Ottoman period or more recently.

Christian Pilgrimage in the Middle Ages, c. 1000

Simeon Netchev (CC BY-NC-ND)

Remarkably Oriental Christian art displays broad uniformity with some regional and denominational differences. Cut off from the East Roman (Byzantine) Empire after the Arab conquest, it also escaped from the Byzantine iconoclastic movement (726-843 CE), which allowed the Middle Eastern Christians to develop their artistic legacy in their own way. An appealing subject is the introduction of warrior saints on horseback such as George and Theodore from about the 8th century. The West and the Byzantine Empire had to wait until the Crusader era to pick up this oriental motif and make it a worldwide success. But the borrowing was mutual. Mounted saints painted in Maronite, Melkite (Greek Orthodox), and Syriac Orthodox churches would increasingly be equipped with a chain coat and rendered with their feet in a forward thrust position, a battle technique developed within Norman military circles. Moreover, the Syrian equestrian saints Sergius and Bacchus were rendered holding a crossed ‘crusader’ banner, an attribute usually associated with Saint George, as if they were Crusader knights. Apart from these examples, there is little evidence of Oriental susceptibility to typically Latin subjects. We find Saint Lawrence of Rome represented in the Greek Orthodox Monastery of Our Lady near Kaftun, but this is exceptional.

Normally, one cannot tell from wall paintings in Lebanon to which community the church in question belonged. They all represented the same subjects and saints whose names are written in Greek and/or Syriac and may have recruited painters from the same artistic circles. Regarding architecture, the last word has not been said on this matter, because the documentation of medieval Lebanese church architecture is still in progress. Nevertheless, the build of some churches undeniably displays Western architectural influences; for example, the Maronite Church of Saint Sabas in Eddé al-Batrun is even plainly Romanesque in style.

JBW: Following my last question, is it then correct to assume that the Crusader lands – Edessa, Antioch, Tripoli, and Jerusalem – were quite receptive to Eastern Christian styles?

MI: That is difficult to tell because there is next to nothing left in the former County of Edessa and the Principality of Antioch. We do have some decorated churches in the former Kingdom of Jerusalem (Abu Gosh, Bethlehem), and here we see a strong focus on Byzantine craftsmanship and Latin usage. Apart from the preserved church embellishment in the Lebanese mountains, there are some fascinating, stylistically and thematically comparable instances across the border with Syria.

Saint Peter in Sinai

Wikipedia (Public Domain)

Although situated within Muslim territory, the Qalamun District between Damascus and Homs stands out for its well-established Greek Orthodox and Syriac Orthodox populations; and from the 18th century onwards, also Greek Catholics and Syrian Catholics. Interestingly, stylistic characteristics confirm that indigenous Syrian painters were also involved in the decoration inside Crusader fortresses such as Crac des Chevaliers and Margat Castle in Syria. It was obviously easier to contract local manpower than to find specialists in Europe.

JBW: The Byzantine Empire exuded tremendous political, cultural, and religious sway across the Levant throughout the Middle Ages; a sizable chunk of the Christian population in both Syria and Lebanon still adheres to the rituals of the Greek Orthodox Church even today.

MI: Leaving aside the cultural foundations laid before the Arab conquest, the contemporary Byzantine influences can hardly be overlooked. In the 12th and 13th centuries, itinerating Byzantine-trained painters worked on behalf of any well-paying client within Frankish and Muslim territory, from Cairo to Tabriz, irrespective of their denominational background. This partly explains the introduction of some ‘fashionable’ Byzantine subjects and the Byzantine brushwork of several mural paintings and icons. Made in the 1160s, the Byzantine-style mosaics in the Church of the Nativity at Bethlehem are believed to be the result of Latin-Byzantine cooperation at the highest levels; they exhale the propagandistic message of Christian unity. In 1204, however, the Crusaders would conquer Constantinople and substantial parts of the Byzantine Empire. The Venetians brought the bounty to Venice, and, surprisingly, also to Alexandria with the consent of the sultan in Cairo, intending to sell the objects in the Middle East. So much for Christian unity…

The Eastern Greek Orthodox Church has its roots in the Chalcedonian dispute about the human and divine nature of Christ in 451, which resulted in the dogmatic breakdown of the Byzantine Church into pro- and anti-Chalcedonian factions. Like the Maronites, the Melkites (‘royalists’) remained faithful to the former, official Byzantine standpoint, except for their oriental patriarchs in Antioch, Alexandria, and Jerusalem were officially allowed autonomy without direct interference from Constantinople. On the other hand, the Syriac Orthodox became dogmatically affiliated with the identically ‘Miaphysite’ Coptic, Ethiopian, and Armenian Churches. To complicate matters even more, part of the Greek Orthodox and Syriac Orthodox communities joined the Church of Rome in the 18th century. This resulted in the establishment of the Greek Catholic and Syriac Catholic Churches.

The Church of Nativity, Bethlehem

Konrad von Grünenberg (Public Domain)

JBW: Could you tell us a little bit more with regard to the Syriac Orthodox Church? If I’m not mistaken, there was a flourishing of the building of churches and monasteries by Syriac Orthodox communities once they fell under Muslim rule around 640.

MI: As a Miaphysite community, the Syriac Orthodox enjoyed the same protected status as other non-Muslim communities under Muslim rule. This allowed them to establish an independent Church hierarchy headed by their patriarch who nominally resided in Antioch, which covered large areas in Iran, Iraq, Turkey, and Syria. Some of their oldest churches, with architectural sculpture and occasionally a mosaic, are situated in the Tur Abdin region in Southeast Turkey. Remarkably, around the year 800, a group of monks from the city of Takrit (present-day Tikrit in Iraq) migrated to Egypt to establish a Syriac ‘colony’ within the Coptic monastic community. Their ‘Monastery of the Syrians’ (Deir al-Surian) still exists and is one of Middle Eastern Christianity’s key monuments for its architecture, wall paintings, icons, wood- and plasterwork ranging in date from the 7th to the 13th centuries. The monastery also houses an extensive manuscript collection. Another decorated monastery is the Monastery of St Moses (Deir Mar Musa; presently Syriac Catholic) near Nebk to the north of Damascus, where paintings from the 11th and 13th-centuries can still be seen. The Monastery of St Behnam (Deir Mar Behnam; presently Syriac Catholic) near Mosul is reputed for its 13th-century architectural sculpture and unique stucco relief, but unfortunately, a lot has been destroyed by ISIS warriors.

The Syriac Orthodox presence in Lebanon remained limited to a church dedicated to Saint Behnam in Tripoli, and the temporary use of a Maronite church dedicated to St Theodore at the village of Bahdeidat by refugees from the East who were on the run from the Mongols during the 1250s. This church still displays its complete decoration program from this period. It is impossible to tell which community arranged the refurbishment, but the addition of a donor figure in Western dress testifies to support from a (probably) local Frankish lord. Finally, the Syriac Orthodox also excelled in manuscript illumination, examples of which can be found in Western collections and the patriarchal library near Damascus.

JBW: As the Lebanese and Syrian Greek Orthodox Churches had fewer dealings with Western Europeans than the Maronite Church, does medieval Christian Orthodox art in Lebanon and Syria reflect and maintain the designs and styles of medieval Byzantium? If so, in what ways, and where do we see deviation or innovation?

MI: As I said before, Byzantine-trained artists have been surprisingly active in the Frankish states and beyond, especially during the 13th century. I prefer to label them as “Byzantine-trained” instead of “Byzantine,” because it is not always clear where they came from. To mention an example, painters from Cyprus still worked in the Byzantine artistic tradition but no longer fell under the authority of the emperor after the Crusader conquest of the island in 1291. Culturally they were still fully Byzantine, but, speaking in modern terms, they would have had the Frankish-Cypriot nationality. The little we can say from the preserved paintings is that some Cypriot artists traveled to the Levant in the aftermath of the power change in search of new clientele. It is unknown if they stayed or returned after the accomplishment of their tasks, but around the mid-13th century we see the birth of a ‘Syrian-Cypriot’ style which combines Byzantine painting techniques with typically Syrian formal features and designs; for example, in the afore-mentioned Monastery at Kaftun in Lebanon. Typically, instances of this blended art are not only encountered in Lebanon and Syria but also in Cyprus.

The Virgin and Child Mosaic, Hagia Sophia

Hagia Sophia Research Team (CC BY-NC-SA)

Focusing on the shared elements in Oriental Christian and Byzantine art, the example of apse decorations illustrates the resemblances and often also subtle differences. From the Early Christian period, the common composition in the apse behind the altar consisted of the mystical appearance of Christ (Christ in Glory) between the Four Living Creatures in the conch and the Virgin between saints, such as the apostles and Church fathers, in the lower zone. However, an early variant encountered in Egypt renders the biblical Vision of Ezekiel: here, Christ in Glory is placed on the fiery chariot the prophet saw. Recent research has brought to light that this variant was also applied in Syriac Orthodox churches in Turkey and Iraq as late as the 13th century. Medieval oriental conch paintings often combine Christ in Glory with the Deesis, that is, the Virgin and St John the Baptist pleading in favour of mankind. Whereas the Byzantines kept these subjects separated, the ‘Deesis-Vision’ is encountered from Egypt to Armenia and Georgia in churches of all denominations

JBW: One cannot discuss medieval Christian art in the Near East without making some mention of Armenians and Georgians. The first recorded Armenian pilgrimage occurred in the early 4th century, and Armenian Cilicia (1080-1375) flourished at the time of the Crusades. During the reign of Queen Tamar (r. 1184-1213), Georgia assumed the traditional role of the Byzantine crown as a protector of the Christians of the Middle East. Armenians and Georgians intermarried not only with one another but also with Byzantines and Crusaders.

Where is the medieval Armenian and Georgian presence the strongest in the Levant? Is it discernible?

Tomb of Saint Hripsime in Armenia

James Blake Wiener (CC BY-NC-SA)

MI: Medieval Armenian and Georgian art can be found in their homelands, but there are also surviving works testifying to their presence in the Levant and Egypt. Starting with the Armenians, they have always lived in groups dispersed throughout the Middle East, whereas in Jerusalem they have their own quarter. A 13th-century wooden door with typically Armenian ornamentation and inscriptions in the Church of the Nativity in Bethlehem testify to the interest Armenians took in the Holy Land. Further to the south, a 12th-century mural painting with Armenian inscriptions in the White Monastery near Sohag reminds us of the strong Armenian presence in Egypt under Fatimid rule during the 11th to 12th centuries. They had arrived in the wake of the rise of power of the Muslim Armenian warlord and later Vizir Badr al-Jamali, who seized all power in the Fatimid realm during the 1070s. He not only brought his own army consisting of Christian and Muslim Armenians but also made Egypt a safe home for Armenians from more troubled areas.

The Christian Armenians had their own monastery and used a number of churches in Egypt. However, these were appropriated by the Copts at the downfall of Fatimid power and the subsequent expulsion of all Armenians during the 1160s. The Armenian catholicos or head of Egypt is known to have left for Jerusalem taking with him all the church treasures.

At the White Monastery, a mural was made by an artist named Theodore originating from a village in Southeastern Turkey on behalf of Armenian miners who were apparently allowed to use the monastery’s church. It is hard to believe that Theodore came all the way to accomplish just one task in this remote place. There can be no doubt that he decorated more Armenian churches during his stay in Egypt, but the Copts thoroughly wiped out all remaining traces of their previous owners.

The Georgian presence was limited to Jerusalem, where they owned the Monastery of the Holy Cross until it was taken over by the Greek Orthodox in the 17th century. In the monastery’s church, a series of 14th-century paintings with Georgian inscriptions are a reminder of this period. In addition, an icon representing St George and scenes of his life painted during the early 13th century, and kept in the Monastery of Saint Catherine in the Sinai, was a gift from a Georgian monk, who is himself depicted prostrating at the saint’s feet.

St. Catherine's Monastery, Sinai

Marc!D (CC BY-NC-ND)

JBW: Because we touched upon the incorporation of outside artistic influences coming from Western Europe and Byzantium to the Levant, I wondered if you might offer a final comment or two on those architectural or artistic influences coming from the Arab World or even the wider Islamic world.

To what extent did Levantine Christians – who often lived near their Muslim neighbors – adopt or assimilate Islamic styles of art and architecture?

MI: The earliest examples of Islamic art from the Umayyad era display strong influences of Late Antiquity, which in turn had also been the source of inspiration to early Christian art. Over the course of time, these artistic relatives would gradually grow apart to meet again on specific occasions. The earliest example of Islamic-inspired Christian art is the purely ornamental stucco reliefs in the Monastery of the Syrians in Egypt. Constructed during the early 10th century by the Abbot Moses of Nisibis. Its plastered altar room exudes the same atmosphere as houses in the 9th-century Abbasid capital of Samarra and the similarly decorated Mosque of Ibn Tulun (an Abbasid prince who came to Egypt as its governor) in Cairo.

The Mosque of Ibn Tulun, Cairo Egypt

Berthold Werner (CC BY)

The decoration of Fatimid-era sanctuary screens in Coptic churches and woodwork from Egyptian Islamic, Jewish, and secular contexts are fully interchangeable; likewise, 13th-century architectural sculpture, manuscript illustrations, and metalwork from the Mosul area display the same shared stylistic and iconographic artistic language. Broadly speaking, we are obviously dealing with craftsmen working on behalf of different parties at the local level regardless of their religious backgrounds. Occasionally, one comes across ‘Islamic’ ornaments in wall paintings, but the overall impression is that Christian painting was subject to blatant conservatism when compared to more fashionable, ‘neutral’ items of interior decoration. The only Arabic inscriptions found in mural paintings concern texts commemorating building or refurbishment activities, or graffiti left by visitors. There obviously was a difference in status between the vernacular spoken language and the Church’s Greek and Syriac.

JBW: Dr. Mat Immerzeel, thanks so much for your time and consideration.

MI: You are welcome; it is my pleasure to contribute to your magazine.

Mat Immerzeel has been active in the Middle East since 1989, first in Egypt, then in Syria and Lebanon, and recently in Cyprus. His main field of study is the material culture of Oriental Christian communities from the 3rd century to the present. In particular, he studies wall paintings, icons, stone and plaster sculpture, woodwork, and manuscript illustrations. He has participated in research projects focusing on the formation of religious communal identity, the training of local collection curators, and restoration and documentation campaigns. He is the Director of the Paul van Moorsel Centre for Christian Art and Culture in the Middle East and editor-in-chief of the journal Eastern Christian Art (ECA) published by Peeters Publishers in Leuven, the Netherlands.

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[portraitsofsaints]

Saint George

Died: 303

Feast Day: April 23

Patronage: England, crusaders, soldiers

Saint George was a Roman soldier of Greek Christian origin. He was a Praetorian guard for Diocletian who valued his service. When the Emperor ordered the soldiers to sacrifice to the gods, St. George refused, even after Diocletian offered him land, money, and slaves. George was then tortured and decapitated. He is one of the 14 Holy Helpers and a prominent military patron often depicted fighting a dragon used to represent the devil. Today he’s known and revered by both Christians and Muslims.

Prints, plaques & holy cards available for purchase here: (website)

[grecoromanyaoi]

rome 2024 masterpost ❤️🇮🇹(+i couldve sworn there was a colloseum emoji but whatevs). we mostly saw stuff we learned abt - we took the medieval european + byzantine art course together, n i took one abt greek n roman art as well. ill try to keep it 1 reblog per day. day 1 was mostly The Worst Flight In History so. day 2, churchravaganza - santa maria maggiore / santa pudenziana / the mausoleum of santa costanza / santa maria in trastevere (w gio ❤️) / temple of portunus

under readmore bc i go on extremely long tangents but hey. blorbo from my degree!

santa maria maggiore (432) - the arc depicts events from jesus's life, like the annunciation. in the top center u can see the empty throne to which he is supposed to return, on which there is a bejewled throne. u can also see depictions of jerusalem and bethlehem (which r named), under each there r 6 sheep, representing the 12 disciples. the walls are decorated w mosaics of events from abraham and joshua's life. the pic i took (n learned abt) is the angels visiting abraham and sarah.

santa pudenziana (5th century) - the apse mosaic depicts jesus preaching to his disciples, and is visually very dependent and based on pagan depictions of a symposium. behind petrus and paulus are the martyred sisters pudentiana and praxedes, who some say are supposed to represent the dual origins of the early christian communities - the christian community of jewish origin, and the one of pagan origin. st pudentiana is apparently the patron saint of the phillipines, and the church is associated w filipinos.

the mausoleum of santa costanza (325-350) - dedicated by constantine to his daughter, constantina. constantina in italian - costanza (yes i was thinking abt george the entire time). the mosaics were made before the decision on the "standard" depiction of jesus in the same building, one as light haired and young and one as older and dark haired (christos twinkos and christos dilfos, as we call them in academia)

[andijaart]

+++🙏🏻God Bless🕊️+++

The Righteous Nonna of Nazianzus, Deaconess

MEMORIAL DAY AUGUST 18

💫International Orthodox Art Corporation Andcross May the blessing of the Lord be upon you!

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … December 14

c.530 – Venantius Fortunatus (d.circa 600/609) was a Latin poet and hymnodist in the Merovingian Court, and a Bishop of the early Catholic Church. He was never canonised but was venerated as Saint Venantius Fortunatus during the Middle Ages.

Born in Treviso, near Ravenna in Italy, he spent his time as court poet to the Merovingians. After visiting the tomb of St. Martin of Tours at St. Hilary at Poitiers, he decided to enter a monastery.

He continued to write poetry, some of which have a permanent place in Catholic hymnody, for instance the Easter season hymns "Vexilla Regis" and the "Pange Lingua" (Sing, O my tongue, of the battle). Three or four years before he died he was made bishop of Poitiers. Although never canonized, he was venerated as a saint in the medieval church, and his feast day is still recognized on 14th December each year.

Like Paulinus of Nola, St Venantius's poetry also includes some decidedly secular verse of the romantic sort. That this celebrates male love is clear from its inclusion in the Penguin Book of Homosexual Verse.

"Written on an Island off the Breton Coast" You at God's altar stand, His minister And Paris lies about you and the Seine: Around this Breton isle the Ocean swells, Deep water and one love between us twain. Wild is the wind, but still thy name is spoken; Rough is the sea: it sweeps not o'er they face. Still runs my lover for shelter to its dwelling, Hither, O heart, to thine abiding place. Swift as the waves beneath an east wind breaking Dark as beneath a winter sky the sea, So to my heart crowd memories awaking, So dark, O love, my spirit without thee.

Fortunatus died in the early 600s. He was called a saint after his death, but was never formally canonized.

1901 – King Paul of Greece (d.1964) reigned as king of Greece from 1947 to 1964. He may have been bi-sexual.

Paul was born in Athens, the third son of King Constantine I of Greece and his wife, Princess Sophia of Prussia. He was trained as a naval officer. On 9 January 1938, Paul married Frederika of Hanover at Athens. They had three children.

Before his marriage he is alleged to have invited the homosexual literary muse, Denham Fouts, on a cruise of the Aegean Sea, perhaps because they were lovers. However, Fouts's friend John B. L. Goodwin said Fouts often made up stories about his life, and literary critic Katherine Bucknell thought many of the tales about him were myth.

During most of World War II, when Greece was under German occupation, he was with the Greek government-in-exile in London and Cairo. From Cairo, he broadcast messages to the Greek people.

Paul returned to Greece in 1946. He succeeded to the throne in 1947, on the death of his childless elder brother, King George II.

David Lewis (L) with Producer Irving Pichel

1903 – David Lewis (d.1987 ), born David Levy, was a Hollywood film producer who produced such films as Dark Victory (1939), Arch of Triumph (1948), and Raintree County (1957).

He was also the longtime companion of director James Whale from 1930 to 1952. Although they were separated at the time of Whale's death in 1957, Lewis later released the contents of Whale's suicide note.

Lewis was portrayed in the 1998 film Gods and Monsters by David Dukes.

1915 – The American actor and dancer Dan Dailey was born on this date (d.1978). Dailey was born and raised in New York City and appeared in vaudeville before his Broadway debut in 1937 in Babes in Arms. In 1940, he was signed by MGM to make movies and, although his past career had been in musicals, he was initially cast as a Nazi in The Mortal Storm. However, the people at MGM realized their mistake quickly and cast him in a series of musical films.

He served in the United States Army during World War II, was commissioned as an Army Officer after graduation from Signal OCS at Ft Monmouth, NJ, after which he served with distinction until the war ended. Then returned to more musicals. Beginning with Mother Wore Tights (1947) Dailey became the frequent and favorite co-star of movie legend Betty Grable. His performance in their film When My Baby Smiles at Me in 1948 garnered him an Academy Award nomination for Best Actor. In 1950, he starred in A Ticket to Tomahawk, often noted as one of the first screen appearances of Marilyn Monroe, in a very small part as a dance-hall girl. In 1953, Dailey starred in Meet Me at the Fair. One of his notable roles was in There's No Business Like Show Business (1954) which featured Irving Berlin's music and also starred Ethel Merman, Marilyn Monroe, Donald O'Connor, and Johnnie Ray.

In 1950 the notorious "Confidential" Magazine (the National Enquirer of its day) printed a picture of him wearing female clothing. His studio, 20th Century Fox, rushed to repair the damage; gossip columnists were told that Dailey had simply been snapped on his way to a fancy dress party. But Andre Previn, the composer, tells in his biography No Minor Chords how Dailey turned up drunk and in female clothing for the press screening of It's Always Fair Weather in 1954. In the mid '70s, gossip columnist Joyce Haber was on television promoting a novel about Hollywood. Asked to dish some gossip, she mentioned that one of the top dancer-actors was a closet transvestite with a costly and beautiful wardrobe that many women would envy.

He had three failed marriages with women, but also was known to hang out in Gay bars. After the suicide of his only son, he was an embittered alcoholic. He died three years later, just after he playing boyfriend Clyde Tolson in (the unintentionally hilarious *and bad*) The Private Files of J.Edgar Hoover (1977). He appeared in over 60 films in his career.

1932 – George Furth (d.2008) was an American librettist, playwright, and actor.

Born in Chicago with the name of George Schweinfurth (he dropped the "schwein" on becoming an actor).

Furth made his Broadway debut as an actor in the 1961 play A Cook for Mr. General, followed by the musical Hot Spot two years later. He was also known for his collaborations with Stephen Sondheim: the highly successful Company, the ill-fated Merrily We Roll Along and the equally ill-fated drama, Getting Away with Murder. Furth penned the plays Twigs, The Supporting Cast and Precious Sons, and wrote the book for the Kander and Ebb musical, The Act.

Company has been revived many times over the years, sometimes updated to the Aids era, although requests from producers to give the show a homosexual slant were turned down by the unmarried Sondheim and Furth, although both of them were gay.

Frequently cast as a bespectacled, ineffectual milquetoast, Furth appeared in such films as The Best Man, Myra Breckinridge, Hooper, Blazing Saddles, Oh God!, Shampoo, The Cannonball Run, Young Doctors in Love, Doctor Detroit, Bulworth and Butch Cassidy and the Sundance Kid. His many television credits include Tammy, McHale's Navy, Ironside, I Dream of Jeannie, That Girl, Green Acres, The Monkees, Batman, The Odd Couple, Bonanza, Happy Days, All in the Family, Murphy Brown, L.A. Law, Dr. Quinn, Medicine Woman, Murder, She Wrote, Little House on the Prairie, Love, American Style, Adam-12, F Troop and the made-for-TV film The Scarlett O'Hara War, in which he portrayed famed film director George Cukor. He was a regular in the cast of the short-lived 1976 situation comedy The Dumplings.

He adapted his play Twigs as a 1975 television production, starring Carol Burnett. He also worked as a voice actor in several episodes of the animated television series The Adventures of Don Coyote and Sancho Panda for Hanna-Barbera Productions.

One of Furth's last writing projects was a foray into an area where he had not previously endeavored. Furth penned the lyrics for a musical revue, with music by Doug Katsaros. Furth and Katsaros shaped the work with San Francisco director Mike Ward into "The End - a new musical revue". The piece was performed at San Francisco's New Conservatory Theatre Center during the summer of 2004 and was billed as a "Pre-U.S. Tour Workshop Production". The piece was reworked twice, with the title changing to Last Call and Happy Hour, respectively.

Furth died on August 11, 2008 at the age of 75. The exact cause of death is unknown, although he had been hospitalized for a lung disease at the time.

1955 – Hervé Guibert (d.1991) was a French writer and photographer. The author of numerous novels and autobiographical studies, he played a considerable role in changing French public attitudes to AIDS. He was a close friend and lover of Michel Foucault.

Guibert was born in Saint-Cloud, Hauts-de-Seine, to a middle-class family and spent his early years in Paris, moving to La Rochelle from 1970 to 1973. In his teens Hervé Guibert lied about his age to work at the magazine 20 ans eventually leading to a job with Le Monde. After working as a filmmaker and actor, he turned to photography and journalism. In 1978, he successfully applied for a job at France's prestigious evening paper Le Monde and published his second book, Les aventures singulières (published by Éditions de minuit). In 1984, Guibert shared a César Award for best screenplay with Patrice Chéreau for L'homme blessé. Guibert had met Chéreau in the 1970s during his theatrical years.

Guibert's writing style was inspired by the French writer Jean Genet. Three of his lovers occupied an important place in his life and work: Thierry Jouno, director of an institute for the blind whom he met in 1976, and which led to his novel Des aveugles; Michel Foucault, whom he met in 1977; and Vincent Marmousez, a teenager of fifteen who inspired his novel Fou de Vincent.

In January 1988 Guibert was diagnosed with AIDS. From then on, he worked at recording what was left of his life. In June the following year, he married Christine, the partner of the late Thierry Jouno, so that his royalty income would eventually pass to her and her two children. In 1990, Guibert publicly revealed his HIV status in his roman à clef "À l'ami qui ne m'a pas sauvé la vie" (published in English as To the Friend Who Did Not Save My Life). Guibert immediately found himself the focus of media attention, featured in newspapers and appearing on several television talk shows.

Two more books also detailing the progress of his illness followed: Le Protocole compassionnel (published in English as The Compassionate Protocol) and L'Homme au chapeau rouge (published in English as The Man In The Red Hat), which was released posthumously in January 1992, the same month French television screened La Pudeur ou l'impudeur, a home-made film by Guibert of his last year as he lost his battle against AIDS. Almost blind as a result of disease, he attempted to end his life just before his 36th birthday, and died two weeks later.

1960 – Bob Paris, American bodybuilder and Gay rights advocate, born; The former Mr. Universe, and International Federation of BodyBuilders professional bodybuilder, Bob Paris is a writer, public speaker and civil rights activist. He acknowledged his sexuality in the July 1989 issue of Ironman magazine and has graced the covers of scores of magazines worldwide. After Paris officially came out as a Gay man in the media, he and his then-partner, Rod Jackson, became involved in marriage equality advocacy, started successful non-profits, lectured on a wide variety of Gay civil rights issues, and made many television, radio, newspaper and magazine appearances. The two separated in 1995. Today, Paris lives with his spouse of eleven years, Brian, on an island near Vancouver, British Columbia. Bob and Brian were legally married after Canada equalized the marriage laws in 2003.

In addition to his writing career, Bob Paris remains a committed civil rights advocate as well as a motivational speaker, model and actor. In 1998, he made his New York stage debut, starring at Carnegie Hall opposite Bea Arthur, Sandy Duncan and Tyne Daly in the Broadway musical, Jubilee as the character Mowgli. He is one of the subject of photographer Herb Ritts' gorgeous book, Duo. His official website is: http://www.bobparis.com/

1966 – James Earl Hardy, born in Bedford-Stuyvesant, Brooklyn, New York, is an American playwright, novelist, and journalist.

Generally considered the first to depict same-sex love stories that take place within the hip-hop community, his writing is largely characterized by its exploration of the African-American LGBTQ experience.

Hardy's best-known work is the B-Boy Blues series. The B-Boys Blues series comprises six novels and one short story. B-Boy Blues was adapted into a play in 2013 and into a film, directed and co-written by Jussie Smollett, in 2021.

Hardy attended undergraduate school at St. John's University and afterward went on to graduate from the Columbia Graduate School of Journalism in 1993. From 1992 to 1994, he wrote for Entertainment Weekly as a music journalist.

1968 – Yotam Ottolenghi is an Israeli-English chef, restaurateur, and food writer. He is the co-owner of six delis and restaurants in London, as well as the author of several bestselling cookbooks, including Ottolenghi (2008), Plenty (2010), Jerusalem (2012) and Ottolenghi Simple (2018).

Ottolenghi was conscripted into the Israeli Defense Forces in 1989, serving three years in IDF intelligence headquarters. He then studied at the Adi Lautman Interdisciplinary Program for Outstanding Students of Tel Aviv University, where in 1997, he completed a combined bachelor's and master's degree in comparative literature; his thesis being on the philosophy of the photographic image. While working on his thesis, Ottolenghi served as a night copy editor for Haaretz.

In 1997, Ottolenghi and his then-partner Noam Bar moved to Amsterdam, where he edited the Hebrew section of the Dutch-Jewish weekly NIW and considered getting his doctorate in comparative literature. Instead, he moved to London to study French cooking at Le Cordon Bleu.

Ottolenghi met his partner Karl Allen in 2000; they married in 2012 and live in Camden with their two sons, Max and Flynn. In 2013, Ottolenghi "came out as a gay father" in a Guardian essay that detailed the lengthy process of conceiving Max via gestational surrogacy, an option that he believes should be more widely available to those who cannot conceive naturally.

Ottolenghi served as a pastry chef at three London restaurants: the Michelin-starred Capital Restaurant, Kensington Place, and Launceston Place in Kensington New Town. In 1999, he became head pastry chef at the artisanal pastry shop Baker and Spice, where he met the Palestinian chef Sami Tamimi, who grew up in Jerusalem's Old City. Ottolenghi and Tamimi bonded over a shared language—Hebrew—and a joint "incomprehension of traditional English food".

His debut cookbook Ottolenghi was published in 2008 and has sold over 100,000 copies. Six volumes have followed: the all-vegetable cookbooks Plenty (2010) and Plenty More (2014); Jerusalem (2012); Nopi (2015); the dessert cookbook Sweet (2017); and Ottolenghi Simple (2018).

Ottolenghi's bestselling cookbooks have proven influential, with The New York Times noting that they are "widely knocked-off for their plain-spoken instructions, puffy covers, and photographs [that Ottolenghi] oversees himself, eschewing a food stylist". In 2014, the London Evening Standard remarked that Ottolenghi had "radically rewritten the way Londoners cook and eat", and Bon Appetit wrote that he had "made the world love vegetables".

1988 – The movie version of Harvey Fierstein's play "Torch Song Trilogy" opened in New York.

1989 – Amini Fonua is a Tongan competitive swimmer.

Fonua was born and raised in Ponsonby, Auckland, New Zealand to Tongan lawyer Sione Fonua and British-born mother Julie. He holds dual Tongan and New Zealand citizenship. His family includes two other sisters.

Fonua's swimming career began at the Roskill Swimming Club based at Cameron Pool in Auckland, coached by Sandra Burrow from 1999–2007. He broke numerous Auckland and New Zealand Age Group Records under Burrow's tenure. He then moved to West Auckland Aquatics in 2007, and was coached by Donna Bouzaid. In the Fall of 2008, Fonua enrolled at Texas A&M on a swimming scholarship. While at Texas A&M he was a peer voted Team Captain, Big XII Conference Champion, NCAA All-American, and recipient of The Aggie Heart Award. He graduated with a Telecommunication and Multi-Media degree, with a Minor in Creative Writing in May 2013.

He was the first Tongan swimmer to win a gold medal in international competition, when he took gold in the 50 metre breaststroke at the 2010 Oceania Swimming Championships.

In preparation for the 2012 London Olympics Fonua was trained by New Zealander and designated head coach for Tonga, Jon Winter. He served as his nation's flag-bearer in the 2012 Summer Olympics Parade of Nations. As a swimmer at the 2012 Summer Olympics, he competed in the Men's 100 metre breaststroke, failing to reach the semifinals.

Fonua made an international comeback at the 2015 Pacific Games in Port Moresby, Papua New Guinea. He created history by becoming the first ever Tongan athlete to ever win 3 Gold medals at a Pacific Games by sweeping the Breaststroke events, setting 2 Games Records in the process (50 m and 100 m Breaststroke). He is the only Tongan athlete in history to ever hold dual Oceania and Pacific Games titles.

Fonua is openly gay and an advocate for LGBT rights.

1993 – In Denver Colorado, Judge Jeffrey Bayless ruled Amendment 2 unconstitutional. The amendment to the Colorado state constitution sought to eliminate all gay rights laws in the state and prevent any more from being passed.

[psikonauti]

Γιάννης Νίκου (Iannis Nikou) (Greek, b.1943)

Άγιος Γεώργιος (Saint George), 1970

Oil on canvas

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Pan-Turkism has been characterized by pseudoscientific theories known as Pseudo-Turkology.[64][65] Though dismissed in serious scholarship, scholars promoting such theories, often known as Pseudo-Turkologists,[64] have in recent times emerged among every Turkic nationality.[66][67] A leading light among them is Murad Adzhi, who insists that two hundred thousand years ago, "an advanced people of Turkic blood" were living in the Altai Mountains. These tall and blonde Turks are supposed to have founded the world's first state, Idel-Ural, 35,000 years ago, and to have migrated as far as the Americas.[66]

According to theories like the Turkish History Thesis, promoted by pseudo-scholars, the Turkic peoples are supposed to have migrated from Central Asia to the Middle East in the Neolithic. The Hittites, Sumerians, Babylonians, and ancient Egyptians are here classified as being of Turkic origin.[65][66][67][68] The Kurgan cultures of the early Bronze Age up to more recent times are also typically ascribed to Turkic peoples by pan-Turkic pseudoscholars, such as Ismail Miziev.[69] Non-Turkic peoples typically classified as Turkic, Turkish, Proto-Turkish or Turanian include Huns, Scythians, Sakas, Cimmerians, Medes, Parthians, Pannonian Avars, Caucasian Albanians, and various ethnic minorities in Turkic countries, such as Kurds.[69][70][71][67][68] Adzhi also considers Alans, Goths, Burgundians, Saxons, Alemanni, Angles, Lombards, and many Russians as Turks.[66] Only a few prominent peoples in history, such as Jews, Chinese people, Armenians, Greeks, Persians, and Scandinavians are considered non-Turkic by Adzhi.[66]

Philologist Mirfatyh Zakiev, former Chairman of the Supreme Soviet of the Tatar ASSR, has published hundreds of "scientific" works on the subject, suggesting Turkic origins of the Sumerian, Greek, Icelandic, Etruscan and Minoan languages. Zakiev contends that "proto-Turkish is the starting point of the Indo-European languages".[66] Not only peoples and cultures, but also prominent individuals, such as Saint George, Peter the Great, Mikhail Kutuzov and Fyodor Dostoevsky, are proclaimed to have been "of Turkic origin".[66] As such the Turkic peoples are supposed to have once been the "benevolent conquerors" of the peoples of most of Eurasia, who thus owe them "a huge cultural debt".[66][72]

The pseudoscientific Sun Language Theory states that all human languages are descendants of a proto-Turkic language and was developed by the Turkish president Mustafa Kemal Atatürk during the 1930s.[73] Kairat Zakiryanov considers the Japanese and Kazakhgene pools to be identical.[74] Several Turkish academics (Şevket Koçsoy, Özkan İzgi, Emel Esin) claim that Zhou dynasty were of Turkic origins.[75][76][77][78]

what is going on with the turkish