Himmelfahrt

From the Bollandist Facebook page (hat tip: William Campbell):

“ML” writes:

21 May: The Ascension of the Lord. One of the oldest depictions of Jesus’ Ascension is an ivory plaque, produced around 400 in Rome or Milan and now kept in the Bayerische Nationalmuseum, Munich. It is contemporary to the establishment of the Feast of the Ascension and as such a unique testimony to how the theological reflection and artistic imagination regarding this mystery of faith developed. The image combines the Ascension with the Resurrection (with Constantine’s Church of the Holy Sepulchre in the background), but more importantly, it shows to what extent Early Christian art was a product of the Late Antique market: Christ does not ascend to heaven, but is literally given a hand by God. The Christian literati rich enough to command such a plaque would have appreciated this depiction, familiar to them from the image of the goddess Athena lifting up the hero Hercules at his apotheosis, or the coins of the consecration of Constantine, which show him ascend his chariot with his arm stretched out towards a hand from heaven. Was this association of Jesus with the demigods of this world merely an artistic devise, or did the heresy of Arianism, still rampant around 400, play a role as well? 

Goths

A laff from Facebook:

I’ve always found the evolution of the word “Gothic” to be most interesting. It originally meant what the second paragraph in the graphic refers to: an eastern Germanic language spoken by a large group of people who invaded the Western Roman Empire in the fourth century, eventually carving out kingdoms for themselves in Spain and Italy (like the names of most languages, it came to describe the people who spoke it, thus the Gothic people or simply “Goths”). Renaissance humanists resurrected the name to describe the style of ecclesiastical architecture prevalent in the thirteenth century, characterized by pointed arches, flying buttresses, and rose windows. To them, of course, such architecture was just awful, given that the Romans would never have built buildings that looked like that, most importantly because such buildings lacked all sense of proportion. Even though they were quite sophisticated in their way, and quite beyond the capabilities of the actual Goths to build, the humanists denigrated them as “gothic,” a name that has stuck.

The name got a third life in the eighteenth century when it was used as an adjective to describe literature that “combines fiction and horror, death, and at times romance.” Horace Walpole’s novel The Castle of Ortranto (1764), originated the genre, which perhaps derived its name from Walpole’s revival of gothic architecture at Strawberry Hill, a house he had built for himself. From this Romantic, melancholic association, “gothic” then came to designate the subculture it’s identified with today, which:

began in England during the early 1980s, where it developed from the audience of gothic rock, an offshoot of the post-punk genre. The name, goth subculture, derived directly from the music genre. Seminal post-punk and gothic rock artists that helped develop and shape the subculture include Siouxsie and the Banshees, The Cure, Joy Division, and Bauhaus. The goth subculture has survived much longer than others of the same era, and has continued to diversify and spread throughout the world…

Gothic fashion is marked by conspicuously dark, antiquated and homogeneous features. It is stereotyped as eerie, mysterious, complex and exotic. A dark, sometimes morbid fashion and style of dress, typical gothic fashion includes a pale complexion with colored black hair and black period-styled clothing. Both male and female goths can wear dark eyeliner and dark fingernail polish, most especially black. Styles are often borrowed from punk fashion and − more currently − from the Victorian and Elizabethan periods. It also frequently expresses pagan, occult or other religious imagery. Gothic fashion and styling may also feature silver jewelry and piercings.

Goths!

St. Augustine

Another Wikipedia discovery, under “Flatulist“:

There are a number of scattered references to ancient and medieval flatulists, who could produce various rhythms and pitches with their intestinal wind. Saint Augustine in City of God (De Civitate Dei) (14.24) mentions some performers who did have “such command of their bowels, that they can break wind continuously at will, so as to produce the effect of singing.”