Podcasts about sainte chapelle

Thinking about traveling to France while pregnant? In Discovering Paris and Provins on a Babymoon Adventure, host Annie Sargent chats with Hannah Compton about her unforgettable trip at 30 weeks pregnant. From the bustling streets of Paris to the medieval charm of Provins, Hannah shares her insights, surprises, and tips for expectant travelers. Get the podcast ad-free Hannah and her husband spent eight days in France, splitting their time between Paris and Provins. In Paris, they explored iconic sights like Sainte-Chapelle, the Arc de Triomphe, and the Petit Palais. Hannah describes how friendly and accommodating Parisians were, from offering seats on the metro to helping her skip long lines at attractions. She also shares the joy of café culture, strolling through beautiful gardens, and enjoying a Michelin-star meal at Yam'Tcha. In Provins, they immersed themselves in medieval history, attended a lively dinner show, and discovered charming streets. Hannah explains why Provins is a great weekend destination, especially for families. She also reflects on the ease of train travel and the relaxing pace of their visit. If you're curious about how France accommodates pregnant travelers or want inspiration for your next trip, this episode is packed with useful advice. Tune in for a fun and informative conversation! Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine segment Introduction and Greetings Planning the Trip to France Traveling While Pregnant Exploring Provins Medieval Attractions in Provins Experiencing Paris Navigating Paris with Ease Museum Visits and Cultural Insights  Saint Chapelle Lunch at Lulu's Cafe Dinner at Yamcha: A Culinary Delight Exploring the Champs Élysées and Arc de Triomphe Petit Palais: A Hidden Gem Saint-Sulpice: The Active Church Eiffel Tower at Night Traveling While Pregnant: Tips and Experiences Favorite Stay in Provins Final Thoughts and Recommendations Thank you Patrons Picard ChatGPT Next week on the podcast Copyright More episodes about day trips from Paris

Just like the breathtaking Sainte Chapelle wasn't built in a day, our spiritual growth takes time and commitment. Today we will explore how the "at once" decision to follow Jesus, combined with the "daily" commitment to walk with Him, allows God to build something magnificent in our lives. We'll see how letting go of what holds us back and getting going with faith leads to a beautiful transformation, just like the enduring legacy of Sainte Chapelle. Are you ready to let go of the things that are keeping you from fully embracing God's plan for your life? #grace #change #faith #spiritualgrowth #saintechapelle #letgo Worship Notes on YouVersion  Please let us know you're listening: Digital Connection Card 

It's time for a day of stained glass windows and gothic churches, featuring a visit to three key churches and cathedrals. We begin this day trip with Chartres, a little town to the south west of Paris. Trusty tour guide Bertrand d'Aleman, from award-winning travel company My Private Paris, explains how we're in the midst of a gothic church (and stained glass window) revival. We took the train to Chartres, then spent half a day exploring the cathedral and the town. Then we headed back to Paris for a skip-the-line look at Sainte Chapelle and lastly Notre Dame.   My Private Paris is a local deluxe agency, crafting itineraries for tours in Paris and beyond (including, of course, Champagne). See what they offer here. Here is their full-day trip to Chartres, though this particular excursion was unique to us. Music: Pres Maxson. 

Have you ever felt like your hopes for change never seem to materialize? This week let's explore the transformative power of consistent, small habits.  Drawing inspiration from the historical example of Sainte-Chapelle and the life of Daniel in the Bible, we'll discover how daily practices, no matter how small, can lead to significant spiritual growth and a deeper connection with God. This message offers practical insights and encouragement to help you turn your hopes into reality. Worship Notes on YouVersion  Please let us know you're listening: Digital Connection Card  Nancy Hall - (1929-2025) Into the Lord's Care

Ce numéro est le dernier de l'année 2021!This is the last issue of the year 2021!Dans ce numéro S3#35 (format court, Noël 2021), nous parlons de la Sainte Chapelle à Paris avec une mise en perspective, et donnons quelques précisions sur l'édition 2022 de Com d'Archi.Joyeuses fêtes de fin d'année,Anne-CharlotteImage DR © Birute VijeikieneSound engineering : Julien Rebours___Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This is the last issue of the year 2021!Ce numéro est le dernier de l'année 2021 !In this issue S3#35 (short format, Christmas 2021), we talk about the Sainte Chapelle in Paris with a perspective, and give some details about the 2022 edition of Com d'Archi.Happy Holidays,Anne-CharlotteImage DR © photogolferSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Weekend Edition for September 7-8, 2024 Isenheim Altarpiece- https://commons.wikimedia.org/wiki/File:Isenheim_Altarpiece_-_In_situ.jpg St Basil's Cathedral in Moscow- 1561- https://commons.wikimedia.org/wiki/File:St._Basil%27s_Cathedral_PD.jpg Christ of St. John of the Cross 1951- https://www.dalipaintings.com/christ-of-saint-john-of-the-cross.jsp David- Michelangelo 1506- https://commons.wikimedia.org/wiki/File:Michelangelo%27s_David_-_right_view_2.jpg the Angelus- Jean-Francois Millet 1859- https://commons.wikimedia.org/wiki/File:Jean-François_Millet_(II)_001.jpgSainte-Chapelle in Paris- Stained Glass 13th c. - https://commons.wikimedia.org/wiki/File:Paris,_Sainte-Chapelle,_Obere_Kapelle,_Innenansicht_(29).jpg Christ Pantocrator- Mosaic, Hagia Sophia 1261- https://commons.wikimedia.org/wiki/File:Christ_Pantocrator_mosaic_from_Hagia_Sophia_2744_x_2900_pixels_3.1_MB.jpg Christ of the Breadlines- Fritz Eichenberg 1951- https://www.flickr.com/photos/65359853@N00/21531119470 Hagia Sophia- Istanbul 537- https://commons.wikimedia.org/wiki/File:Gaspare_Fossati_-_Louis_Haghe_-_Vue_générale_de_la_grande_nef,_en_regardant_l%27occident_(Hagia_Sophia_-_Ayasofya_Mosque_nave).jpg Prodigal Son- Rembrandt- https://commons.wikimedia.org/wiki/File:Rembrandt_Harmensz_van_Rijn_-_Return_of_the_Prodigal_Son_-_Google_Art_Project.jpg Ghent Altarpiece/Adoration of the Lamb- Van Eyk 1432- https://commons.wikimedia.org/wiki/File:Lamgods_open.jpg Pieta- Michelangelo 1499- https://commons.wikimedia.org/wiki/File:Michelangelo%27s_Pieta_5450_cropncleaned_edit.jpg Book of Kells- 8th c. - https://commons.wikimedia.org/wiki/File:Dublin_Trinity_College_Library_Long_Room_Book_of_Kells_1.jpg Last Supper- Da Vinci 1498- https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci_(1452-1519)_-_The_Last_Supper_(1495-1498).jpg The Sistene Chapel- 1512 Michelangelo- https://commons.wikimedia.org/wiki/File:Chapelle_sixtine2.jpg Show Notes: Support 1517 Podcast Network 1517 Podcasts 1517 on Youtube 1517 Podcast Network on Apple Podcasts 1517 Academy - Free Theological Education What's New from 1517: The Inklings: Apostles and Apologists of the Imagination with Sam Schuldheisz Available Now: Hitchhiking with Prophets: A Ride Through the Salvation Story of the Old Testament by Chad Bird 30 Minutes in the NT on Youtube Remembering Rod Rosenbladt Encouragement for Motherhood Edited by Katie Koplin More from the hosts: Dan van Voorhis SHOW TRANSCRIPTS are available: https://www.1517.org/podcasts/the-christian-history-almanac CONTACT: CHA@1517.org SUBSCRIBE: Apple Podcasts Spotify Stitcher Overcast Google Play FOLLOW US: Facebook Twitter Audio production by Christopher Gillespie (gillespie.media).

Have you ever wondered what it's like to navigate Paris with family members spanning different generations? In this episode of "Join Us in France," titled "Navigating Paris: Multi-Generational Adventures and Challenges," Paula Barnes shares her candid and insightful experiences from a six-day trip to Paris with her diverse family. With her 15-year-old son, her 76-year-old mother-in-law, and her 21-year-old history buff son in tow, Paula encountered both delightful moments and unexpected challenges. Get the podcast ad-free From spontaneous trip planning prompted by an irresistible airfare deal to navigating the bustling Paris metro and balancing varied interests, Paula discusses it all. She recounts the joys of visiting iconic sites like the Paris Opera House, Sainte-Chapelle, the Catacombs, and Versailles, while also sharing the practical difficulties they faced, such as metro mishaps, dining challenges, and the importance of flexibility in travel planning. Listeners will gain valuable insights into managing multi-generational travel, as well as tips for making the most of a Parisian adventure. Whether you're planning a family trip or simply love hearing about travel experiences, this episode is packed with honesty, humor, and practical advice. Tune in for a journey through Paris that's both realistic and inspiring. Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine segment Introduction and Trip Overview Planning the Trip: Challenges and Strategies What You Wish Had Gone Better? Navigating Paris: Metro and Mobility Issues With mobility issues, consider taking the bus rather than the metro Why Stay Outside of Paris? Dining and Food Experiences Savoring Paris: A Food Lover's Walk around Les Halles Favorite Activities and Tours Paris Opera House Tour Sainte-Chapelle Museum of the Resistance Versailles Adapting Travel Plans for Family Dynamics Exploring Paris with Teenagers: VR Experiences Navigating Paris: Metro Mishaps and Walking Tours Disneyland Paris: Comparing to Disney World Culinary Adventures and Dining Challenges Reflecting on the Paris Trip: Lessons Learned Thank You Patrons Updated Patreon Levels Bleu du Podcast Tier, $2 Accro du Podcast Tier, $5 Groupies du Podcast Tier, $10 Fou de France Tier, $20 Ambassadeur du Podcast Tier, $50 The French Politics Next week on the podcast Copyright More episodes about family travel

In this podcast episode, we review our 2-week trip to Paris, England, Ireland, and Scotland. With places like Sainte-Chapelle in Paris, Highclere Castle and the Tower of London in England, Killarney National Park in Ireland, and the Isle of Skye in Scotland, this is how to spend 2 weeks exploring the beauty of Paris, England, Ireland, and Scotland.

Once described as "that metropolis of dress and debauchery" by the Scottish poet David Mallet, Paris has always had a reputation for a peculiar joie de vivre, from art to architecture, cookery to couture, captivating minds and imaginations across the Continent and beyond. In Paris: A Short History, historian Jeremy Black examines the unique cultural circumstances that made Paris the vibrant capital it is today. Black explores how Paris has been shaped throughout time, starting in the first century BCE, when the city was founded by the Parisii. From a small Gallic capital conquered by the Romans, Paris transformed into a flourishing medieval city full of spectacular palaces and cathedrals, including Sainte-Chapelle and Notre-Dame de Paris. During the illustrious reigns of Louis XIV and XV, Paris became one of the most beautiful and cosmopolitan capitals in the world, before the Revolution tore French society apart, changing the city forever. The Belle Époque brought new ideas and architecture to the city, including the iconic Eiffel Tower, before the destruction of World War I and II launched a massive regeneration project. Black completes his history by exploring present-day Paris and its role as the seat of a leading power on the world stage, and its future as the host of the 2024 Olympic Games. Paris: A Short History (Thames & Hudson, 2024) deftly demonstrates that the history of Paris is about more than just a city: it is the history of a culture, a society, and a state that has impacted the rest of the world through centuries of changing fortunes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Once described as "that metropolis of dress and debauchery" by the Scottish poet David Mallet, Paris has always had a reputation for a peculiar joie de vivre, from art to architecture, cookery to couture, captivating minds and imaginations across the Continent and beyond. In Paris: A Short History, historian Jeremy Black examines the unique cultural circumstances that made Paris the vibrant capital it is today. Black explores how Paris has been shaped throughout time, starting in the first century BCE, when the city was founded by the Parisii. From a small Gallic capital conquered by the Romans, Paris transformed into a flourishing medieval city full of spectacular palaces and cathedrals, including Sainte-Chapelle and Notre-Dame de Paris. During the illustrious reigns of Louis XIV and XV, Paris became one of the most beautiful and cosmopolitan capitals in the world, before the Revolution tore French society apart, changing the city forever. The Belle Époque brought new ideas and architecture to the city, including the iconic Eiffel Tower, before the destruction of World War I and II launched a massive regeneration project. Black completes his history by exploring present-day Paris and its role as the seat of a leading power on the world stage, and its future as the host of the 2024 Olympic Games. Paris: A Short History (Thames & Hudson, 2024) deftly demonstrates that the history of Paris is about more than just a city: it is the history of a culture, a society, and a state that has impacted the rest of the world through centuries of changing fortunes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Once described as "that metropolis of dress and debauchery" by the Scottish poet David Mallet, Paris has always had a reputation for a peculiar joie de vivre, from art to architecture, cookery to couture, captivating minds and imaginations across the Continent and beyond. In Paris: A Short History, historian Jeremy Black examines the unique cultural circumstances that made Paris the vibrant capital it is today. Black explores how Paris has been shaped throughout time, starting in the first century BCE, when the city was founded by the Parisii. From a small Gallic capital conquered by the Romans, Paris transformed into a flourishing medieval city full of spectacular palaces and cathedrals, including Sainte-Chapelle and Notre-Dame de Paris. During the illustrious reigns of Louis XIV and XV, Paris became one of the most beautiful and cosmopolitan capitals in the world, before the Revolution tore French society apart, changing the city forever. The Belle Époque brought new ideas and architecture to the city, including the iconic Eiffel Tower, before the destruction of World War I and II launched a massive regeneration project. Black completes his history by exploring present-day Paris and its role as the seat of a leading power on the world stage, and its future as the host of the 2024 Olympic Games. Paris: A Short History (Thames & Hudson, 2024) deftly demonstrates that the history of Paris is about more than just a city: it is the history of a culture, a society, and a state that has impacted the rest of the world through centuries of changing fortunes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Once described as "that metropolis of dress and debauchery" by the Scottish poet David Mallet, Paris has always had a reputation for a peculiar joie de vivre, from art to architecture, cookery to couture, captivating minds and imaginations across the Continent and beyond. In Paris: A Short History, historian Jeremy Black examines the unique cultural circumstances that made Paris the vibrant capital it is today. Black explores how Paris has been shaped throughout time, starting in the first century BCE, when the city was founded by the Parisii. From a small Gallic capital conquered by the Romans, Paris transformed into a flourishing medieval city full of spectacular palaces and cathedrals, including Sainte-Chapelle and Notre-Dame de Paris. During the illustrious reigns of Louis XIV and XV, Paris became one of the most beautiful and cosmopolitan capitals in the world, before the Revolution tore French society apart, changing the city forever. The Belle Époque brought new ideas and architecture to the city, including the iconic Eiffel Tower, before the destruction of World War I and II launched a massive regeneration project. Black completes his history by exploring present-day Paris and its role as the seat of a leading power on the world stage, and its future as the host of the 2024 Olympic Games. Paris: A Short History (Thames & Hudson, 2024) deftly demonstrates that the history of Paris is about more than just a city: it is the history of a culture, a society, and a state that has impacted the rest of the world through centuries of changing fortunes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Once described as "that metropolis of dress and debauchery" by the Scottish poet David Mallet, Paris has always had a reputation for a peculiar joie de vivre, from art to architecture, cookery to couture, captivating minds and imaginations across the Continent and beyond. In Paris: A Short History, historian Jeremy Black examines the unique cultural circumstances that made Paris the vibrant capital it is today. Black explores how Paris has been shaped throughout time, starting in the first century BCE, when the city was founded by the Parisii. From a small Gallic capital conquered by the Romans, Paris transformed into a flourishing medieval city full of spectacular palaces and cathedrals, including Sainte-Chapelle and Notre-Dame de Paris. During the illustrious reigns of Louis XIV and XV, Paris became one of the most beautiful and cosmopolitan capitals in the world, before the Revolution tore French society apart, changing the city forever. The Belle Époque brought new ideas and architecture to the city, including the iconic Eiffel Tower, before the destruction of World War I and II launched a massive regeneration project. Black completes his history by exploring present-day Paris and its role as the seat of a leading power on the world stage, and its future as the host of the 2024 Olympic Games. Paris: A Short History (Thames & Hudson, 2024) deftly demonstrates that the history of Paris is about more than just a city: it is the history of a culture, a society, and a state that has impacted the rest of the world through centuries of changing fortunes. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Join Us in France travel podcast, we journey with Mike on his solo adventure through the enchanting streets of Paris. Over five action-packed days, Mike immerses himself in the iconic beauty and historical depth of the City of Light. From the towering majesty of the Eiffel Tower to the intricate splendor of the Sainte Chapelle, Mike's journey is a testament to the rich tapestry of Parisian culture and architecture. Guided by invaluable insights from "Join Us in France" and enhanced by the immersive experience of Annie's VoiceMap self-guided walking tours, Mike navigates Paris with confidence and ease. He shares his experiences of exploring the vibrant Latin Quarter and the historic Marais, highlighting how self-guided tours can significantly enrich a solo traveler's experience by providing orientation and depth to the exploration of new cities. Mike's practical travel tips, including the benefits of the Museum Pass and strategic planning for visiting the Louvre, offer valuable insights for anyone planning a Parisian adventure. From the grandeur of the Arc de Triomphe to the diverse offerings of the Jardin des Plantes, this episode will inspire and guide listeners looking to embark on their own Parisian adventure. This episode is a treasure trove of tips, tales, and inspirations for solo travelers and Paris enthusiasts alike, packed with the best of what Paris has to offer, from its historic landmarks to its hidden gems. Whether you're a seasoned traveler or dreaming of your first solo trip, join us for a journey through Paris that you won't forget. #SoloTravel #ParisGuide #TravelPodcast #ParisianAdventure #CulturalExploration #HistoricLandmarks #SelfGuidedTours #TravelPlanning Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine segment Five Days in Paris, solo trip Preparing for the trip Annie's Walking Tours Vedette du Pont Neuf Boat tour Arc de Triomphe Exceptions to the rule on roundabouts in Paris The Natural History Museum Eiffel Tower Louvre Bibliothèque Nationale de France by the Louvre The Orsay Museum The Orangerie Museum The Tuileries Gardenand Notre Dame Trip logistics Any surprises? Things not enjoyed? What is is like eating by yourself at a restaurant in Paris? How were the prices in Paris? Thank you, patrons! Review Île de la Cité Review Saint-Germain-des-Prés VoiceMap tour Review Latin Quarter VoiceMap tour Review Montmartre VoiceMap tour New VoiceMap tour coming soon Busy Day Update on the apartment renovation Next week on the podcast Copyright

La Sainte-Chapelle, véritable joyau d'architecture gothique a été construite au XIIIème siècle pour accueillir la Sainte couronne d'épines du Christ.Louis IX devenu après sa mort Saint-Louis va entrer dans l'Histoire comme figure puissante de la royauté et de la chrétienté.Cette Sainte-Chapelle aujourd'hui monument historique offre une plongée spectaculaire dans l'art des vitraux du Moyen-Âge.Sa flèche a été réalisée par les mêmes artisans que la flèche de Notre-dame.La Sainte-Chapelle propose des visites et des ateliers dédiés aux famille:Visite contée des vitraux de la Sainte-Chapelle dès 7 ansLes secrets de la sainte-Chapelle dès 7 ansVisite et Atelier sur la construction gothique pour les 7-12 ansRaconte-moi Paris c'est:Un podcast sur l'histoire des monuments de ParisUn podcast familialUn podcast jeunesseHistoires pour enfantsMonuments de ParisHistoire de FranceHistoire de la Sainte ChapelleHistoire de Saint Louis.#podcasthistoireParis#podcastSainteChapelle#podcastSaintLouis#podcastsainteCouronne duChrist#histoirepourenfants#podcastenfants#podcastfamille© Olivia CAMINADE 2023Accompagnements musicaux: Lighter shades © Evert Z, Musique Médiévale © Hicham Chahidi, Tender remains ©Myuu, My home is you ©Fjodor, Romantic winter day ©Jan Baars, QuietTree ©Thoribass, Keys of Moon ©TheEpicHero, Sunrise ©Antony Vega, Academy ©MrKey, Sleep- ©Scott Buckley Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Illuminated Window: Stories Across Times (Reaktion, 2023) is a unique journey through stained-glass installations that spans both time and place. Diverse in technique and style, these windows speak for the communities that created them. From the twelfth to the twenty-first century, we find in the windows stories of conflict, commemoration, devotion and celebration. Dr. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury and Cologne, and takes us from Paris's Sainte-Chapelle to Swiss guildhalls, Iran's Pink Mosque, Tiffany's chapel for the World Exposition, Frank Lloyd Wright's houses and more. As she reveals, the art of stained glass relies on not only a single maker, but the relationship between the physical site, the patron's aims, the work's legibility for the spectator and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

“I feel like I'm standing inside a jewel.” is a common refrain from first time visitors of Sainte-Chapelle in Paris. The historical home of Jesus's crown of thorns, Sainte-Chapelle is an architectural wonder. But like many other Catholic churches, Sainte-Chapelle is criticized for the beauty it is known for. The church has all this money, gold and art and could have given it to the poor, why waste it on a church? Join Father Graebe as he explains the reason why the beauty and majesty of churches matter, and why it is just a taste of what we will see in heaven. Break Fast is hosted by Father Brian A. Graebe. Music and Production is done by Josh Canevari. Declan Tougias and Kellam Tougias act as Executive Producers. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

End Seeking & Live As Truth These Vlogs are Dedicated to my Mom. I Love You. Also to Andrew & the HOME DAO. https://thehomedao.com Everything filmed with iPhone 11 / 14. Edited in Premiere Pro. SCRIPT

S is for Sainte-Chapelle. In this episode, I'll take you inside this ancient royal chapel with its incredible stained glass windows. You'll hear from tour guide and Paris expert Amber Minogue, who gives us some insight into the 13th century chapel. You'll also hear my own thoughts about visiting the Sainte-Chapelle on a VIP tour when it was completely empty. Those tickets are unavailable for the foreseeable future, but you can book their Sainte-Chapelle skip-the-line tour on this link.) Mentioned in this episode: Skip-the-line Sainte-Chapelle & Marie Antoinette's Prison Medieval Tour. Book here.  Sainte-Chapelle address: 10 Bd du Palais, 75001 Paris. Amber Minogue's podcast: Paname Podcast Do you like The Earful Tower? Become a Patreon member of The Earful Tower here to support this show and get extras. Want to do a tour? Get in touch on The Earful Tower's social media or book directly here: www.theearfultower.com/tours The music in this episode is from Pres Maxson, find his Substack here: https://presmaxson.substack.com/   

Our Masterpiece series comes to an end with Pastor Jim's teaching on the story of our redemption from beginning to end. It's a narrative that begins in the Garden of Eden and ends with the Apostle John's vision that inspired the Book of Revelation. It's all told in the windows of Sainte-Chapelle Cathedral.

“Arbre de Vie”Une installation spectaculaire de Joana Vasconcelosà la Sainte-Chapelle du château de Vincennesdu 28 avril au 3 septembre 2023Interview de Joana Vasconcelos,par Anne-Frédérique Fer, à Vincennes, le 27 avril 2023, durée 11'10,© FranceFineArt.https://francefineart.com/2023/04/27/3433_joana-vasconcelos_chateau-de-vincennes/Communiqué de presse Commissariat : Jean-François ChougnetLe Centre des monuments nationaux invite l'artiste de renommée internationale Joana Vasconcelos, à investir la Sainte-Chapelle du château de Vincennes du 28 avril au 3 septembre 2023. L'artiste présentera une installation intitulée « Arbre de Vie », œuvre monumentale de 13 mètres de haut composée d'au moins 110 000 feuilles, toutes tissées à la main.Au sein de la Sainte-Chapelle, inaugurée en 1552 et témoin de la transition entre le gothique rayonnant et le gothique flamboyant, Joana Vasconcelos élève un laurier de 13 mètres de ramure, fait de broderies noires, rouges et or, ourlées de lumière.L'artiste, dans cette nouvelle création, a souhaité évoquer la reine Catherine de Médicis, veuve de Henri II, qui, à la suite du roi, œuvra aux aménagements de la Sainte-Chapelle, du château et du parc, où elle fit notamment planter trois milles ormes.“Cette histoire et ce contexte ne pouvaient que passionner Joana Vasconcelos : rendre de manière éphémère la splendeur du décor de la Chapelle, en hommage à la trajectoire hors du commun de Catherine de Médicis”, souligne Jean-François Chougnet, commissaire de l'exposition.Cette installation fait aussi écho à la figure mythologique féminine de Daphné se transformant en arbre pour échapper à Apollon.« La muse inspiratrice de cet Arbre de Vie est la figure mythologique féminine de Daphné. Désirée par Apollon, elle refusa de l'épouser, demandant à son père de la laisser se transformer en arbre pour échapper à son destin.L'une des plus belles sculptures du monde, de Gian Lorenzo Bernini, représente cette poursuite : Apollon essaie de l'attraper mais ses doigts ont déjà commencé à se transformer en feuilles de laurier. Ce que je voudrais créer pour cette pièce, c'est l'achèvement de cette transformation, le laurier qu'est devenu Daphné et qui, pour être fidèle à sa beauté, est soigneusement brodé, avec beaucoup de dorures et brille de son propre éclat.Cela donne naissance à un arbre élégant et éclatant pour la Sainte-Chapelle de Vincennes et la Saison France-Portugal 2022, de 13 mètres de haut et d'au moins 110 000 feuilles, toutes et chacune faites à la main par les artisans qui travaillent dans mon atelier. Nous avons commencé à travailler chacun à partir de chez soi pendant le confinement et avons fini par créer une sculpture textile qui met en parallèle le puissant geste d'indépendance de Daphné dans un scénario de limitation. Cet arbre est le résultat de l'affirmation de la vie au-delà de la pandémie de Covid-19. »Cette carte blanche fait l'objet d'une publication aux éditions du patrimoine dans la collection « Un artiste, un monument” Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Welcome to the Instant Trivia podcast episode 661, where we ask the best trivia on the Internet. Round 1. Category: Invisible Men 1: As Nick in "Memoirs of an Invisible Man", all he wants are his molecules back and Daryl Hannah. Chevy Chase. 2: These days Goldie Hawn sees a lot of this "Now You See Him, Now You Don't" star. Kurt Russell. 3: In a 1951 film this comedy pair joins forces with invisible man Arthur Franz. Abbott and Costello. 4: He wasn't seen very long on TV as "The Invisible Man"; his tenure as Illya Kuryakin lasted longer. David McCallum. 5: You may remember seeing him in "Cocoon" and "Police Academy" but not in "The Man Who Wasn't There". Steve Guttenberg. Round 2. Category: More Celebrity Rhyme Time 1: Jagger's pranks. Mick's tricks. 2: Maher's medications. Bill's pills. 3: Carney's roles. Art's parts. 4: Blythe's flags. Danner's banners. 5: Kerri's embraces. Strug's hugs. Round 3. Category: "Andy" 1: The black and white bear of Walter Lantz cartoons. Andy Panda. 2: "A Family Affair" was the 1st of 15 films in this Mickey Rooney series. the Andy Hardy series. 3: Reg Smythe's pub-crawling comic strip husband of Flo. Andy Capp. 4: Donny Osmond made his debut at the age of 4 on his show. The Andy Williams Show. 5: An 8-hour static film of the Empire State Building was done by this pop artist. Andy Warhol. Round 4. Category: Stained Glass 1: In the 16th c., creation of a tool with this gem at the tip made cutting glass easier. diamond. 2: Traditionally, stained glass is joined by "cames", strips of this metal. lead. 3: This city's remarkable Sainte Chapelle, built in the 13th c., has walls almost entirely of stained glass. Paris. 4: Famed for pieces such as lampshades, this artist was born into a family of N.Y. jewelers. (Louis) Tiffany. 5: An animated short subject, or the term for a full-sized pattern of a stained glass window. cartoon. Round 5. Category: Impossible 1: Lewis Carroll's White Queen said of this girl's age, she "believed as many as 6 impossible things before breakfast". Alice. 2: Jesus said, "If you have" this, "nothing will be impossible unto you". Faith. 3: "When you have excluded the impossible" Holmes said, "whatever remains, however improbable, must be" this. The truth. 4: The quote: "In two words: Im-possible" is attributed to this legendary Hollywood mogul. Samuel Goldwyn. 5: This suave Brit played a psychiatrist with a nubile young daughter in the 1968 farce "The Impossible Years". David Niven. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

durée : 00:13:09 - Accès privé France Bleu Paris - Notre reporter Murielle Giordan nous emmène cette semaine à la Sainte Chapelle, ce joyau gothique situé sur l'Île de la Cité. En ce moment, l'édifice est en pleine restauration ! 60 tonnes d'échafaudage sont nécessaires pour ce chantier...

Today, let's visit a flower market on Ile de la Cité, right in the middle of Paris. Two good reasons to check this area out now: first, the Marché aux fleurs is due to be renovated, and second, back in 2014, the market was named for Queen Elizabeth II--this is highly unusual, in France. We'll talk about why. We'll also discuss Mad King Louis (or, more respectfully, Louis IX) and raise a glass to Inspector Maigret.  Visit my website for images.  As always, Improbable Walks is grateful to the technical expertise of Bremner Fletcher and to David Symons, the wonderful New Orleans accordion player who performs the Improbable Walks theme music.  

We trekken verder doorheen de Franse hoofdstad, Parijs. We gingen reeds van Gare du Nord naar Montmartre en bezochten de basiliek van het Heilig Hart. We reisden verder naar Notre-Dame des Victoires en ontdekten meer over de band met de heilige Thérèse van Lisieux en haar heilige ouders. In deze aflevering vervolgen we onze weg naar de wereldberoemde kathedraal die in 2019 in lichterlaaie stond, de Notre-Dame de Paris! We ontdekken meer over haar geschiedenis en haar huidige toestand. We gaan in gesprek met Karl en zijn jonge gezin en gaan langs de Sainte Chapelle zo verder naar de kapel van de heilige Vincentius a Paulo.

ST. LOUIS IX l PATRON OF ARTS AND ARBITER OF EUROPE Feast Day: August 25 “My son, I love you with the affection with which a mother is capable of but I would rather see you drop dead at my feet than you should ever commit one mortal sin.” Such was the great aspiration and desire of Queen-Mother Blanche for her son Louis, the future king of France so much so that he became a great saint afterwards. When Louis was grown up, there was a day that he did not recall such words. Louis was born in Poissy, France on April 25, 1214. When he was 12 years old, his father King Louis VIII died. He was crowned king and his mother was his Regent and ruled on his behalf. Louis possessed an exceptional personality. He had a sweet character, an even temper, uniform justice, tender piety and was vigilant in avoiding troubles. Above all, he lived a holy life, in imitation of his mother. When Louis was about 19 years old, his mother chose Margaret, Count of Provence to be his consort. They were married in Sens on May 27, 1234. Margaret was a faithful wife after his own heart and they were both inclined to piety and charity. The blessings of God descended upon this happy union. When Louis was 21, the reins of government was given to him. He continued, however, to consult his mother for any decisions he made. It is said that France enjoyed much peace and tranquility during his reign. He saw everyone, including the servants as brothers and sisters in Christ. His charitable works was not confined to his country, but it extended to other places in need. Due to his moral integrity and personal holiness and the manner he governed, he improved the fame of the French monarchy. France reached its economic and political peak. He tried to end the private wars and introduced the presumption of innocence to criminal procedures. He was often asked to be an arbiter to settle conflicts among the ruling powers of his time. He enjoyed a high prestige throughout Christendom and was one of the most notable and esteemed monarchs of the middle ages.King Louis faced several conflicts with some of the monarchs around him, but he won over them and added some provinces to his kingdom. In 1239, King Louis received from the Latin Emperor of Constantinople the preserved Holy Crown of Thorns of the Savior. A little later the Emperor also sent some religious relics, including a part of the True Cross of Jesus. To preserve these sacred relics, the king built an edifice in Paris, now known as Sainte Chapelle or Holy Chapel. While praying for recovery during a serious illness, he made a vow to help restore the Holy Land, North Africa and Egypt which were taken by the Muslims. He led the Seventh and Eighth Crusade but failed. He was captured during the Seventh Crusade and was able to return to France only by being ransomed. King Louis still led the Eighth Crusade but unfortunately died of dysentery in Tunis, North Africa on August 25, 1270 at the age of 56. His remains were brought to France and is venerated at the Basilica of St. Denis. His son, Philip III succeeded him. Louis was an ideal ruler and as king he was inspired by Christian zeal and Catholic devotion. For these, he was occasionally called the “monk king.” He was the only king of France who became a saint. King Louis was canonized on August 11, 1297, twenty-seven years after his death and his feast day is celebrated on August 25. “St. Louis, pray for us and teach us how to avoid sin and the occasions of sin.” What are the occasions and circumstances in my life which I must avoid so as not to commit sin?

On today's episode of the podcast, Annie Sargent and Elyse Rivin talk about Rosa Bonheur on the occasion of the 200th anniversary of her birth in Bordeaux. Rosa Bonheur was one of the most successful painters of her generation and was the most important and successful woman artist of the 19th century. Known for her paintings of animals and for her eccentric and somewhat exotic lifestyle, she was a consummate artist who lived a singular life. When people who know about art and painting hear her name, what immediately comes to mind is that she painted animals. They were the passion of her life. But her work is so much more than ‘just” painting animals, and the why and how of her becoming an artist are part of an incredible story. Thomery is the chateau where Rosa spent a lot of her time. You can visit it, you can even spend the night in Rosa's room! Book Recommendation: Art is a Tyrant, the Unconventional Life of Rosa Bonheur by Catherine Hewitt YouTube video about Rosa Bonheur Table of Contents for the Rosa Bonheur Episode [00:00:00] Intro [00:00:39] What's in this episode [00:01:59] Who supports the podcast [00:03:01] Main interview [00:03:48] Who was Rosa Bonheur? [00:04:38] Rosa Bonheur's parents [00:05:42] Art education in the family [00:06:39] Rosa's father [00:07:03] Rosa's childhood [00:08:03] Her artistic environment [00:08:59] Father's ambitions [00:10:07] Family moves to Paris [00:10:17] What was the ‘Salon'? [00:12:28] Rosalie was different and more independent [00:13:36] The Political Environment in the 1830s [00:14:49] Idealist vs Realist in the family [00:15:51] The Family Moved to Rue des Tournelle [00:16:07] Her Mother Passes Away from Cholera [00:17:44] Rosa's Art Education and Gifting [00:18:50] She didn't adhere to the ‘art for women' category [00:20:31] Her companion and assistant [00:21:53] Permission to wear men's clothing [00:23:32] Men still can't wear women's clothes today [00:25:49] Rosa Bonheur was a trail blazer [00:26:45] Admitted to the Salon and wins first prize [00:27:33] Her first really famous painting [00:28:07] Financially independent [00:29:07] Her sophisticated technique [00:29:41] Accepted in the Salon by default [00:30:43] Becomes the Director of the School of Drawing [00:31:14] Rosa Bonheur was an inspiration to many artists [00:31:39] She painted the rural France [00:32:32] Rosa Bonheur surrounded herself with animals [00:33:57] Le Marché aux Chevaux [00:36:08] No rights to the photos [00:37:10] Realism focused on rural life [00:38:29] Rosa Bonheur's “Category” [00:42:02] The Barbie of the 19th Century? [00:42:40] Her looks [00:43:37] Where can you see her work? [00:44:50] 200th anniversary of her birth [00:45:19] Do we like tortured artists? [00:46:43] Outro[00:46:43] Thank you, patrons [00:48:08] Preparing to Visit France? [00:48:25] Hire me to be your itinerary consultant [00:49:38] The self-guided tours [00:50:26] Travel question of the week [00:54:21] This Week in French News [00:57:38] Security changes at the Sainte Chapelle [00:59:04] Abortion Law Changes [01:01:34] Personal update [01:03:45] Show notes [01:04:10] Next week on the podcast

Part 2 of our sit down with Eric Whitacre and Tony Silvestri. We take a closer look into their work "Sainte-Chapelle" and "The Sacred Veil". A few golden nuggets regarding the works that have never been shared before.  Recording Credits:Sainte-Chapelle (The Tallis Scholars) https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM802Be on the look out for upcoming works mentioned in the show by Eric and Tony: https://ericwhitacre.com/https://www.charlesanthonysilvestri.com/https://www.soundofageschoir.com/

We get to sit down with one of choral music's great composer/poet duo's, Eric Whitacre and Tony Silvestri to discuss a few of their most popular collaborations: Lux Arumque, Leonardo Dreams of His Flying Machine, Sainte-Chapelle, and Sacred Veil. We discuss text, meaning, musical elements, and this marriage of old and new to create something novel and great. http://soundofageschoir.comhttps://ericwhitacre.com/https://www.charlesanthonysilvestri.com/

This is the last issue of the year 2021, broadcast Monday in French, Wednesday in English!Ce numéro est le dernier de l'année 2021, diffusé lundi en français, mercredi en anglais!In this issue S3#35 (short format, Christmas 2021), we talk about the Sainte Chapelle in Paris with a perspective, and give some details about the 2022 edition of Com d'Archi.Happy Holidays,Anne-CharlotteImage DR © photogolferSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Ce numéro est le dernier de l'année 2021, diffusé lundi en français, mercredi en anglais!This is the last issue of the year 2021, broadcast Monday in French, Wednesday in English!Dans ce numéro S3#35 (format court, Noël 2021), nous parlons de la Sainte Chapelle à Paris avec une mise en perspective, et donnons quelques précisions sur l'édition 2022 de Com d'Archi.Joyeuses fêtes de fin d'année,Anne-CharlotteImage DR © Birute VijeikieneSound engineering : Julien Rebours___Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

VENERIS DIES. Nuestra sección de arte, música y cultura general esta dirigida para todos aquellos que disfrutan de las obras de arte, de escuchar un buen disco y entender la vida de los diferentes artistas que han pasado por la historia de la humanidad. Tenemos una sección donde se hablara del Séptimo Arte de forma sencilla y entendible visto desde un concepción de un neófito “domiguero” HISTORIA DEL ARTE *La Iglesia triunfante 122. Catedral de Notre-Dame de París, 1116-1250 123. Robert de Luzarches – Nave de la catedral de Amiens, h. 1218-1247 124. Sainte-Chapelle, París, 1248 125. Catedral de Notre-Dame de París, 1163-1250 126. Pórtico de transepto norte de la catedral de Chartres, 1194 127. Mesquisee, Abraham y Moisés, 1194 128. Pórtico del transepto sur de la catedral de Estrasburgo, h. 1230 129. Tránsito de la Virgen 130. Ekkehart y Uta, h. 1260 131. Entierro de Cristo, h. 1250-1300 132. Matthew Paris – Un elefante y su cuidador, h. 1255 133. Nicola Pisano – Anunciación, nativiad y pastores, 1260 134. Giotto di Bondone – La fe, h. 1305 135. Giotto di Bondone – Entierro de Cristo, h. 1305 136. Detalle de la ilustración 135 --- Send in a voice message: https://anchor.fm/irving-sun/message

durée : 00:06:02 - En 1850, Berlioz s'est fait passer pour un compositeur de 1679 - par : Christophe Dilys - En 1850, Hector Berlioz compose une pièce pour orgue (puis chœur) et entend faire croire qu'il s'agit de la musique d'un certain Pierre Ducré, maître de musique de la Sainte-Chapelle de Paris en 1679, retrouvée dans une armoire murée lors de travaux de restauration. Était-ce bien fait ?

NOTRE-DAME : LE CHANTIER DE TOUS LES DÉFIS - 17/04/21 Invités JEAN-FRANÇOIS COLOSIMO Historien des religions MARIE-AMÉLIE TEK Architecte du patrimoine Auteure de « Notre-Dame à cœur ouvert » CHRISTOPHE BARBIER Éditorialiste politique AGNÈS POIRIER Journaliste - Auteure de « Notre-Dame, l'âme d'une nation » C'est le chantier du siècle. Deux ans jour pour jour après l'incendie qui a ravagé la toiture et fait tomber la flèche de Notre-Dame de Paris, Emmanuel Macron s'est rendu jeudi sur l'impressionnant chantier de reconstruction de la cathédrale. L'occasion pour le chef de l'Etat de souligner « l'immense travail accompli ». À travers ce symbole, le président de la République tient à souligner la résilience de tout un pays, en écho à la lutte face à la pandémie. « C'est un message de fierté collective parce qu'on a beaucoup fait en deux ans et on a évité le pire », a-t-il assuré. Deux ans plus tôt, le 15 avril 2019, l'émoi était planétaire. L'événement était à la Une des médias du monde entier. Car plus encore qu'un édifice millénaire, c'est un mythe qui s'embrasait. Celui né du roman de l'écrivain Victor Hugo, paru pour la première fois en 1831. L'œuvre, adaptée 10 fois au cinéma, cinq à la télévision, ainsi qu'en comédie musicale à succès, a en effet donné à l'édifice une renommée internationale. La cathédrale était ainsi, avant la pandémie, le monument le plus visité de la capitale avec plus de 12 millions de visiteurs par an… plus que la tour Eiffel ou le musée du Louvre. De quoi expliquer l'élan de générosité sans précédent et sans frontières soulevé dès le lendemain de cette catastrophe. Sur un total de 833 millions d'euros de dons, 70 millions d'euros de dons et de promesses viennent en effet de l'étranger (150 pays), dont la moitié des seuls Etats-Unis. Ce ne sont pas moins de 340 000 donateurs du monde entier qui ont participé. De quoi soulever de nombreuses questions, notamment celle du financement de la sauvegarde du patrimoine religieux en France. Selon l'Office du Patrimoine Religieux, pas moins de 5000 édifices religieux seraient actuellement en péril. De manière plus générale, l'entretien du patrimoine français coûte cher et une source de recettes pour s'en acquitter a fondu en 2020. La crise sanitaire due à la pandémie de Covid-19 a en effet donné un très brutal coup d'arrêt à l'industrie du tourisme. À Paris et en Ile-de-France, on a compté plus de 33 millions de touristes en moins l'année dernière, privant la région de 15,5 milliards d'euros de recettes, selon les chiffres communiqués lundi 12 avril par le Comité régional du tourisme de Paris Ile-de-France. Les musées et monuments parisiens ont été très touchés. La baisse de fréquentation pour 2020 est de près de -72% pour le musée du Louvre, -76% pour le musée d'Orsay ou encore -81% pour la Sainte Chapelle. En Ile-de-France, la situation est aussi grave avec -75% de fréquentation pour le Domaine de Versailles, -70% pour le château de Fontainebleau ou encore -69% pour la Basilique Saint-Denis. La date de réouverture au public de la cathédrale Notre-Dame de Paris fixée par Emmanuel Macron à 2024 pourra-t-elle être respectée ? Comment s'assurer que les nombreux dons pour sa reconstruction seront bien utilisés ? Comment financer l'entretien du patrimoine français si les recettes liées au tourisme devaient continuer à manquer ces prochaines années ? Diffusion : du lundi au samedi à 17h45 Format : 65 minutes Présentation : Caroline Roux - Axel de Tarlé Rediffusion : du lundi au vendredi vers 23h40 Réalisation : Nicolas Ferraro - Pascal Hendrick - Benoît Lemoine - Jean-François Verzele - Jacques Wehrlin Production : France Télévisions / Maximal Productions Retrouvez C dans l'air sur france.tv

Con Laura y Hira de @nipponismo hemos escuchado algunas de las anécdotas que nos habéis enviado. En Japón os habéis encontrado de todo: toallas minúsuculas, sustos de Halloween, pijamas tradicionales... Hira y Laura nos han explicado si es o no normal lo que les pasa a los turistas, y nos han informado de lo que hay que hacer en ciertas situaciones cuando viajemos a Japón. Además, Glòria Ribas de @lamaletadeglo nos ha paseado virtualmente por París y hemos visitado Montmatre, la Sainte Chapelle y las catacumbas parisinas. ¡Síguenos en instagram @stories.radiocastellar y participa en el programa! Music: https://www.silvermansound.com --- Send in a voice message: https://anchor.fm/stories-de/message

  This episode features our frequent and very popular guest Elyse Rivin. If you enjoy her episodes, please consider supporting her on Patreon. Aigues-Morte is a fortified city near Montpellier and Sète. It is part of the Petite Camargue. It is a marshland that is the delta of the Rhone river. This part of France used to be quite poor because there were no industries besides the salt trade. Aigues-Morte had its glory day in the 1100-1200 under Louis IX who was canonized and became Saint Louis. Aigues-Morte and Saint Louis Saint-Louis was extremely religious and that's why he brought back the Crown of Thorns to France and built the Sainte Chapelle in Paris. He went on several crusades, including the 7th crusade. He had departed to the crusade from various ports that belonged to the Italians. For the 7th crusade he decided to build a city that we talk about today. Building the Fortified City of Aigues-Morte Aigues-Morte is not on the Mediterranean sea directly, but it links to it through man-made canals. This allowed Saint-Louis to bypass Italian waters. There was a tower there built by Charlemagne in the 8th century. This was merely a tower to observe the arrival of possible assailants. The name "Aigues-Morte" means stagnant waters or more literally dead waters. It is the French Bayou without the aligators! It's only 20 miles from Montpellier and it's easy to get between the two cities. The original tower by Charlemagne is not there any more, they replaced it with the Tour Constance. It was a look-out tower and also a prison. The Constance Tower is 30 meters high and the walls are 6 meters thick. Louis IX decided to go on the 7th crusade in 1244. This particular crusade was not to "liberate" Jerusalem but rather to attack Egypt. They left for that crusade from Aigues-Morte when they could have used Marseille. Marseille was under the leadership of the Count of Provence, brother of Saint-Louis. But Louis IX didn't want to pay his brothers their due, which is why he developed Aigues-Morte. The city looks today very much like it did originally. There are ramparts and medieval buildings and streets. It is very quaint and pretty. There are little shops and it's pretty touristy. A Fortified City Aigues-Morte now has two towers. The second one came later, it's called Tour Carbonnière and this is where Louis IX's grand son, Philippe Le Bel, burned the Knights Templar. The city looks like what you'd imagine a fortified city should look like. They have towers, gates that lock, crenalations, etc. The vibe is very similar to what you find at Mont Saint Michel or Carcassonne. It normally attracts a lot of tourists because it is beautiful. Just walking around you get the feeling of what it was like. It is strange to have a city build out of nothing in France. Most places in France grew over time and you can tell that they've put old stone on top of old stone. But not there. This city was built out of nothing all at the same time. You'll find a lot of boutiques, shops with local specialties geared towards visitors. In the 1400s the build a port closer to the city so they could shorten the canal and access became easier. In the late 1700s the city almost disappeared because there was no economic activity in the area. Sel de Camargue The salt industry is huge in Camargue now. Fleur de Sel de Camargue is a great gift for you to take back after your next visit to France. It's inexpensive in France (between 3€ and 4€ at the grocery store) and it really makes a difference on steaks for example. You don't want to use it to salt the water for noodles (any old salt will do for that!) but it's great as a condiment on your table. It's super expensive online right now, possibly because of the pandemic, wait to get a few on your next visit. The Massacre of Italian Workers in 1893 Italian immigrant workers were the victim of racism and class warfare in 1893. This had to do with the salt business. There were two big salt businesses that started up again at the area but because there was an economic crisis many people were looking for work. The company went looking for cheap labor in northern Italy and this created tensions between the French and Italians. This led to riots and a massacre within the walls of the city. Aigues-Morte with Children This is a nice place to visit with kids who enjoy running around the fortified city. Walking around the city at night is lovely. You can take a boat that will take you to the Camargue to see the horses (it's called a "Manade") and you'll see beautiful birds. If the kids want to go to the beach take them to Sainte-Marie-de-la-Mer nearby, it has a lovely long sandy beach. Louis IX aka Saint Louis He is the only French king to be an actual Catholic saint. "Saint Louis" is not a nickname, he was made a saint. This is because of his deep belief, the fact that he brought back the Crown of Thorns, and he also died during a crusade. He was religious in the extreme and so was his mother. More episodes about the Montpellier area Email | Facebook | Instagram | Pinterest | Twitter Did you get my VoiceMap Paris tours yet? They are designed for people who want to see the best of Paris neighborhoods and put what they are looking at into historical context. There are so many great stories in Paris. Don't walk right past them without having a clue what happened there! You can buy them directly from the VoiceMap app or click here to order activation codes at the podcast listener discount price. Support the Show Tip Your Guide Extras Patreon Audio Tours Merchandise If you enjoyed this episode, you should also listen to related episode(s): Camargue and Gard Trip Report, Episode 115 Tips for Visiting Montpellier, France, Episode 105 The Best of Sète, Episode 107 Categories: French History, Montpellier Area

In January, 2020, Alchymy Viols underwent some friendly alchemy to become an ensemble of singers and instrumentalists perfect for the performance of Marc Antoine Charpentier’s 11th and final mass, first performed at the Sainte Chapelle in Paris, probably during the feast of the Assumption in 1699. We’ll hear some of that splendid mass and also Charpentier’s only Sonata among an oeuvre of well over 500 works.

In January, 2020, Alchymy Viols underwent some friendly alchemy to become an ensemble of singers and instrumentalists perfect for the performance of Marc Antoine Charpentier’s 11th and final mass, first performed at the Sainte Chapelle in Paris, probably during the feast of the Assumption in 1699. We’ll hear some of that splendid mass and also Charpentier’s only Sonata among an oeuvre of well over 500 works.

  © Didier Plowy – Centre des monuments nationaux. Sainte-Chapelle 8 Boulevard du Palais, 75001 Paris. Réservation d’un créneau horaire de visite obligatoire.  http://www.sainte-chapelle.fr/Preparer-sa-visite/Modalites-de-visite-Covid-19 Le monument est ouvert et vous accueille en toute sécurité : Nombre de visiteurs limité Circuit de visite adapté Chaque visiteur est invité à respecter les consignes de sécurité indiquées dès […]

Kỳ nghỉ hè, mùa du lịch cao điểm, đã qua. Giờ là lúc chính quyền và giới du lịch tổng kết về tình hình quý 6 tháng đầu năm 2020, trong bối cảnh dịch bệnh từ đầu năm đã làm ngành « kinh tế xanh » khốn đốn. Vốn là niềm tự hào, biểu tượng của ngành du lịch Pháp, Paris lại lãnh « cú đánh » mạnh hơn, bị thiệt hại dai dẳng hơn nhiều vùng du lịch khác trong cả nước. Ngày 27/08/2020, trong cuộc họp tổng kết 6 tháng đầu năm hoạt động du dịch của thủ đô Pháp và cả vùng Ile-de-France (Paris và vùng phụ cận), bà Valérie Pécresse, chủ tịch Hội đồng (dân cử) vùng Ile-de-France, nhấn mạnh dịch bệnh Covid-19 đã gây « những tổn thất nặng nề » cho ngành du lịch, lĩnh vực vốn thường mang lại 500.000 việc làm và đóng góp 7-8% thu nhập cho cả vùng. Ba nỗi lo lớn Sau khi Paris đoạt danh hiệu thủ đô du lịch thế giới vào năm 2019, dịch Covid-19 đã làm doanh thu du lịch 6 tháng đầu năm 2020 của Paris sụt giảm 6,4 tỉ euro và mất 14 triệu khách so với cùng kỳ năm 2019. Vắng bóng khách du lịch nước ngoài, mất khách doanh nhân và thiếu hụt khách nội địa, theo ông Didier Arino, tổng giám đốc của Protourisme, cơ quan chuyên nghiên cứu và tư vấn về du lịch, giải trí và khách sạn, đó là 3 nỗi lo của các nhà làm du lịch Paris. Với sự tê liệt của giao thông hàng không quốc tế, số khách ngoại quốc đến Paris đã giảm 68%, trong khi du lịch Paris phụ thuộc phần lớn vào nhóm du khách này, nhất là khách Mỹ và Trung Quốc. Trong năm 2019, khách nước ngoài chiếm đến 90% khách thăm Paris trong kỳ nghỉ hè. Trong thời gian qua, du khách quốc tế đến vùng Paris chủ yếu là khách châu Âu láng giềng gần như Đức, Anh, Áo, Hà Lan, Bỉ, Tây Ban Nha. Việc Paris quyết định hủy hàng loạt sự kiện quốc tế quy mô lớn, trong đó có Triển lãm xe hơi thế giới, Triển lãm công nghiệp hoàn cầu Global Industrie, Hội chợ công nghệ cao VivaTech, Hội chợ trò chơi điện tử Paris Games Week, cũng góp phần khiến vùng Paris mất nhiều khách.   Không chỉ vậy, lượng khách nội địa cũng giảm tới 54%. Theo kết quả một cuộc thăm dò ý kiến người Pháp hồi đầu hè, cho dù 90% người được hỏi dự định đi nghỉ hè trong nước, nhưng chỉ có 10% hướng đến các chuyến du lịch nơi đô thị. Giờ đây, người Pháp thích về nông thôn, lên núi, đi về miền biển hơn là đến chốn phồn hoa như Paris. Chốn thị thành không chỉ gợi nhắc cho du khách về thời kỳ phong tỏa bí bách mà còn đồng nghĩa với nguy cơ lây nhiễm bệnh. Về du lịch doanh nhân, trước hè, Paris đã phải hủy hoặc hoãn 2/3 trong tổng số 300 sự kiện do Viparis tổ chức tại 9 khu tổ chức sự kiện trong vùng Paris, trong đó có Cung Triển Lãm Versailles và Cung Hội Nghị Palais de Congrès. Chẳng hạn, triển lãm về không gian làm việc, Workspace Expo, theo dự kiến ban đầu khai mạc vào ngày 01/09 nhưng đã bị đẩy lui đến tháng 03/2021. Triển lãm thời trang may sẵn Who’s Next dự kiến diễn ra từ ngày 03 đến ngày 07/09 cũng đã bị hoãn. Ngược lại, nhiều doanh nghiệp lớn nước ngoài đã kêu gọi người của công ty « tránh xa » các sự kiện tại vùng Paris để đề phòng nguy cơ lây nhiễm bệnh. Thất bại đã được dự báo Tuy nhiên, không phải chờ đến bây giờ nhà chức trách và giới du lịch mới biết về hậu quả nặng nề của virus corona đối với ngành du lịch Paris. Trên thực tế, ngay từ khi kỳ nghỉ hè mới bắt đầu hồi đầu tháng 07, các chuyên gia đã dự báo hoạt động của ngành du lịch sẽ giảm hơn một nửa trong hai tháng 07-08, vốn là mùa du lịch cao điểm nhất trong năm. Đầu tháng 07, ông Christophe Decloux, người đứng đầu Ủy ban du lịch Paris Ile-de-France khẳng định vùng Paris đã mất đến 15 triệu du khách tính từ đầu năm, thiệt hại lên đến 8 tỉ euro. Ngày 13/07, thời điểm theo thường lệ Paris đón rất đông du khách nước ngoài, trong chuyên mục Thông tin kinh tế của đài France 24, nhà báo Christophe Dansette giải thích : « Không, các du khách vẫn chưa trở lại (Paris). Phố xá vẫn vắng tanh vắng ngắt trong hai ngày nghỉ cuối tuần. Trong số những người Paris đi nghỉ hè, có nhiều người đã đi sớm do nghỉ bắc cầu dịp Quốc Khánh Pháp 14/07. Thủ đô Paris thì lại vắng bóng du khách nước ngoài, nhất là khách Mỹ và Trung Quốc. Đây chính là nhóm du khách chi tiêu nhiều nhất. Theo một nghiên cứu hồi năm 2018 của vùng Paris, kết quả nghiên cứu này cho đến nay chắc cũng không thay đổi nhiều lắm, thì một du khách Pháp tiêu 83 euro/ngày. Số tiền chi tiêu của du khách Mỹ cao đúng gấp đôi so với khách Pháp. Khách châu Á và Trung Đông tiêu khoảng 200 euro/ngày. Như vậy, chúng ta có thể hiểu là những người sống bằng nghề du lịch như trong các ngành khách sạn, nhà hàng và kinh doanh hàng hiệu mùa hè năm nay gặp khó khăn đến thế nào. Sở Du Lịch Paris dự báo hoạt động của ngành du lịch trong tháng 07 và tháng 08 sẽ giảm 50-70% so với cùng kỳ năm ngoái ». Mặc dù Ủy ban du lịch vùng Paris ghi nhận hoạt động du lịch của Ile-de-France đã có dấu hiệu khởi sắc vào mùa hè, nhưng riêng Paris thì không. Du khách Pháp và người dân các nước láng giềng châu Âu, dường như sau một thời gian bị phong tỏa gò bó, muốn hướng đến các hoạt động thăm thú ngoài trời, ở những không gian rộng lớn, thoáng đãng nơi ngoại ô hơn là các hoạt động khám phá văn hóa, bảo tàng, triển lãm … ngay ở nội đô Paris. Hai điểm thăm quan đông khách nhất Paris trong 6 tháng đầu năm 2020 là bảo tàng Louvre, kho báu nghệ thuật của nước Pháp, vốn là bảo tàng thu hút đông khách nhất thế giới (1 triệu 730 ngàn khách) và cung điện Versailles (918.147 khách). Nhưng nếu tính theo tỉ lệ khách so với cùng kỳ năm 2019, thì số lượt khách đến thăm hai công trình này giảm lần lượt 72% và 64,4%. Trong số 10 công trình văn hóa lịch sử hút khách nhất Paris từ tháng 01 đến tháng 06 còn có Bảo tàng lịch sử tự nhiên, Khải Hoàn Môn, điện Panthéon - nơi vinh danh các vĩ nhân của nước Pháp ... Tuy nhiên, nhìn chung lượng khách đều giảm từ 58,3% (Đại điện Grand Palais) đến 73,3% (nhà thờ Sainte-Chapelle). Khách sạn siêu sang - nạn nhân đầu tiên Xét theo lĩnh vực kinh doanh, khách sạn, quán bar và nhà hàng là ba lĩnh vực bị tác động nhiều nhất. Trong đó, các palace, khách sạn siêu sang là những nạn nhân đầu tiên vì phục vụ chủ yếu giới doanh nhân nước ngoài và những khách hàng giàu có, chủ yếu đến từ Mỹ, Nhật, Trung Quốc, Trung Đông, Brazil và Nga. Nhà báo Christophe Dansette cho biết thêm : « Cứ 2 khách sạn thì có 1 khách sạn cho rằng đóng cửa, tận dụng biện pháp hỗ trợ đặc biệt về trợ cấp thất nghiệp bán phần sẽ đỡ tốn kém hơn là mở cửa khách sạn. Đây là quyết định của nhiều khách sạn 5 sao và 11 trong tổng số 12 palace ở Paris. Chỉ có palace La Réserve - palace nhỏ nhất ở thủ đô với 40 phòng và phòng suite nằm ngay gần phủ tổng thống Pháp là đã mở cửa trở lại. Chủ palace đã đặt cược vào việc mở cửa lại khách sạn ngay từ khi nước Pháp vẫn chưa ra khỏi phong tỏa, từ ngày 05/05. Khách hàng của họ thuộc giới doanh nhân. Theo phụ trách truyền thông của palace này, trước hết đó là vì chủ của khách sạn muốn làm việc trở lại và cho những nhân viên đang hưởng chế độ trợ cấp thất nghiệp bán phần làm việc trở lại. Hiện giờ, tỉ lệ kín phòng của họ là 64% vào những ngày trong tuần và 40% vào ngày nghỉ cuối tuần. Tất cả khách hàng của họ đều đến từ các nước châu Âu. Palace này hoạt động trong những điều kiện khó khăn, vì thường là khách đặt phòng vào phút chót. Paris, thủ đô du lịch của thế giới hồi năm ngoái, đang chờ đợi du khách trở lại nhưng những người bi quan nhất cho rằng du khách nước ngoài sẽ chưa trở lại đông trước năm 2023 ». Còn theo số liệu của Ủy ban du lịch vùng Paris, trong hai tháng 06-07, hơn 50% khách sạn trong nội đô Paris vẫn đóng cửa. Những cơ sở còn hoạt động ghi nhận tỉ lệ phòng có khách lưu trú chỉ đạt 30%. Còn ở các vùng ngoại ô, hoạt động của các khách sạn có vẻ khởi sắc hơn một chút với 70% khách sạn hoạt động đón khách và tỉ lệ kín phòng đạt 40%. Trong bối cảnh này, ông Quentin Michelon, hiệp hội du lịch Ahtop nhấn mạnh : « Không ai có thể dự báo về khả năng trụ lại được của các khách sạn Paris ». Ban đầu, một nửa số nhà kinh doanh trong lĩnh vực nhà trọ và khách sạn hy vọng từ nay đến cuối tháng 10/2020 thì hoạt động sẽ được cải thiện, nhờ nguồn du khách Pháp và các nước châu Âu lân cận. Tuy nhiên, trước tình hình số khách đặt vé máy bay quốc tế đường dài trong khoảng từ tháng 09 đến tháng 12 đã giảm 80%, không mấy ai còn giữ vững tinh thần lạc quan, nhất là khi một số nước láng giềng như Đức và Bỉ lại xếp Pháp vào danh sách « vùng đỏ » - vùng có nguy cơ lây nhiễm cao. Các nhà làm du lịch lo âu vì làm ăn thất bát, chỉ có người dân Paris là hài lòng về « một mùa hè không du khách ». Kẻ khóc người cười ! Thoát khỏi « cơn lốc xoáy du khách », thoát khỏi « vũ điệu valse » bất tận của những chiếc vali bị kéo lê trên hè phố, người dân Paris khoan khoái tận hưởng nhịp sống êm đềm, những khoảnh khắc tĩnh lặng hiếm có. Thảnh thơi khám phá những « viên ngọc » trong lòng một Paris « quen mà lạ, lạ mà quen », nhưng không phải mất thời gian chen chúc xếp hàng, không phải chịu cảnh xô bồ của những đoàn du khách đông nghịt, là một cơ may hiếm có của người dân thành Paris, mặc cho nỗi lo làm ăn thất bát của các nhà làm du lịch. (France 24, France Bleu, AFP, Echo touristique)j

Je crois que quand je pense « balade à Paris », la première image qui me vient à l’esprit est celle du Quartier Latin. C’est donc là que je vous emmène aujourd’hui. Et pour l’itinéraire, nous allons suivre Claire toute la semaine. Micaela et moi l’avons retrouvée un vendredi soir du mois d’août après son travail. La suite du texte est dans la NEWSLETTER, abonnez-vous!http://j.mp/OneThingInAFrenchDayNewsletter

Louis was Catholic, and he built the Sainte Chapelle ("Holy Chapel") on the Île de la Cité in the centre of Paris. It is thought that the French monarchy was trying to establish the kingdom of France as the "new Jerusalem."Louis IX tried to make France, which was seen as being a very religious place, a protector of the Church. It worked, and between the 12th and 13th centuries, France and the pope were very close._______________________________________________________Check out our website: https://www.friendsoftheword.orgJoin our community on Facebook: https://www.facebook.com/www.FriendsofthewordDonate and support FRIENDS OF THE WORD, INC.: PAYPAL.ME/FRIENDS OF THE WORD

Louis was Catholic, and he built the Sainte Chapelle ("Holy Chapel") on the Île de la Cité in the centre of Paris. It is thought that the French monarchy was trying to establish the kingdom of France as the "new Jerusalem." Louis IX tried to make France, which was seen as being a very religious place, a protector of the Church. It worked, and between the 12th and 13th centuries, France and the pope were very close._______________________________________________________ Check out our website: https://www.friendsoftheword.org Join our community on Facebook: https://www.facebook.com/www.Friendsoftheword Donate and support FRIENDS OF THE WORD, INC.: PAYPAL.ME/FRIENDS OF THE WORD

Louis was Catholic, and he built the Sainte Chapelle ("Holy Chapel") on the Île de la Cité in the centre of Paris. It is thought that the French monarchy was trying to establish the kingdom of France as the "new Jerusalem."Louis IX tried to make France, which was seen as being a very religious place, a protector of the Church. It worked, and between the 12th and 13th centuries, France and the pope were very close._______________________________________________________Check out our website: https://www.friendsoftheword.orgJoin our community on Facebook: https://www.facebook.com/www.FriendsofthewordDonate and support FRIENDS OF THE WORD, INC.: PAYPAL.ME/FRIENDS OF THE WORD

Full Text of ReadingsWednesday of the Nineteenth Week in Ordinary Time Lectionary: 415All podcast readings are produced by the USCCB and are from the Catholic Lectionary, based on the New American Bible and approved for use in the United States _______________________________________The Saint of the day is Saint Jane Frances de Chantal"In Madame de Chantal I have found the perfect woman, whom Solomon had difficulty finding in Jerusalem". - St. Francis de Sales, her spiritual director.St. Jane Frances de Chantal was bornin Dijon, France, on January 28, 1572, anddiedatthe Visitation Convent Moulins on December 13, 1641. Jane (Jeanne) was born into nobility, her father being the president of the parliament of Burgundy. At age 20 she was married to the Baron de Chantal. Jane had four children, and loved and served her young family deeply until the death of her husband in a hunting accident at age 28.For seven years she was forced to live in the house of her father in law, a trial which she was forced to bare patiently due to his ill-disposition towards her, and it was during this time thatshe took a vow of perpetual chastity.In all of her prayers, Jane asked God to send her a guide. In a vision, He showed her the spiritual director thatHe held in reserve for her. During Lent, in 1604, she visited her father at Dijon, where St. Francis de Sales was preaching at the Sainte Chapelle. She recognized in him the mysterious director who had been shown toher, and sheplaced herself under his guidance. Then began the famous correspondence between the two saints which produced volumes of letters of spiritual direction, some of which are available today, but most of which were destroyed by her upon the death of St. Francis.She went to Annecy in 1610, where she believed God was calling her to found an order for women and girls who felt called to live the life of Christian perfection, but not practice the severe asceticism of the religious orders of the time.Thus the Congregation of the Visitation was canonically established at Annecy on June 6th, 1610, Trinity Sunday. The method of spiritual perfection of the Visitation nuns was that of St. Francis, which consisted in always keeping one's will united to the Divine will, in taking -so to speak- one's soul, heart, and longings into one's hands and giving them into God's keeping, and in seeking always to do what is pleasing to Him. There were 86 convents of the Visitation nuns at the time of her death 31 years later.St. Jane Frances de Chantal's spirituality was a strong and resilient one; she did not like to see her daughters giving way to human weaknesses, and encouraged constant battle against the passions and habits which keep one from following God's will.Her trials were continuous and borne bravely, and yet she was exceedingly sensitive. She endured interior crosses which, particularly during the last nine years of her life, kept her in an agony of soul, from which she was not freed until three months before her death. Her reputation for sanctity was widespread. Queens, princes, and princesses flocked to the reception-room of the Visitation. Wherever she went to establish foundations, the people gave her ovations. "These people", she would say confused, "do not know me-they are mistaken". Her body is venerated with that of St. Francis de Sales in the church of the Visitation at Annecy. She was canonized in 1767. Saint of the Day Copyright CNA, Catholic News Agency

durée : 00:03:33 - Clin d'oeil France Bleu Pays d'Auvergne - De style gothique flamboyant, la Sainte-Chapelle mesure 72 m de long. C'est l'un des plus beau monument de Riom! Elle est aujourd’hui la propriété du ministère de la Justice car incluse dans l'enceinte de la Cour d'Appel de Riom.

durée : 00:02:41 - Clin d'oeil France Bleu Pays d'Auvergne - Propriété du ministère de la justice, la Sainte Chapelle n’a plus de fonction officielle aujourd’hui à part nous régaler de ses merveilles.

Today’s episode is a trip report with Michelle Donnell Adzhemyan on a trip to Paris she took late August 2019 with her husband and two preschool children. Paris with Preschool Children: Good Idea? You may have wondered if taking your 4.5yo and 2.5yo to Paris is a good idea, and it probably wouldn't be for every family. But sometimes it works out great as you'll hear from Michelle on today's episode! Since Annie lived in the US when her only daughter was born, she made the long trip home to France to visit my family on many occasions, and traveling with young kids is not something most people look forward to. But it can be done, with class and panache, and it can be a very positive experience for the whole family. Tips for Enjoying Paris with Preschool Children In the episode Michelle talks about why they decided to take their two children and how they prepared them for the trip. They asked themselves all the right questions but still ran into a couple of minor mistakes you should avoid. And how difficult will it be finding bathrooms in Paris for a little boy who is in the middle of potty training? It wasn't hard in Paris, but it was a little more difficult in smaller cities. Michelle gives some great recommendations for apps, books, children's camera, stoller rental, French music, and where you can store your bags in Paris while you wait for your apartment to be ready. Discussed in this Episode 3 days in Paris [06:21] Why did you decide to take your preschool children? [07:21] Preparing preschool children for a trip to Paris [08:12] Language Apps for children [08:39] Most French people react positively to young children [10:25] Learning about the Thinking Man before the trip [[10:44] Paris Hide and Seek book [11:18] Mission Paris book [11:50] Bringing Up Bébé book [12:47] Annie's Spotify French music playlist [[14:41] Teaching the kids about pickpockets [15:53] Getting cameras for the children [16:50] Debating about taking a stroller or not [18:01] Company in Paris that will rent you a stroller if you need one [18:37] Strollers are not cheap in France [18:53] Dropping off bags at Nanny Bag [20:04] Check opening and closing hours! [20:50] Kids loved Notre Dame because they had seen the Disney movie [21:10] Quick visit to the Sainte Chapelle [22:02] River cruise with Vedettes du Pont Neuf [22:03] Don't schedule anything on your first day in Paris! [23:38] Enjoying the Place des Vosges [24:58] Listening to Annie's VoiceMap Tour in advance [26:08] Getting food at Maison Plisson [27:07] Plan on dinners at the airbnb [27:41] The Louvre isn't good for preschool children [28:09] Great visit to the Luxembourg Gardens [30:03] Save your legs for the venues by using Citymapper [30:20] No walking on the grass at the Luxembourg Gardens [32:16] French people don't understand Mexican food at all [33:23] Do a photoshoot! [33:55] Pickpockets at the Eiffel Tower [34:54] Preschoolers love the Eiffel Tower [35:21] A lovely dinner at Qui Plume la Lune [36:18] The Rodin Museum is great with preschool children [38:04] Dinner at L'Entrecôte [38:16] Going to Bordeaux and the Gers [39:38] When traveling with kids it's good to get out of big cities [40:10] The price of Uber rides in Paris [40:35] L'Atelier des Lumières is great with kids [42:40] Potty training in France [43:06] Have a separate room for the kids [43:48] It was all worth it! [45:20] Thank you Patrons and Donors! [46:56] Annie's Itinerary Review service [49:06] Support the show without spending a penny more [49:56] Top 10 Join Us in France episode of 2019 [50:34] 2020 plans for the Join Us in France Travel Podcast [55:35] Share the word about the podcast! [58:39] Show notes for this episode are here: https://joinusinfrance.com/265 Email | Annie's VoiceMap Tours | Facebook | Instagram | Pinterest | Twitter

durée : 00:03:21 - Clin d'oeil France Bleu Pays d'Auvergne - Au XIX ème siècle, la Sainte Chapelle devient une salle d’audience, une transformation qui a marqué son histoire.

durée : 00:03:27 - Clin d'oeil France Bleu Pays d'Auvergne - De style gothique flamboyant, la Sainte Chapelle mesure 72 m de long et étonne de par ses proportions ! Elle est aujourd’hui la propriété du ministère de la Justice car incluse dans l'enceinte de la Cour d'Appel de Riom.

durée : 00:03:23 - Clin d'oeil France Bleu Pays d'Auvergne - Construite au tournant du XVe siècle, sur le modèle de la Sainte-Chapelle de Paris, la Sainte Chapelle de Riom est l'une des sept Saintes - Chapelles qui subsistent en France. Elle est l’un des vestiges du palais ducal de Riom

Notre invité: Laurent Gauthier, vice-président de l'association Trad'Culture qui organise L'amuse-Trad De Dijon samedi pour fêter à sa manière la ré-ouverture du musée des Beaux-Arts. Coup d'envoi de sa 3ème édition à 10h30 au marché, dans les halles centrales. Musique festive dans les rues piétonnes de 14h30 à 16h15, concert tradi'défi à 16h30 place de la Sainte-Chapelle, Danse et musique autour du musée des Beaux-Arts dès 17h15 et bal folk salle Devosge à 20h ! Vous retrouvez le programme complet sur www.tradculture.com

Notre invité: Laurent Gauthier, vice-président de l'association Trad'Culture qui organise L'amuse-Trad De Dijon samedi pour fêter à sa manière la ré-ouverture du musée des Beaux-Arts. Coup d'envoi de sa 3ème édition à 10h30 au marché, dans les halles centrales. Musique festive dans les rues piétonnes de 14h30 à 16h15, concert tradi'défi à 16h30 place de la Sainte-Chapelle, Danse et musique autour du musée des Beaux-Arts dès 17h15 et bal folk salle Devosge à 20h ! Vous retrouvez le programme complet sur www.tradculture.com

Notre invité: Laurent Gauthier, vice-président de l’association Trad'Culture qui organise L'amuse-Trad De Dijon samedi pour fêter à sa manière la ré-ouverture du musée des Beaux-Arts. Coup d'envoi de sa 3ème édition à 10h30 au marché, dans les halles centrales. Musique festive dans les rues piétonnes de 14h30 à 16h15, concert tradi'défi à 16h30 place de la Sainte-Chapelle, Danse et musique autour du musée des Beaux-Arts dès 17h15 et bal folk salle Devosge à 20h ! Vous retrouvez le programme complet sur www.tradculture.com

Notre invité: Laurent Gauthier, vice-président de l’association Trad'Culture qui organise L'amuse-Trad De Dijon samedi pour fêter à sa manière la ré-ouverture du musée des Beaux-Arts. Coup d'envoi de sa 3ème édition à 10h30 au marché, dans les halles centrales. Musique festive dans les rues piétonnes de 14h30 à 16h15, concert tradi'défi à 16h30 place de la Sainte-Chapelle, Danse et musique autour du musée des Beaux-Arts dès 17h15 et bal folk salle Devosge à 20h ! Vous retrouvez le programme complet sur www.tradculture.com

Today,  I think it would be helpful to have an episode that takes a broad and wide view of The Shroud - that covers all of the basics, so that we're all on the same page. That's the focus of this episode - let's call it an overview of The Shroud of Turin, but the material we cover won't all be introductory level.  As I mentioned in the first episode, I first heard about The Shroud way back in the very early 80s from In Search of.   PLAY CLIP Hearing Mr. Spock - Leonard Nimoy - talking about The Shroud was fascinating to my young mind, and understanding that their might - just might - be a possible artifact from the time of Jesus - that Jesus actually touched - that could actually have a real picture of Jesus - inarguably the most famous person that ever lived - was mind-blowing. So, I read up on The Shroud as I grew older. Most of my Presbyterian church leaders didn't believe in The Shroud - dismissing it as a Catholic hoax, but I wasn't fully convinced. The fact is - once you see pictures of it, then you begin to take it at least a little bit seriously. If The Shroud is a fake - it is an amazing one, and the deeper you dig into it, the more remarkable it becomes.  Some Terms You Should Know:  Icon:  An icon is a religious work of art, usually a painting. Sometimes icons are statues or carvings, or other artistic renderings. Most of the time those pictured in icons are Jesus, Mary, or other saints in the Bible. Some Christians, including many Reformed Christians, consider paintings of Jesus to be violations of the second commandment of the Bible - "Thou shalt not make unto thee any graven image" The oldest surviving icon of Jesus - dating from the 500s - is copied below. Let's answer 4 big questions today in our overview:  What exactly is The Shroud? The Shroud of Turin is a linen cloth that is 14.5 feet long and 3 feet, 7 inches wide and has the somewhat faded negative image of a man on it.  Essentially think of the image like a photo-negative - the areas of dark and light are reversed. The darkest areas of the imprint of the man in The Shroud appear light, and vice-versa. The weave of The Shroud is a fine herringbone twill weave. I'm not an expert on textiles, but most experts that I've read seem to think that such a weave would have been possible and used in 1st century middle eastern areas. Like all things related to The Shroud, that is debatable.  The burial cloth of Jesus is indeed listed in the Scriptures, so we know that the body of Jesus was actually wrapped in a linen cloth. There is not enough of a description of that cloth to know whether or not The Shroud is similar. As many have pointed out, there is no Scripture whatsoever that seems to indicate some kind of miraculous imprint of Jesus was left on the burial cloths. To be fair, there is no Scripture to indicate that the disciples examined the cloths, only that they saw them. Considering that there is very little information in Scripture about what happened directly after the resurrection of Jesus, and that the Bible writers focused on The Great Commission there, I don't think it is a very strong argument from silence to say that because the Bible doesn't mention something miraculous regarding the burial cloths of Jesus, therefore it did not happen. John 19: 38 After this, Joseph of Arimathea, who was a disciple of Jesus—but secretly because of his fear of the Jews—asked Pilate that he might remove Jesus' body. Pilate gave him permission, so he came and took His body away. 39 Nicodemus (who had previously come to Him at night) also came, bringing a mixture of about 75 pounds of myrrh and aloes. 40 Then they took Jesus' body and wrapped it in linen cloths with the aromatic spices, according to the burial custom of the Jews. 41 There was a garden in the place where He was crucified. A new tomb was in the garden; no one had yet been placed in it. John 20: 20 On the first day of the week Mary Magdalene came to the tomb early, while it was still dark. She saw that the stone had been removed from the tomb. 2 So she ran to Simon Peter and to the other disciple, the one Jesus loved, and said to them, “They have taken the Lord out of the tomb, and we don't know where they have put Him!” 3 At that, Peter and the other disciple went out, heading for the tomb. 4 The two were running together, but the other disciple outran Peter and got to the tomb first. 5 Stooping down, he saw the linen cloths lying there, yet he did not go in. 6 Then, following him, Simon Peter came also. He entered the tomb and saw the linen cloths lying there. 7 The wrapping that had been on His head was not lying with the linen cloths but was folded up in a separate place by itself. 8 The other disciple, who had reached the tomb first, then entered the tomb, saw, and believed. 9 For they still did not understand the Scripture that He must rise from the dead.  The figure on The Shroud is interesting. He is tall - significantly taller than the average Jewish man of the first century, which was, according to different sources, somewhere between 5'2 and 5'5. The Shroud figure would be anything from around 5'8 to 6'2, with a figure around 5'11 seeming to be fairly likely. The man is well built and quite muscular, and has a beard, shoulder length hair, and a moustache. The Shroud is in excellent condition for its age, but not in mint condition. It has survived numerous fires and movings, and has some scars and singeing from fire. There were fourteen large patches and 16 or so smaller patches that were sewn onto The Shroud to repair it in the 1530s, all of those patches were removed in 2002 by a restoration team who sewed The Shroud onto a new cloth backing. What is the history of The Shroud? This question might have its own episode, because it is quite complex, and very, very disputed. Amongst the difficulties in determining the real history of The Shroud is the lack of photographic and artistic evidence, and the fact that there are more than one burial cloths that are claimed to be the burial cloth of Jesus. As you might know, the medieval period was quite focused on biblical relics, and many unscrupulous people profited greatly from displaying supposed pieces of the true cross, fingerbones of the apostles, grails used at The Last Supper, etc. Many who believe that The Shroud is genuine believe that the history of it can be traced all the way back to The Image of Edessa, which was supposedly given to King Abgar of Edessa by Thaddeus, one of the 70 disciples of Jesus mentioned in Luke 10 - possibly even the Judas Thaddeus that was one of the 12 apostles of Jesus. However, the connection to The Shroud and The Image of Edessa is fairly disputed and tenuous, and we won't discuss it yet. The Shroud of Turin can clearly trace its history to the 1300s. Geoffroi de Charny was a well known and well respected French knight, who was known as a great warrior and a man of honor. He wrote three books in chivalry, served King Jean II, was a founding member of The Order of The Star, and carried the Oriflamme into battle. The what, you say? The Oriflamme was the royal battle standard (or flag) of the French army, and it was a significant honor to be the knight who carried this banner into battle. De Charny was killed by five English knights in the 1356 Battle of Poitiers against the English, and his king was taken captive. Historian Jean Froissart describes De Charny's fall in that battle: “There Sir Geoffroi de Charny fought gallantly near the king (and his fourteen-year-old son). The whole press and cry of battle were upon him because he was carrying the king's sovereign banner [the Oriflamme]. He also had before him his own banner, red, with three white shields. So many English and Gascons came around him from all sides that they cracked open the king's battle formation and smashed it; there were so many English and Gascons that at least five of these men at arms attacked one [French] gentleman. Sir Geoffroi de Charny was killed with the banner of France in his hand, as other French banners fell to earth. So, real life Game of Thrones kind of material here. De Charny was obviously a pretty amazing person. There is some question about how he acquired The Shroud, which we will go into later, but one of the first undisputed images of The Shroud comes from a Pilgrimage of Lirey medal that dates to de Charny's time and area.  To give you a bit further of an idea into the character of Geoffroi de Charny, we can go to the record of the happenings before The Battle of Poitiers, to a meeting amongst the British and French leadership recorded by English Knight John Chandos (on the opposing side of de Charny): The King, to prolong the matter and to put off the battle, assembled and brought together all the barons of both sides. Of speech there he (the King) made no stint. There came the Count of Tancarville, and, as the list says, the Archbishop of Sens (Guillaume de Melun) was there, he of Taurus, of great discretion, Charny, Bouciquaut, and Clermont; all these went there for the council of the King of France. On the other side there came gladly the Earl of Warwick, the hoary-headed (white or grey headed) Earl of Suffolk was there, and Bartholomew de Burghersh, most privy to the Prince, and Audeley and Chandos, who at that time were of great repute. There they held their parliament, and each one spoke his mind. But their counsel I cannot relate, yet I know well, in very truth, as I hear in my record, that they could not be agreed, wherefore each one of them began to depart. Then said Geoffroi de Charny: 'Lords,' quoth he, 'since so it is that this treaty pleases you no more, I make offer that we fight you, a hundred against a hundred, choosing each one from his own side; and know well, whichever hundred be discomfited, all the others, know for sure, shall quit this field and let the quarrel be. I think that it will be best so, and that God will be gracious to us if the battle be avoided in which so many valiant men will be slain.” The Shroud stayed in the Di Charny family until 1453 when it was transferred to the House of Savoy, a royal family in northern Italy. In 1389, a Bishop Pierre D'arcis actually wrote about The Shroud, and said that it was a fake. I'll quote from his letter,  and then give some reasons that his conclusion is controversial: The case, Holy Father, stands thus. Some time since in this diocese of Troyes the Dean of a certain collegiate church, to wit, that of Lirey, falsely and deceitfully, being consumed with the passion of avarice, and not from any motive of devotion but only of gain, procured for his church a certain cloth cunningly painted, upon which by a clever sleight of hand was depicted the twofold image of one man, that is to say, the back and front, he falsely declaring and pretending that this was the actual shroud in which our Saviour Jesus Christ was enfolded in the tomb, and upon which the whole likeness of the Saviour had remained thus impressed together with the wounds which He bore. This story was put about not only in the kingdom of France, but, so to speak, throughout the world, so that from all parts people came together to view it. And further to attract the multitude so that money might cunningly be wrung from them, pretended miracles were worked, certain men being hired to represent themselves as healed at the moment of the exhibition of the shroud, which all believed to the shroud of our Lord. The Lord Henry of Poitiers, of pious memory, then Bishop of Troyes, becoming aware of this, and urged by many prudent persons to take action, as indeed was his duty in the exercise of his ordinary jurisdiction, set himself earnestly to work to fathom the truth of this matter. For many theologians and other wise persons declared that this could not be the real shroud of our Lord having the Saviour's likeness thus imprinted upon it, since the holy Gospel made no mention of any such imprint, while, if it had been true, it was quite unlikely that the holy Evangelists would have omitted to record it, or that the fact should have remained hidden until the present time. Eventually, after diligent inquiry and examination, he discovered the fraud and how the said cloth had been cunningly painted, the truth being attested by the artist who had painted it, to wit, that it was a work of human skill and not miraculously wrought or bestowed. Accordingly, after taking mature counsel with wise theologians and men of the law, seeing that he neither ought nor could allow the matter to pass, he began to institute formal proceedings against the said Dean and his accomplices in order to root out this false persuasion. They, seeing their wickedness discovered, hid away the said cloth so that the Ordinary could not find it, and they kept it hidden afterwards for thirty-four years or thereabouts down to the present year. I would consider this memorandum to be one of the stronger evidences against the authenticity of The Shroud. It fails to be completely convincing, however, for three primary reasons: D'Arcis' memo mentions that the Lirey Shroud was painted, and the painter confessed. The Turin Shroud shows no evidence or sign whatsoever of being painted, and it has been carefully and chemically analyzed for paint. There are several other documents of the same time period that dispute what is in this memorandum. For instance, D'Arcis claims that his predecessor had The Shroud removed because it was a fake, but other documents from the time assert that The Shroud was removed for protection because of war nearby. It is possible – though not proven – that D'Arcis memo was motivated by political issues, or perhaps by competing relic claims. D'Arcis was the Bishop of Troyes – was he disturbed/bothered by people flocking to nearby Lirey to see The Shroud? While his letter claims he is not writing for competitive purposes, it is easy to see why a Bishop of a nearby town – lacking a profound relic – might be opposed to The Shroud drawing crowds elsewhere.  That said, I certainly appreciate his anti-profit and anti-swindling the faithful stance, and wish more churchmen of the time held to it. This alone gives the memo an air of authority and authenticity.  3. The memo is unsigned, unsealed, and not found in any official Vatican records. This likely means it was unsent to the Antipope. Did D'Arcis reconsider the authenticity of The Shroud? What made him withhold the sending of the memo? In 1418, Geoffroi De Charny's granddaughter Margaret, married Humbert of Villersexel, the Count De La Roche, and a significant noble. One month later, the leaders of the Chapel at Lirey, where The Shroud was being kept, temporarily gave it to Count Humbert for safekeeping at his castle Montfort. Humbert dies in 1438, and Margaret hangs onto The Shroud, much to the annoyance of the canons at Lirey, and they sue her in church court to get it back. Margaret takes The Shroud with her on a tour of France, where it is seen by many frenchmen. Margaret dies in 1460, and in 1464, Duke Louis I of Savoy agrees to pay the church at Lirey a yearly stipend, seemingly in exchange for The Shroud. Thus ownership of The Shroud essentially passed into the hands of The Savoy family.  While The Savoy family had possession of The Shroud, they primarily had it kept in  Sainte-Chapelle in Chambery, which was the capital city of the Savoy region. It also toured around France and the parts of modern day Italy, being showcased in Turin in 1473 and a few other times. Unfortunately, in 1532, near-disaster strikes as Fire breaks out in the Sainte Chapelle, Chambéry. Almost everything in the chapel is damaged and destroyed, but The Shroud manages to survive. The case it is held in is seriously damaged by the fire, which causes a drop of molten silver to melt through The Shroud, and several obvious scorch marks are made. That said, the damage is not fatal to any important parts of the image, and the sisters of Poor Clare, tasked with caretaking of The Shroud, repair it in 1534, and sew it onto a new backing called The Holland cloth. In 1578 the Shroud was taken to Turin with great fanfare by The Savoy family. Upon arrival, it is greeted by rifle salute, and displayed to a crowd of 40,000 later in the year. With only a few exceptions, The Shroud has remained in Turin to this day. What have scientific tests shown so far? This is a most controversial question, because there have been dozens of scientific inquiries. I'll briefly focus on two scientific inquiries here - STURP's research in the late 70s and the radiocarbon dating from 1988. The radiocarbon dating is the one everybody knows about, so let's start there. In April, 1988, a very small portion of The Shroud was removed - approximately 3 inches long and a little over half an inch wide. That strip was cut in half, and The Vatican stored half it away for future testing. The remaining strip, approximately 1.5 inches long and a little over half an inch wide, was divided into 3 strips and send to three separate labs in Arizona, Oxford, England, and Switzerland. All three labs came back with results that were very similar, and the consensus was that The Shroud material dated from somewhere between the 1200s and the 1300s, which proved the relic to be a medieval hoax in most people's minds.  As with everything Shroud wise, there have been many criticisms of the original testing. Noted chemist Ray Rogers has written and published one of the more interesting challenges noting that the chemical vanillin was readily found in the samples of The Shroud used for radiocarbon dating, but completely absent from other parts of the main body of The Shroud.  Rogers claimed in the scientific journal Thermochimica Acta, "The fact that vanillin cannot be detected in the lignin on shroud fibers, Dead Sea scrolls linen, and other very old linens indicate that the shroud is quite old. A determination of the kinetics of vanillin loss suggest the shroud is between 1300 and 3000 years old. Even allowing for errors in the measurements and assumptions about storage conditions, the cloth is unlikely to be as young as 840 years" I do not understand textile chemistry nearly well enough to dispute or confirm Rogers' findings, but I am intrigued by then. More recently, research Tristan Casabianca's team found that the 1988 carbon dating was unreliable, as only pieces from the edges of the cloth were radiocarbon tested. Many scholars believe that The Shroud, particularly the edge parts, might have been compromised significantly by several of the fires that have impacted it, especially the 1532 fire. That fire, as well as centuries of display and handling could, in their view, radically alter results from radiocarbon dating.  Casabianca obtained a lot of insight into the 1988 radiocarbon testing via a freedom of information inquiry, and upon examining the original data and process of testing, concluded, “The tested samples are obviously heterogeneous from many different dates. There is no guarantee that all these samples, taken from one end of the shroud, are representative of the whole fabric. It is, therefore, impossible to conclude that the Shroud of Turin dates from the Middle Ages.” Shroud researcher Russ Breault, upon reviewing Casabianca's newly uncovered information, stated,  “this tells us there is something anomalous with the single sample used to date The Shroud. This is something we have long suspected because the corner chosen was absolutely the most handled area of the cloth, exactly where it was held up by hand for hundreds of public exhibitions over the centuries. If you were looking for the worst possible sample location, you would choose from one of the two outside corners — right where the sample was cut in 1988.” That said, it should be considered here that no scientist that specializes in radiocarbon testing has raised significant questions about the method of dating used in the 1988 testing. Summary of Sturp's 1978 findings:  No pigments, paints, dyes or stains have been found on the fibrils. X-ray, fluorescence and microchemistry on the fibrils preclude the possibility of paint being used as a method for creating the image. Ultra Violet and infrared evaluation confirm these studies. Computer image enhancement and analysis by a device known as a VP-8 image analyzer show that the image has unique, three-dimensional information encoded in it. Microchemical evaluation has indicated no evidence of any spices, oils, or any biochemicals known to be produced by the body in life or in death. It is clear that there has been a direct contact of the Shroud with a body, which explains certain features such as scourge marks, as well as the blood. However, while this type of contact might explain some of the features of the torso, it is totally incapable of explaining the image of the face with the high resolution that has been amply demonstrated by photography. The basic problem from a scientific point of view is that some explanations which might be tenable from a chemical point of view, are precluded by physics. Contrariwise, certain physical explanations which may be attractive are completely precluded by the chemistry. For an adequate explanation for the image of the Shroud, one must have an explanation which is scientifically sound, from a physical, chemical, biological and medical viewpoint. At the present, this type of solution does not appear to be obtainable by the best efforts of the members of the Shroud Team. Furthermore, experiments in physics and chemistry with old linen have failed to reproduce adequately the phenomenon presented by the Shroud of Turin. The scientific consensus is that the image was produced by something which resulted in oxidation, dehydration and conjugation of the polysaccharide structure of the microfibrils of the linen itself. Such changes can be duplicated in the laboratory by certain chemical and physical processes. A similar type of change in linen can be obtained by sulfuric acid or heat. However, there are no chemical or physical methods known which can account for the totality of the image, nor can any combination of physical, chemical, biological or medical circumstances explain the image adequately. Thus, the answer to the question of how the image was produced or what produced the image remains, now, as it has in the past, a mystery. We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of hemoglobin and also give a positive test for serum albumin. The image is an ongoing mystery and until further chemical studies are made, perhaps by this group of scientists, or perhaps by some scientists in the future, the problem remains unsolved. Why care? It doesn't prove anything one way or the other about Jesus, so in my mind, it is not a crucial artifact, and certainly shouldn't be used to prove or disprove somebody's faith. If the Shroud is ultimately proved to be a hoax, how big of a deal is that? I would say - religiously speaking - it is not a big deal at all. None of the Christian faith rests on The Shroud of Turin being genuine. While it is true that the burial cloth of Jesus is indeed mentioned a few times in the Bible, it is not given particular attention, and no central or tertiary claims of Christianity rest on the Shroud.  What if - somehow, someway, The Shroud was proven to be the genuine burial cloth of Jesus? I think that would be a HUGE deal...but not a religiously huge deal. Here's what I mean: If The Shroud could be authenticated, then what we would have is a cloth that was actually wrapped around the single most important and well-known person in all of history. Not only that, but we would have a near-photograph of Jesus, and we would know His size, and what He looked like. It would be incredible to know for sure whether or not The Shroud was genuine...but what would its genuineness prove? That Jesus existed? Sure, there are some people who doubt the existence of Jesus, but some people also doubt the moon-landing, and many other obvious facts of history but almost no serious scholar denies that Jesus existed. Would a genuine Shroud PROVE the resurrection of Jesus, which is the central claim of Christianity? Of course not! How could it? I believe beyond a shadow of a doubt that Jesus rose from the dead, but The Shroud could neither prove nor disprove that. In my understanding, The Shroud is an amazing historical artifact - especially if it is proved genuine - but it is not an amazing focus of faith.  To wit, in John 5, Jesus strongly challenged the people who were following him and said:  39 You search the Scriptures because you think that in them you have eternal life; and it is they that bear witness about me,40 yet you refuse to come to me that you may have life. A challenging verse that I think has application in this situation: The Shroud is not capable of saving people from their sins and should not be an object of religious veneration. All veneration and honor should go to Jesus. That said, The Shroud is still - if genuine - one of the most amazing pieces of history in the world. We should not worship it, but there is nothing wrong with being interested and fascinated by it. 

Today,  I think it would be helpful to have an episode that takes a broad and wide view of The Shroud - that covers all of the basics, so that we're all on the same page. That's the focus of this episode - let's call it an overview of The Shroud of Turin, but the material we cover won't all be introductory level.  As I mentioned in the first episode, I first heard about The Shroud way back in the very early 80s from In Search of.   PLAY CLIP Hearing Mr. Spock - Leonard Nimoy - talking about The Shroud was fascinating to my young mind, and understanding that their might - just might - be a possible artifact from the time of Jesus - that Jesus actually touched - that could actually have a real picture of Jesus - inarguably the most famous person that ever lived - was mind-blowing. So, I read up on The Shroud as I grew older. Most of my Presbyterian church leaders didn't believe in The Shroud - dismissing it as a Catholic hoax, but I wasn't fully convinced. The fact is - once you see pictures of it, then you begin to take it at least a little bit seriously. If The Shroud is a fake - it is an amazing one, and the deeper you dig into it, the more remarkable it becomes.  Some Terms You Should Know:  Icon:  An icon is a religious work of art, usually a painting. Sometimes icons are statues or carvings, or other artistic renderings. Most of the time those pictured in icons are Jesus, Mary, or other saints in the Bible. Some Christians, including many Reformed Christians, consider paintings of Jesus to be violations of the second commandment of the Bible - "Thou shalt not make unto thee any graven image" The oldest surviving icon of Jesus - dating from the 500s - is copied below. Let's answer 4 big questions today in our overview:  What exactly is The Shroud? The Shroud of Turin is a linen cloth that is 14.5 feet long and 3 feet, 7 inches wide and has the somewhat faded negative image of a man on it.  Essentially think of the image like a photo-negative - the areas of dark and light are reversed. The darkest areas of the imprint of the man in The Shroud appear light, and vice-versa. The weave of The Shroud is a fine herringbone twill weave. I'm not an expert on textiles, but most experts that I've read seem to think that such a weave would have been possible and used in 1st century middle eastern areas. Like all things related to The Shroud, that is debatable.  The burial cloth of Jesus is indeed listed in the Scriptures, so we know that the body of Jesus was actually wrapped in a linen cloth. There is not enough of a description of that cloth to know whether or not The Shroud is similar. As many have pointed out, there is no Scripture whatsoever that seems to indicate some kind of miraculous imprint of Jesus was left on the burial cloths. To be fair, there is no Scripture to indicate that the disciples examined the cloths, only that they saw them. Considering that there is very little information in Scripture about what happened directly after the resurrection of Jesus, and that the Bible writers focused on The Great Commission there, I don't think it is a very strong argument from silence to say that because the Bible doesn't mention something miraculous regarding the burial cloths of Jesus, therefore it did not happen. John 19: 38 After this, Joseph of Arimathea, who was a disciple of Jesus—but secretly because of his fear of the Jews—asked Pilate that he might remove Jesus' body. Pilate gave him permission, so he came and took His body away. 39 Nicodemus (who had previously come to Him at night) also came, bringing a mixture of about 75 pounds of myrrh and aloes. 40 Then they took Jesus' body and wrapped it in linen cloths with the aromatic spices, according to the burial custom of the Jews. 41 There was a garden in the place where He was crucified. A new tomb was in the garden; no one had yet been placed in it. John 20: 20 On the first day of the week Mary Magdalene came to the tomb early, while it was still dark. She saw that the stone had been removed from the tomb. 2 So she ran to Simon Peter and to the other disciple, the one Jesus loved, and said to them, “They have taken the Lord out of the tomb, and we don't know where they have put Him!” 3 At that, Peter and the other disciple went out, heading for the tomb. 4 The two were running together, but the other disciple outran Peter and got to the tomb first. 5 Stooping down, he saw the linen cloths lying there, yet he did not go in. 6 Then, following him, Simon Peter came also. He entered the tomb and saw the linen cloths lying there. 7 The wrapping that had been on His head was not lying with the linen cloths but was folded up in a separate place by itself. 8 The other disciple, who had reached the tomb first, then entered the tomb, saw, and believed. 9 For they still did not understand the Scripture that He must rise from the dead.  The figure on The Shroud is interesting. He is tall - significantly taller than the average Jewish man of the first century, which was, according to different sources, somewhere between 5'2 and 5'5. The Shroud figure would be anything from around 5'8 to 6'2, with a figure around 5'11 seeming to be fairly likely. The man is well built and quite muscular, and has a beard, shoulder length hair, and a moustache. The Shroud is in excellent condition for its age, but not in mint condition. It has survived numerous fires and movings, and has some scars and singeing from fire. There were fourteen large patches and 16 or so smaller patches that were sewn onto The Shroud to repair it in the 1530s, all of those patches were removed in 2002 by a restoration team who sewed The Shroud onto a new cloth backing. What is the history of The Shroud? This question might have its own episode, because it is quite complex, and very, very disputed. Amongst the difficulties in determining the real history of The Shroud is the lack of photographic and artistic evidence, and the fact that there are more than one burial cloths that are claimed to be the burial cloth of Jesus. As you might know, the medieval period was quite focused on biblical relics, and many unscrupulous people profited greatly from displaying supposed pieces of the true cross, fingerbones of the apostles, grails used at The Last Supper, etc. Many who believe that The Shroud is genuine believe that the history of it can be traced all the way back to The Image of Edessa, which was supposedly given to King Abgar of Edessa by Thaddeus, one of the 70 disciples of Jesus mentioned in Luke 10 - possibly even the Judas Thaddeus that was one of the 12 apostles of Jesus. However, the connection to The Shroud and The Image of Edessa is fairly disputed and tenuous, and we won't discuss it yet. The Shroud of Turin can clearly trace its history to the 1300s. Geoffroi de Charny was a well known and well respected French knight, who was known as a great warrior and a man of honor. He wrote three books in chivalry, served King Jean II, was a founding member of The Order of The Star, and carried the Oriflamme into battle. The what, you say? The Oriflamme was the royal battle standard (or flag) of the French army, and it was a significant honor to be the knight who carried this banner into battle. De Charny was killed by five English knights in the 1356 Battle of Poitiers against the English, and his king was taken captive. Historian Jean Froissart describes De Charny's fall in that battle: “There Sir Geoffroi de Charny fought gallantly near the king (and his fourteen-year-old son). The whole press and cry of battle were upon him because he was carrying the king's sovereign banner [the Oriflamme]. He also had before him his own banner, red, with three white shields. So many English and Gascons came around him from all sides that they cracked open the king's battle formation and smashed it; there were so many English and Gascons that at least five of these men at arms attacked one [French] gentleman. Sir Geoffroi de Charny was killed with the banner of France in his hand, as other French banners fell to earth. So, real life Game of Thrones kind of material here. De Charny was obviously a pretty amazing person. There is some question about how he acquired The Shroud, which we will go into later, but one of the first undisputed images of The Shroud comes from a Pilgrimage of Lirey medal that dates to de Charny's time and area.  To give you a bit further of an idea into the character of Geoffroi de Charny, we can go to the record of the happenings before The Battle of Poitiers, to a meeting amongst the British and French leadership recorded by English Knight John Chandos (on the opposing side of de Charny): The King, to prolong the matter and to put off the battle, assembled and brought together all the barons of both sides. Of speech there he (the King) made no stint. There came the Count of Tancarville, and, as the list says, the Archbishop of Sens (Guillaume de Melun) was there, he of Taurus, of great discretion, Charny, Bouciquaut, and Clermont; all these went there for the council of the King of France. On the other side there came gladly the Earl of Warwick, the hoary-headed (white or grey headed) Earl of Suffolk was there, and Bartholomew de Burghersh, most privy to the Prince, and Audeley and Chandos, who at that time were of great repute. There they held their parliament, and each one spoke his mind. But their counsel I cannot relate, yet I know well, in very truth, as I hear in my record, that they could not be agreed, wherefore each one of them began to depart. Then said Geoffroi de Charny: 'Lords,' quoth he, 'since so it is that this treaty pleases you no more, I make offer that we fight you, a hundred against a hundred, choosing each one from his own side; and know well, whichever hundred be discomfited, all the others, know for sure, shall quit this field and let the quarrel be. I think that it will be best so, and that God will be gracious to us if the battle be avoided in which so many valiant men will be slain.” The Shroud stayed in the Di Charny family until 1453 when it was transferred to the House of Savoy, a royal family in northern Italy. In 1389, a Bishop Pierre D'arcis actually wrote about The Shroud, and said that it was a fake. I'll quote from his letter,  and then give some reasons that his conclusion is controversial: The case, Holy Father, stands thus. Some time since in this diocese of Troyes the Dean of a certain collegiate church, to wit, that of Lirey, falsely and deceitfully, being consumed with the passion of avarice, and not from any motive of devotion but only of gain, procured for his church a certain cloth cunningly painted, upon which by a clever sleight of hand was depicted the twofold image of one man, that is to say, the back and front, he falsely declaring and pretending that this was the actual shroud in which our Saviour Jesus Christ was enfolded in the tomb, and upon which the whole likeness of the Saviour had remained thus impressed together with the wounds which He bore. This story was put about not only in the kingdom of France, but, so to speak, throughout the world, so that from all parts people came together to view it. And further to attract the multitude so that money might cunningly be wrung from them, pretended miracles were worked, certain men being hired to represent themselves as healed at the moment of the exhibition of the shroud, which all believed to the shroud of our Lord. The Lord Henry of Poitiers, of pious memory, then Bishop of Troyes, becoming aware of this, and urged by many prudent persons to take action, as indeed was his duty in the exercise of his ordinary jurisdiction, set himself earnestly to work to fathom the truth of this matter. For many theologians and other wise persons declared that this could not be the real shroud of our Lord having the Saviour's likeness thus imprinted upon it, since the holy Gospel made no mention of any such imprint, while, if it had been true, it was quite unlikely that the holy Evangelists would have omitted to record it, or that the fact should have remained hidden until the present time. Eventually, after diligent inquiry and examination, he discovered the fraud and how the said cloth had been cunningly painted, the truth being attested by the artist who had painted it, to wit, that it was a work of human skill and not miraculously wrought or bestowed. Accordingly, after taking mature counsel with wise theologians and men of the law, seeing that he neither ought nor could allow the matter to pass, he began to institute formal proceedings against the said Dean and his accomplices in order to root out this false persuasion. They, seeing their wickedness discovered, hid away the said cloth so that the Ordinary could not find it, and they kept it hidden afterwards for thirty-four years or thereabouts down to the present year. I would consider this memorandum to be one of the stronger evidences against the authenticity of The Shroud. It fails to be completely convincing, however, for three primary reasons: D'Arcis' memo mentions that the Lirey Shroud was painted, and the painter confessed. The Turin Shroud shows no evidence or sign whatsoever of being painted, and it has been carefully and chemically analyzed for paint. There are several other documents of the same time period that dispute what is in this memorandum. For instance, D'Arcis claims that his predecessor had The Shroud removed because it was a fake, but other documents from the time assert that The Shroud was removed for protection because of war nearby. It is possible – though not proven – that D'Arcis memo was motivated by political issues, or perhaps by competing relic claims. D'Arcis was the Bishop of Troyes – was he disturbed/bothered by people flocking to nearby Lirey to see The Shroud? While his letter claims he is not writing for competitive purposes, it is easy to see why a Bishop of a nearby town – lacking a profound relic – might be opposed to The Shroud drawing crowds elsewhere.  That said, I certainly appreciate his anti-profit and anti-swindling the faithful stance, and wish more churchmen of the time held to it. This alone gives the memo an air of authority and authenticity.  3. The memo is unsigned, unsealed, and not found in any official Vatican records. This likely means it was unsent to the Antipope. Did D'Arcis reconsider the authenticity of The Shroud? What made him withhold the sending of the memo? In 1418, Geoffroi De Charny's granddaughter Margaret, married Humbert of Villersexel, the Count De La Roche, and a significant noble. One month later, the leaders of the Chapel at Lirey, where The Shroud was being kept, temporarily gave it to Count Humbert for safekeeping at his castle Montfort. Humbert dies in 1438, and Margaret hangs onto The Shroud, much to the annoyance of the canons at Lirey, and they sue her in church court to get it back. Margaret takes The Shroud with her on a tour of France, where it is seen by many frenchmen. Margaret dies in 1460, and in 1464, Duke Louis I of Savoy agrees to pay the church at Lirey a yearly stipend, seemingly in exchange for The Shroud. Thus ownership of The Shroud essentially passed into the hands of The Savoy family.  While The Savoy family had possession of The Shroud, they primarily had it kept in  Sainte-Chapelle in Chambery, which was the capital city of the Savoy region. It also toured around France and the parts of modern day Italy, being showcased in Turin in 1473 and a few other times. Unfortunately, in 1532, near-disaster strikes as Fire breaks out in the Sainte Chapelle, Chambéry. Almost everything in the chapel is damaged and destroyed, but The Shroud manages to survive. The case it is held in is seriously damaged by the fire, which causes a drop of molten silver to melt through The Shroud, and several obvious scorch marks are made. That said, the damage is not fatal to any important parts of the image, and the sisters of Poor Clare, tasked with caretaking of The Shroud, repair it in 1534, and sew it onto a new backing called The Holland cloth. In 1578 the Shroud was taken to Turin with great fanfare by The Savoy family. Upon arrival, it is greeted by rifle salute, and displayed to a crowd of 40,000 later in the year. With only a few exceptions, The Shroud has remained in Turin to this day. What have scientific tests shown so far? This is a most controversial question, because there have been dozens of scientific inquiries. I'll briefly focus on two scientific inquiries here - STURP's research in the late 70s and the radiocarbon dating from 1988. The radiocarbon dating is the one everybody knows about, so let's start there. In April, 1988, a very small portion of The Shroud was removed - approximately 3 inches long and a little over half an inch wide. That strip was cut in half, and The Vatican stored half it away for future testing. The remaining strip, approximately 1.5 inches long and a little over half an inch wide, was divided into 3 strips and send to three separate labs in Arizona, Oxford, England, and Switzerland. All three labs came back with results that were very similar, and the consensus was that The Shroud material dated from somewhere between the 1200s and the 1300s, which proved the relic to be a medieval hoax in most people's minds.  As with everything Shroud wise, there have been many criticisms of the original testing. Noted chemist Ray Rogers has written and published one of the more interesting challenges noting that the chemical vanillin was readily found in the samples of The Shroud used for radiocarbon dating, but completely absent from other parts of the main body of The Shroud.  Rogers claimed in the scientific journal Thermochimica Acta, "The fact that vanillin cannot be detected in the lignin on shroud fibers, Dead Sea scrolls linen, and other very old linens indicate that the shroud is quite old. A determination of the kinetics of vanillin loss suggest the shroud is between 1300 and 3000 years old. Even allowing for errors in the measurements and assumptions about storage conditions, the cloth is unlikely to be as young as 840 years" I do not understand textile chemistry nearly well enough to dispute or confirm Rogers' findings, but I am intrigued by then. More recently, research Tristan Casabianca's team found that the 1988 carbon dating was unreliable, as only pieces from the edges of the cloth were radiocarbon tested. Many scholars believe that The Shroud, particularly the edge parts, might have been compromised significantly by several of the fires that have impacted it, especially the 1532 fire. That fire, as well as centuries of display and handling could, in their view, radically alter results from radiocarbon dating.  Casabianca obtained a lot of insight into the 1988 radiocarbon testing via a freedom of information inquiry, and upon examining the original data and process of testing, concluded, “The tested samples are obviously heterogeneous from many different dates. There is no guarantee that all these samples, taken from one end of the shroud, are representative of the whole fabric. It is, therefore, impossible to conclude that the Shroud of Turin dates from the Middle Ages.” Shroud researcher Russ Breault, upon reviewing Casabianca's newly uncovered information, stated,  “this tells us there is something anomalous with the single sample used to date The Shroud. This is something we have long suspected because the corner chosen was absolutely the most handled area of the cloth, exactly where it was held up by hand for hundreds of public exhibitions over the centuries. If you were looking for the worst possible sample location, you would choose from one of the two outside corners — right where the sample was cut in 1988.” That said, it should be considered here that no scientist that specializes in radiocarbon testing has raised significant questions about the method of dating used in the 1988 testing. Summary of Sturp's 1978 findings:  No pigments, paints, dyes or stains have been found on the fibrils. X-ray, fluorescence and microchemistry on the fibrils preclude the possibility of paint being used as a method for creating the image. Ultra Violet and infrared evaluation confirm these studies. Computer image enhancement and analysis by a device known as a VP-8 image analyzer show that the image has unique, three-dimensional information encoded in it. Microchemical evaluation has indicated no evidence of any spices, oils, or any biochemicals known to be produced by the body in life or in death. It is clear that there has been a direct contact of the Shroud with a body, which explains certain features such as scourge marks, as well as the blood. However, while this type of contact might explain some of the features of the torso, it is totally incapable of explaining the image of the face with the high resolution that has been amply demonstrated by photography. The basic problem from a scientific point of view is that some explanations which might be tenable from a chemical point of view, are precluded by physics. Contrariwise, certain physical explanations which may be attractive are completely precluded by the chemistry. For an adequate explanation for the image of the Shroud, one must have an explanation which is scientifically sound, from a physical, chemical, biological and medical viewpoint. At the present, this type of solution does not appear to be obtainable by the best efforts of the members of the Shroud Team. Furthermore, experiments in physics and chemistry with old linen have failed to reproduce adequately the phenomenon presented by the Shroud of Turin. The scientific consensus is that the image was produced by something which resulted in oxidation, dehydration and conjugation of the polysaccharide structure of the microfibrils of the linen itself. Such changes can be duplicated in the laboratory by certain chemical and physical processes. A similar type of change in linen can be obtained by sulfuric acid or heat. However, there are no chemical or physical methods known which can account for the totality of the image, nor can any combination of physical, chemical, biological or medical circumstances explain the image adequately. Thus, the answer to the question of how the image was produced or what produced the image remains, now, as it has in the past, a mystery. We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of hemoglobin and also give a positive test for serum albumin. The image is an ongoing mystery and until further chemical studies are made, perhaps by this group of scientists, or perhaps by some scientists in the future, the problem remains unsolved. Why care? It doesn't prove anything one way or the other about Jesus, so in my mind, it is not a crucial artifact, and certainly shouldn't be used to prove or disprove somebody's faith. If the Shroud is ultimately proved to be a hoax, how big of a deal is that? I would say - religiously speaking - it is not a big deal at all. None of the Christian faith rests on The Shroud of Turin being genuine. While it is true that the burial cloth of Jesus is indeed mentioned a few times in the Bible, it is not given particular attention, and no central or tertiary claims of Christianity rest on the Shroud.  What if - somehow, someway, The Shroud was proven to be the genuine burial cloth of Jesus? I think that would be a HUGE deal...but not a religiously huge deal. Here's what I mean: If The Shroud could be authenticated, then what we would have is a cloth that was actually wrapped around the single most important and well-known person in all of history. Not only that, but we would have a near-photograph of Jesus, and we would know His size, and what He looked like. It would be incredible to know for sure whether or not The Shroud was genuine...but what would its genuineness prove? That Jesus existed? Sure, there are some people who doubt the existence of Jesus, but some people also doubt the moon-landing, and many other obvious facts of history but almost no serious scholar denies that Jesus existed. Would a genuine Shroud PROVE the resurrection of Jesus, which is the central claim of Christianity? Of course not! How could it? I believe beyond a shadow of a doubt that Jesus rose from the dead, but The Shroud could neither prove nor disprove that. In my understanding, The Shroud is an amazing historical artifact - especially if it is proved genuine - but it is not an amazing focus of faith.  To wit, in John 5, Jesus strongly challenged the people who were following him and said:  39 You search the Scriptures because you think that in them you have eternal life; and it is they that bear witness about me,40 yet you refuse to come to me that you may have life. A challenging verse that I think has application in this situation: The Shroud is not capable of saving people from their sins and should not be an object of religious veneration. All veneration and honor should go to Jesus. That said, The Shroud is still - if genuine - one of the most amazing pieces of history in the world. We should not worship it, but there is nothing wrong with being interested and fascinated by it. 

Situata nel cuore di Parigi, l’Île de la Cité, è un capolavoro voluto da san Luigi Re per ospitare le reliquie della vera Croce e della Corona di Spine.

While holidaying in Europe we had the opportunity to visit Sainte-Chapelle, a 13th century Gothic church in Paris near Notre Dame, one of many hundreds of stunning churches throughout Europe. Apart from its beauty, it also inspired me to think about ‘the work’ that went into it, and how the results and impact of that work still live on today. Many of us stop to marvel at the incredible architecture and artisanship of this era, and the time and effort that went in to design and create exquisite works like these. Works that leave people awestruck at the vision and the execution, even centuries after the last stone was laid. Imagine what your business could become if you ‘designed’ and built it with the same precision as these architects did centuries ago. Imagine if you took the time to create something of beauty, to create a business and a lifestyle of beauty. What if you took the time to slowly and elegantly create something with a beautiful structure and abundance that lasts forever, that lasts as a legacy. Churches like Sainte-Chapelle weren’t built in a hurry. They weren’t rushed. They were built to last. A life that is worth recording, that is worth journaling, is worth taking the time to build also. So give some consideration to the time you're taking to build something worth having. It's beyond money. It's beyond building abundance in terms of your own game in the short to medium term. In Europe we also noticed that it’s not just the churches that last a long time. Businesses do too. So many businesses are handed down from generation to generation. They have been built to last, with a legacy of collective knowledge and wisdom that’s passed on to each successive generation. These are businesses that last a long time because they take the time to play the long game. Are you building a business to last? Useful Links: Mind Matters Website Catherine Connolly on LinkedIn Rex Urwin on LinkedIn Mind Matters Twitter  Mind Matters Facebook info@mindmatters.me See omnystudio.com/listener for privacy information.

Serena shares about her most recent trip to Helsinki, Tallinn, and Paris. Hear about a wide range of churches including the Church of the Rock (built into the side of a mountain), Notre Dame, Sacre Coeur, Sainte-Chapelle, and the Chartres labyrinth. Serena also gives us insight about eating from her travels like blueberry shooters in Helsinki and a taxidermy table set-up at a Tallinn restaurant. Be sure to hear Serena’s tip on what everyone should be sure and do when visiting Paris!Wish You Were Here:Ryan: Sydney AquariumCheryl: Walt Disney Family MuseumSerena: Notre Dame Aura, MontrealFollow us on Twitter & Instagram: @tmwypodcastLeave us a voicemail (or text message): (406)763-8699Email: tmwypodcast@gmail.com

Some of you are in a moment that feels like time has stopped. Your heart is so crushed that you don’t know what the next moment, the next day even holds. And you’re STILL standing. It is so hard to see now, but all of these moments are created something far bigger & much more beautiful than you can ever imagine. Inspired by a recent experience at Sainte-Chapelle de Paris and the story of it's restoration!  Here's an article about this incredible restoration.     

Paris, the City of Light, is a beacon of civilization. See majestic Notre-Dame, the stained glass of Sainte-Chapelle, the bohemian Left Bank, the River Seine, and the bustling city of today. Allow about four hours to do justice for this three-mile walk. Don't forget to download the PDF companion map at https://www.ricksteves.com/audiotours.

Paris, the City of Light, is a beacon of civilization. See majestic Notre-Dame, the stained glass of Sainte-Chapelle, the bohemian Left Bank, the River Seine, and the bustling city of today. Allow about four hours to do justice for this three-mile walk. Don't forget to download the PDF companion map at http://www.ricksteves.com/audiotours.

Trésors matriochkas

Jusqu’au 8 janvier 2018 se tient l’exposition « Le verre, un Moyen Âge inventif » au Musée de Cluny à Paris. Pour vous en donner un aperçu, Sophie Lagabrielle, commissaire de l’exposition, nous propose une petite visite guidée de l’exposition, une déambulation à travers les objets présentés. Elle nous parle des vitraux de la Sainte-Chapelle, du verre de Charlemagne et de miroirs convexes particuliers dont l’art a été perdu au fil des siècles. Les hors-séries de Passion Médiévistes vous montre comment le Moyen Âge vit aujourd’hui d’une façon différente des épisodes habituels du podcast, à travers des rencontres hors les murs avec des historiens de tous horizons. Le site du Musée de Cluny pour retrouver toutes les informations sur l’exposition : http://www.musee-moyenage.fr/activites/expositions/expositions-en-cours-.html Merci à Aline Demoiseau et à Sophie Lagabrielle pour leur aimable collaboration. Pour en savoir plus voici une sélection d’ouvrages extraites du riche catalogue de l’exposition « Le verre, un Moyen Âge inventif »: - Marcel Aubert , Le vitrail, Paris, 1946 - James Barrellet, La Verrerie en France, de l’époque gallo-romaine à nos jours, 1954 - Isabelle Biron (dir), Émaux sur métal du IXème au XIXème siècle. Histoire, technique et matériaux, Dijon, 2015 - Danièle Foy, Le verre médiéval et son artisanat en France méditerranéenne, Paris, 1988 - Pierre Pansier, Histoire des lunettes, Paris, 1901 Enregistrement au musée de Cluny en octobre 2017 Préparation, enregistrement et montage: Fanny Cohen Moreau Mixage : Lucas Ohresser Montage et mixage du générique : Moustaclem Musique du générique: Johannes Schmoelling - Time and Tide https://www.youtube.com/watch?v=RvVpjQJQweo Extraits sonores du générique: - Interview de Jacques Le Goff en 1991 (INA) https://www.youtube.com/watch?v=Y9R6ZvoeA4Q - Retour vers le futur 3 (Robert Zemeckis, 1990) - Gueule d'amour (Jean Grémillon, 1937)

In this episode, hosts Chandler O’Leary and Mary Holste discuss the City of Light. Topics including the Eiffel Tower, Sainte-Chapelle, the Museum of the Middle Ages, the Lady and the Unicorn, the Archeological Crypt, catacombs and...

Clement VII, one of the rival popes of the fourteenth century, after first trying to hush up those who would expose the shroud of Turin, signed papers declaring it a fraud. Supposedly, the artist who painted it acknowledged it as a forgery. According to contemporary documents, certain men, for hire, had pretended the "relic" cured them, giving it a reputation, because the forgers desired to make money off it. At that time Bishop Pierre D'Arcis excommunicated those who showed it, but they were raking in so much money they found ways to get around his decision. The Dukes of Savoy guarded the lucrative object. In 1502 the current Duke requested and obtained papal permission to build a chapel to exhibit the "holy" relic. The Sainte Chapelle of the Holy Shroud was officially completed on this day, June 11, 1502. With great fanfare the Shroud was exhibited and then locked away. Pope Julius II established a feast and mass for the shroud. Countless pilgrims visited the site. The shroud was reputed to have marvelous powers of protecting people. It could not, however, protect itself, and on December 4, 1532, its chapel caught fire. Brave individuals rushed in to rescue the cloth which had supposedly covered Christ in his burial. Before they could reach it, silver had melted and scorched the cloth and even burnt holes through it. When the Dukes of Savoy transferred their headquarters to Turin, the shroud went with them, and it is as the Shroud of Turin that it is best known. A black marble chapel was built for it there. 2 Thes. 2: 11 And for this cause God shall send them strong delusion, that they should believe a lie: 12 That they all might be damned who believed not the truth, but had pleasure in unrighteousness.

Join Us in France Travel Podcast To give feedback on this episode, call 801-806-1015 To learn about Join Us in France Tours, visit Addicted to France If you enjoy the show, subscribe to the Join Us in France Newsletter Click here for show notes and photos for this episode. Click here to review the show on iTunes. Join Us in France Book Group on Goodreads Click here to leave us a voice mail question or comment. Send email feedback: annie@joinusinfrance.com Follow the show on Facebook "People who have been to Paris before should not discount this tour because they are going to learn so much, my head got filled every day. And for people who have never been to Paris, what a great way to see Paris for the first time" --Steven Struck, Inaugural Tour member What You Will Learn About in this Episode 4'30 While leading the Inaugural Tour we ran into a lot of tour groups where there were so many people that it was just a one-way conversation.  It's like factory tourism. What we're doing is totally different because our groups are so small. 5'16 Touring with Annie and Elyse is like touring with family. 5'50 Because group members chose us based on the podcast, they were looking forward to it and knew what they were getting into. 6'20 We had group members from all over the US, we also had various ages, and it all worked out really well. 7'10 Our next Paris Tour is going to be October 1st through Oct 7th 2017 and we hope to announce 4 more Paris tours in 2018 as well. 8'50 Our tour started by going to a wine bar called Chez Nous, followed by a river Cruise on the Seine River. Next time we'll probably start a little earlier on Sunday and visit the Luxembourg Gardens. 9'45 Two guys who thought the Luxembourg Gardens were ugly. When you look at something with no context, it's hard to see the beauty or appreciate anything. 11'30 On Monday we didn't start too early 12' We lucked out on all the places we went to eat. Annie's goal was to keep it around 15€-20€ for lunch and 30€-35€ for dinner. We were looking for good value and we found it! 13' France is not a good place to keep a strict diet. No vacation is good for your diet, reallay, is it? We eat a lot of meat and dairy in France. Lots of duck and lamb, fish (fish is usually the "diet" choice on a French menu). But we also don't eat fried food very much in France. 17' We'll be looking for a good audio solution to use all the time. We had a whisper system in some of the museums, but even there, they limit you to a specific amount of time. So we'll be looking for a good solution. 17'50 Monday activities: Conciergerie (where Marie-Antoinette was held before she was beheaded), Sainte-Chapelle, restaurant Saint-Régis. 19' Annie being recognized by her voice, an eerie experience for sure! 20'41 Notre Dame, Place de la Concorde, the Orangerie. "Droit de parole" complications. They give you an appointment at a specific time, which is not always suitable. 22' Tuesday: Orsay Museum which isn't very big as far as Paris museums are concerned. Lunch by the big clock. Arc de Triomphe and Champs Elysées. In future tours we will do a drive by night that will include all the big sights of Paris by night. 25' Wednesday: Louvre Museum. If you want to have some peace in the Louvre you have to get off the beaten track and choose other pieces that are of interest to you ahead of time. There are lovely sections of decorative arts, music, Egypt, Roman and Greek, Babylonian, Islamic Arts, etc. Next time we do a tour we will spend a little time with each participant to help them decide about a good section for them so they can go explore that part and enjoy the Louvre with some peace and quiet. 29'30 Montmartre: Annie is not in love with the area, it's too touristy and crass. Elyse will plan a different itinerary where we don't spend so much time in the middle of the crowds. Wine tasting with a sommelier. Next time we'll take the time to have dinner right after the wine tasting. 31'20 Thursday: Opéra Garnier, Galleries Lafayettes, Musée Rodin, then we went to Montparnasse, ate at a crêperie, we got soaked that night. 34'20 Friday: Marais walk with Elyse, lunch at l'As du Fallafel, Picasso Museum, dinner at Bouillon Racine on rue Racine. 37'40 Saturday: we split up that day. Annie went to Père Lachaise and Steve from Florida helped greatly because of his surveyor powers. Elyse went to the Pantheon, Sorbonne, Saint-Eitenne-du-Mont church, the Cluny Museum and the Latin Quarter in general. Then we all met together at the Centre Pompidou which was an add-on, and had some free time. 45'30 Next time we will add more shopping time and we'll give people the choice of two different shopping areas. We'll also add some time at a flea market or food market and a drive by night Uber ride around Paris. Next time we'll choose a concert with more approachable music, probably not Notre Dame. 48'40 We will also add some excursions one day before the tour and another after the tour. We'll do a day at Giverny on the Saturday before the Tour and a whole day at Versaille on the Sunday after the Tour. For 2018 we'll set some dates for a Tour in April, another for May, then one in September and one in October. We won't do a Tour in July and August because it's too hot and June is too busy in Paris. 55' Annie didn't grow up wanting to be someone who evangelizes about France and a tour organizer, but Paris small group tours are so much fun, this is something worth investing time into. 56'38 Thank you for your support new Patreon donors Nancy Calkins, Todd Costella, and Stephanie Ellis. Thank you also Sophia Semensky and Paul Goess for tipping your guide. 58'37 Feedback on the previous episode on using Uber in Paris: using Uber between Disneyland and Paris city center. They had a really good experience using Uber in Paris, but it is true that most Uber drivers in Paris do not speak English. They had one bad experience with an Uber driver who never showed up at all and they grabbed a taxi instead. The Uber to get back to the airport to go home went well, but the ride took 1.5 hrs because the traffic was heavy. Feedback on the Inaugural Tour from Steven Struck, his impressions and experience as a tour member. He also shares about his experiences moving to France.   THANK YOU for listening to the show!

Aprenda francês com Nabil, um jovem marroquino que está em Paris há um ano e meio. Em seu país, ele vivia na beira do mar. Então, em Paris, ele gosta de passear na beira do Sena, porque ali ele encontra um ambiente parecido com sua casa. Nabil quer conhecer as diferentes atividades que podem ser encontradas nas margens do Sena, os “quais”. Axelle Carlier, nossa guia que tem um blog sobre Paris chamado “Paris Zigzag”, vai leva-lo ao quai Saint-Bernard, no jardim Tino-Rossi. As duas ilhas de Paris  L’île de la CitéL’île Saint-LouisSuperficieLa plus grande (22,5 ha)La plus petite (11 ha)HistoriqueBerceau de la capitale, habitée depuis 250 av. J.C.Urbanisée à partir de 1614ParticularitéClassée au patrimoine mondial de l’UNESCO, siège du pouvoir royal et épiscopalRésidence des bourgeoisMonuments la Conciergerie, le Palais de justice, la préfecture de police, l’Hôtel-DieuLes hôtels particuliers : Lambert, de Lauzun, de Chenizot…Les boutiquesLes édifices religieuxLa cathédrale Notre-Dame, la Sainte-Chapelle (concerts)L’église St-Louis en l’Île (concerts)Les pontsD’une rive à l’autre : le Pont-NeufDe l’île vers la rive droite : le pont au change, le pont Notre-Dame, le pont d’ArcoleDe l’île vers la rive gauche : le pont Saint-Michel, le Petit-Pont, le pont au Double, le pont de l’Archevêché D’une rive à l’autre : le pont de SullyDe l’île vers la rive droite : le pont Louis-Philippe, le pont MarieDe l’île vers la rive gauche : le pont de la TournelleRelie l’île Saint-Louis à l’île de la Cité : le pont Saint-Louis   Sainte Geneviève, a santa padroeira de Paris Sur le pont de la Tournelle, une statue moderne représente Sainte Geneviève, la sainte patronne de Paris. Elle protège symboliquement la ville contre les envahisseurs venant de l’Est. Histoire de Sainte Geneviève :- Née à Nanterre vers 420- Quand en 451 les Huns de Attila menacent la ville, elle persuade les Parisiens de ne pas s’affoler et de rester. Elle acquiert ainsi un grand prestige.- En 475, le chef franc, Childéric, assiège Paris et veut affamer ses habitants. Elle se rend en Champagne pour rapporter des vivres en bateau sur la Seine.- Après sa mort vers 500, sainte Geneviève continue de protéger Paris. A plusieurs reprises, la procession de ses reliques à travers la ville écarte l’ennemi.- Elle a donné son nom à la montagne Sainte-Geneviève, la colline où se trouve le Panthéon (qui était à l’origine l’église Sainte-Geneviève), et la bibliothèque universitaire Sainte-Geneviève.Atividades nas margens do Sena• Quai Saint-Bernard : jardin Tino-Rossi (musée d’art contemporain en plein air), les soirs d’été, danse (salsa, rock, tango…), pique-nique• Concorde : clubs, péniches luxueuses• Jussieu, quai de l’Arsenal, pointe de l’île Saint-Louis : pique-nique, boire des verres entre amis• Bibliothèque François-Mitterrand : jeune, branché, bars à cocktail, musique électronique• Paris Plages : l’été sur la rive droite, jeux de sable, piscine, pétanque, concerts… Trecho sonoro Axelle : Alors les Parisiens, donc, viennent sur les bords de Seine depuis très longtemps. Déjà en 1900, ils venaient se baigner. Les Parisiens péchaient, lavaient leurs chevaux, faisaient leur linge ici sur les quais. Donc les quais ont toujours été très fréquentés pour la détente, le loisir, la maison, mais vraiment les clubs et les bars, ça c’est très moderne.Nabil : Et on peut nager toujours ici dans la Seine ou… ?Axelle : Alors non, maintenant elle est très polluée à cause surtout des bateaux, des péniches, des Bateaux-Mouches, donc on ne peut plus du tout se baigner dans la Seine ! C’est très dangereux, je le déconseille ! Links Le blog « Paris Zigzag »Les nouveaux aménagements sur les quais rive gaucheParis Plages 

  Join Us in France Travel Podcast On today's episode we discuss the Sainte Chapelle in Paris. It was the King's private chapel, and this one place in Paris that will make you feel like a king too. This should be on everyone's top-10 for Paris, even for people who don't enjoy visiting churches. The Sainte Chapelle has not been a church for a long time. Today it is used for concerts and is a popular place to visit.  In this episode we discuss how the Sainte Chapelle came to be, the treasures it displayed, and why it is considered to be a masterpiece of Gothic style buildings. Subscribe to the email extras and bonuses Ask a question or leave a voicemail comment: +1 801 806 1015 To learn about Join Us in France Tours, visit Addicted to France Click here to support the show when you shop on Amazon Click here for show notes with time stamps for this episode. https://joinusinfrance.com/3 Click here to review the show on iTunes. See Annie's photos of France on Instagram Join Us in France Book Group on Goodreads Send email feedback: annie@joinusinfrance.com Follow the show on Facebook

The best original Gothic stained glass is found in the Sainte-Chapelle church in Paris. Step inside and be overwhelmed by the dazzling light-filled interior. Its architectural harmony is due to the fact that it was completed in only six years — unheard of in medieval times (nearby Notre-Dame took over 200 years!). For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

The best original Gothic stained glass is found in the Sainte-Chapelle church in Paris. Step inside and be overwhelmed by the dazzling light-filled interior. Its architectural harmony is due to the fact that it was completed in only six years — unheard of in medieval times (nearby Notre-Dame took over 200 years!). For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

This episode was replayed 18th & 25th August - we made a decision to turn Shadowplay into a monthly radio show, rather than weekly ;) - 'Sacrifice' by Aghast (Hexerei Im Zwielicht Der Finsternis) - 'Broken Glass Wings' by Mortuo Similis (Cabinet Of Velvet Dreams) - 'Kriminal Tango (featuring Andi Sexgang)' by The Deadfly Ensemble (An Entire Wardrobe Of Doubt & Uncertainty) - 'Ichorous Pus' by Holy Cow (Call It What You Will) - 'Hoax' by The Veil (Surrender) - 'New Church' by Lords Of The New Church (Monsters Of Goth comp.) - 'The Wind Blows' by Skeletal Family (Burning Oil) - 'Dreams For Mother' by Christian Death (Only Theatre Of Pain) - 'I'm Not Here' by Superheroines (Anthology 1982-85) - 'Il Buio Su Roma' by Avant-Garde (Antitesi) - 'Hospital' by Naughty Zombies (Lost Songs) - 'Emboscada' by Mansion 13-13 (Demo) - 'Letters' by Mask For (Mask For EP) - 'Die Kunst' by L'Avis G821 (Musique en la Sainte Chapelle)

The seventh season of Rick Steves' Europe — 14 new episodes — debuts this Fall on public television (check your local listings). Returning to Europe's "City of Light," we ride a unicorn into the Middle Ages at the Cluny Museum, take a midnight Paris joyride in a classic car, get an extremely close-up look at heavenly stained glass in Sainte-Chapelle, go on a tombstone pilgrimage at Père Lachaise Cemetery, and savor the Parisian café scene. Few cites are so confident in their expertise in good living — and as travelers, we get to share in that uniquely Parisian "joie de vivre." For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

The seventh season of Rick Steves' Europe — 14 new episodes — debuts this Fall on public television (check your local listings). Returning to Europe's "City of Light," we ride a unicorn into the Middle Ages at the Cluny Museum, take a midnight Paris joyride in a classic car, get an extremely close-up look at heavenly stained glass in Sainte-Chapelle, go on a tombstone pilgrimage at Père Lachaise Cemetery, and savor the Parisian café scene. Few cites are so confident in their expertise in good living — and as travelers, we get to share in that uniquely Parisian "joie de vivre." For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

Sainte Chapelle. Type:Monument What to do, what to see around Things to see: Stained glass Nearby The flower Market The Palais de Justice The Conciergerie where Marie Antoinette was jailed Notre-Dame cathedral Metro: Cité (4) Address: 4, boulevard du Palais District: Iles Cité-Saint Louis Tel: 0153406080 Fax: Paris Price: 6,10 euros Reduced rate: Free under 18 Opening Time: March to October: 9h30 - 18h November to February: 9h - 17h www.cityzeum.com – All right reserved – Travel guides and audio guides to download on iPod, mobile phone, GPS, handheld for main cities in the world : Paris, London, Roma, Barcelona, Amsterdam, Brussels, …

Sainte Chapelle. Type:Monument What to do, what to see around Things to see: Stained glass Nearby The flower Market The Palais de Justice The Conciergerie where Marie Antoinette was jailed Notre-Dame cathedral Metro: Cité (4) Address: 4, boulevard du Palais District: Iles Cité-Saint Louis Tel: 0153406080 Fax: Paris Price: 6,10 euros Reduced rate: Free under 18 Opening Time: March to October: 9h30 - 18h November to February: 9h - 17h www.cityzeum.com – All right reserved – Travel guides and audio guides to download on iPod, mobile phone, GPS, handheld for main cities in the world : Paris, London, Roma, Barcelona, Amsterdam, Brussels, …

This is episode 10 in the on-going epic saga of the Chinese Marco Polo – Rabban Sauma.Realizing he couldn't get anything done in Rome since there was no Pope, and that the dozen cardinals charged with the task of selecting him were competing for the post, Sauma decided to take his request for a military alliance between Christian Europe and Mongol Persia against the Muslims Mamluks in the Middle East, directly to the Kings of France and England.Leaving Rome, he stopped in Genoa on his way to North. Since Genoa had for some years maintained a thriving trade with the Ilkhanate, that is the Mongols in Persia, Sauma had every reason to expect a warm welcome. He wasn't disappointed. It didn't hurt that one of the interpreters who'd accompanied him from Persia was a native-born Genoese merchant.Genoa was at the height of its prosperity when Sauma visited, boasting a population of 70,000, one of the largest in Europe. Its merchants were savvy negotiators who'd been able to arrange deals not only around the Mediterranean but reaching into the Far East. While other Italian City-States like Naples and Venice set up lucrative trade routes with select partners, Genoa was able to walk a tight-rope of diplomacy across dozens of partners who were otherwise in conflict with each other. Because of their wide-ranging connections, many realms of thought and practice combined to influence the intellectual life of Genoa. It was a truly cosmopolitan city whose routine wasn't knocked off kilter by the arrival of an Embassy form the Far East.While the commerce of Genoa was well established, its government was another matter. Genoa seemed unable to find a political system that satisfied the city's need for longer than a decade. At the time of Sauma's visit, the city's ruler was called a Captain of the People, or Citizens. He rallied the population of Genoa to officially welcome Sauma's party. Sauma was confused; not able to understand how such a large city wasn't ruled by a king. Knowing how far-reaching Genoa's trade was, Sauma wondered if it might even have been better ruled by an Emperor.Once settled into the accommodations made available to him, Sauma plotted his next moves. If it occurred to him to ask the Genoese to join an alliance against the Mamluks, he quickly put it aside. The Genoese would not be drawn into a war with a force that dominated the entire Eastern Med. In fact, forging treaties was what they were known for. When they went to war, it was with their rival Italian City-States, all for the golden prize of increasing trade with everyone else. And Genoa was at that time gearing up for a campaign against their major rival Venice, which it would soon best.So, after visiting the religious sites in an near Genoa, Sauma once again packed up and headed north toward France.Sauma's hope of help from the French was keen. After all King Louis IX, known to history as St. Louis, had played a major role in 2 Crusades to liberate the Middle East from the Muslim presence. But his son, Philip III, known as Philip the Bold, had been more concerned with securing his control of France and her neighbors. His son, Philip IV, known as Philip the Fair and later as The Iron King, had only been on the throne for 2 yrs when Sauma arrived in Paris. Barely 20 yrs of age, everyone wondered if he'd reprise the career of his famous grandfather or his more mundane father. It seemed a most propitious time for the Rabban's embassy, as setting out on a new Crusade to liberate the Holy Land from the Mamluks would appeal to the energy and ambitions of a young ruler seeking to make his mark.Arriving at the French border in August of 1287, Sauma's party was greeted by a large force sent by the King to escort him to Paris. They entered the City at the end of September to much pomp & circumstance. Sauma was then ushered to palatial digs provided by King Philip. And  it was time for a break for the Chinese Monk-ambassador.The trip from Genoa to Paris took a month. While the journey was nowhere near as arduous as that which he'd undertaken a decade before from China to Persia, he was now in his 60's and the entire adventure was taken a toll on his aging body. He's been traveling for the past 6 months from Persia, to the Black Sea, Constantinople, Naples, Rome, Genoa, and now Paris. Keep in mind there were no Holiday, Ramada or Quality Inns along the way. The caravanserais they'd enjoyed earlier were far away in Asia. They overnighted either along the roadside or in small public houses where the bedding was rarely changed. The quality of the food was most often abysmal because it was the only thing to be had by travelers.So by the time Sauma arrived in Paris, he was exhausted and needed to rest. Philip recognized that and set aside three days for him to recoup. Then he sent a formal invitation for the Nestorian monk to attend an official audience with his majesty. When Sauma arrived at court, Philip rose to greet him; an unusual gesture for a European monarch at that time. Guests at court were usually required to process a long path to the dais holding the throne, stopping at the foot of the stairs, they then bowed and remained thus in a posture of supplication until told to stand. The entire time the king remained seated. Rising to greet Sauma was a surprising move on Philip's part because it signaled the court the French King viewed Sauma as an equal.Then, it was down to business. Why, Philip asked, as Sauma there? What did he want? Why had he come and who'd sent him?If Sauma was surprised by the bluntness of the king's query, he recovered quickly and responded in kind. He told Philip that while originally set on a religious pilgrimage endorsed and sponsored by the Great Khubilai Khan in China, he'd been made the Mongol Ilkhanate in Persia's official envoy back to Khubilai's court. But before returning to China to fulfill that task, he'd been given a special assignment: Travel West to the Christian rulers of Western Europe, asking them for an alliance with the Ilkhanate against the Mamluks and recovery Jerusalem from Muslim control. Sauma then handed Philip the letter and gifts from Ilkhan Arghun. These gifts were most likely the kinds of things that would convey the seriousness of the embassy, but could be easily transported by individuals traveling light; jewels, small packages of luxurious silk cloth, so highly prized by the elite of Western Europe.Sauma reports the French King was favorable toward the proposed alliance. Philip was moved by the Mongols desire to free Jerusalem from Muslim hegemony, even though those Mongols weren't officially Christian. Philip remarked that Christian Europe ought to rise to the challenge presented by the Ilkhans. Rabban Sauma was equally impressed by the King's devotion to the Faith and his interest in embarking on a new Crusade. For the first time, Sauma's mission to the West seemed to be bearing fruit.BUT: Sauma wasn't hip to European politics which had shaped Philip's exuberant response. Philip was less interested in a Crusade to recapture the Holy Land as he was in securing his control over the contested domains of his north. Ever since ascending the throne, he'd been in contention with England's King Edward I who owed him fealty in Gascony. In the Spring of 1286, Edward went to Paris to pay Philip honor as his suzerain. But Philip never bought this show of fealty. He had reason to distrust Edward since England backed France's enemies in the contentious affairs in Aragon. Tensions between the two rulers grew until war broke out in 1294.Another trouble Philip dealt with was a degenerating relationship with the Roman Church. Needing funds in his campaigns to secure the North, the French monarch confiscated the tithes destined for Rome. His nobles already struggled with the burdensome taxes the crown had levied. The only place to secure the much-needed funds was the Church. So in an appeal to nationalism, Philip said French gold and silver ought to stay in France, not shipped off to Rome and the interests of the Pope, whose schemes were cast as contrary to French well-being. All of this would later lead to the major rift that occurred between the French crown and Papacy that we covered in Season One of CS.While Philip's enthusiastic response to Sauma's appeal was no doubt sincere, on further reflection, Philip realized mounting a new Crusade wasn't practical. At least not in the short term. Maybe after movement on his domestic fronts, a Crusade could be staged.On Sauma's part, having achieved seeming success on the official phase of his embassy, he turned to his personal adventure; visiting the religious sites of Paris and its environs. Philip assigned him an escort and off they went visiting churches and shrines; Sauma once again focusing on relics rather than the marvelous architecture and art.The Rabban was stunned by the large number of students in Paris, which was one of the sites of the new centers of learning called universities. He reports there were 30,000 students in the City.And that brings up a point of historical tension it might be wise for us to skim the surface of.As many subscribers know, the value of numbers in reporting of history has been a contentious issue for a long time. The tension comes over the almost universal tendency of ancient historians to give big numbers while many modern historians are committed to reducing those numbers to a tenth of the original. We see that here. Sauma says Paris had 30,000 students. Modern historians say the City of that time had maybe 3,000. This assumed inflation of numbers by the ancients and chroniclers of yore is just about universal among modern historians. Some wonder if that skepticism is valid. The fact that nearly ALL pre-modern accounts give much larger figures than modern historians allow is provocative. Recent archaeology has caused historians to revise their estimates of population upwards in some cases, significantly.It'll be interesting for those of us who are historically interested, to watch what happens in the realm of statistics over the next few years as researchers review past assumptions in light of new evidence. Since I tend to give the ancients more credit for veracity, I suspect we'll see a revising of the numbers upward, dramatically.The University of Paris's primary course of study was theology. But the school quickly branched out into other areas, including law, medicine, philosophy, rhetoric, and math. The pursuit of these subjects was boosted by a renewal of interest in the recently-published works of Aristotle.As a self-taught scholar who'd studied everything he could get his hands on back in China, Sauma quite impressed with Paris' schools.Sauma's chronicle relates his impression of the gorgeous Church of Saint-Denis where French monarchs were interred. He mentions the Chapel of Sainte-Chapelle, but he gives no mention of the nearby Notre Dame; the pride and joy of Paris whose spire could be seen from anywhere in the city. Indeed, Notre Dame and Paris become synonymous. So why does the Rabban omit it from his account? Several opinions are given, probably the best of which is the most obvious. Sauma was a Nestorian monk. He belonged to the Church of the East, a branch of the Faith severed from the West over the identity of Mary. Was she Theotokos, the Mother of God as the West said, or Christotokos, Mother of Christ, as the East said? The Cathedral of Notre Dame was all about the Virgin Mary. Sauma most likely left off mentioning his visit to Notre Dame because of his desire to not end up saying a bunch of critical things about his stay.We'll finish up his time in Paris and get into his trip north to meet the King of England in our next episode as we move to conclude the amazing tale of Rabban Sauma.