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                <text>The monument is placed at the top of Sosinos Hill, which is the site of Moni Sosinou and commands a spectacular view over the Kalamas River valley, the site of the early battles of the Italo-Elleniko War in 1940-41. The truncated pyramid is topped with a bronze cross and bears a bronze commemorative plaque. The monument stands at the western end of a stone-built plaza with incorporated benches, trees for shade, and stairs to a semi-circular overlook point. The monument is the site of yearly wreath commemorations.</text>
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                <text>This bust statue stands in the side yard of the Kalpaki War Museum. The cast bronze bust of Colonel Fritzis stands atop a marble pillar inscribed with his name, the date of his death, and the donation of the statue by the War Museum.</text>
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                <text>Áno Ravénia, Ioánnina, Epirus, Greece</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>A marble-faced stele, set on a two step base carries the names of 29 individuals lost because of wars between 1940 - 1949. No ages or birthplaces are given, but presumably all are from the village of Ano Ravenia where the monument is located. The monument is set in a grove with a cedar tree, approached by stairs from the main road and surrounded with a wrought iron fence.</text>
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                <text>Ligopsá, Ioánnina, Epirus, Greece</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="408">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu. </text>
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            <name>Date</name>
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                <text>1908-1955 (Date of Event) ; unknown (Date of Construction)</text>
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            <description>A name given to the resource</description>
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                <text>This stele memorial set on four marble steps is enclosed in a garden space at the outskirts of the village of Ligopsa. The inscribed stele lists the names of men who died for their country from 1908 - 1955. A cannonball sits on the top of the stele.</text>
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                <text>ΕΙΣ ΜΝΗΜΗΝ ΤΩΝ ΥΠΕΡ ΠΑΤΡΙΔΟΣ ΠΕΣΟΝΤΕΣ\ ΙΩΑΝΝΗΣ ΗΛ. ΛΑΛΟΣ\1908\ΚΩΝ[ΣΤΑΝΤΙ]ΝΟΣ Ι. ΧΑΝΤΖΙΑΡΑΣ\1913\ΗΛΙΑΣ ΔΗΜ. ΔΗΜΟΣ\ΑΠΟΣ. ΚΟΣ. ΤΣΙΓΚΑΣ/ ΒΑΣΙΛ. ΑΝ. ΜΠΑΙΜΑΚΑΣ/ ΓΕΩΡ. ΚΩΝ. ΤΣΕΚΑΣ/ ΔΗΜ. ΚΩΝ ΜΑΝΤΖΙΚΑΣ\ 1921\ ΠΑΝΑΓ. ΑΠ. ΧΑΡΙΣΗΣ\1940\ΙΩΑΝΝΗΣ Ν. ΤΖΙΚΗΣ\1948\ΘΕΟΔΩΡΟΣ Γ. ΔΗΜΟΣ\1949\ ΑΝΑΣΤ. Κ. ΚΛΙΤΣΑΣ\1951\ ΙΩΑΝΝΗΣ ΑΡ. ΚΥΡΙΟΥ\1955\ΓΕΩΡ. Δ. ΚΟΝΤΟΓΙΑΝΝΗΣ\1947 ; In memory of those who fell on behalf of the fatherland: Ioannis Elias Lalos, 1908; Konstantinos I. Chadziaras, 1913; Elias Dimitrios Dimos, Apostalis Kostas Tsingas, Vasileios An. Baimakas, Georgios Konstantinos Tsekas, Dimitrios Konstantinos Madzikas, 1921; Panagiotis Apostalis Charisis, 1940; Ioannis N. Tsikis, 1948; Theodoros G. Dimos, 1949; Anastasios K. Klitsas, 1951; Ioannis Ap. Kyriou, 1955; Georgios D. Kontogiannis, 1947.</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>war memorials; cemeteries</text>
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                <text>November 14, 1940 (Date of Event) ; June 2008 (Date of Construction)</text>
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                <text>This enclosed cemetery is approached by a staircase and pavement, which is the approach to 43 adjacent tombs. The pavement has a mosaic of the word ΟΧΙ, "no" arranged in the middle of it. Each tomb has a cross laid on it and is marked by a second cross that either has the name of the deceased or the word, ΑΓΝΩΣΤΟΣ, "unknown" on it. All 43 names of the deceased, 18 of which are Etoloakarnanians, or regional dwellers, are inscribed on three plaques behind the row of tombs, but presumably not every name could be matched to a set of bones. The three plaques bearing the names of the deceased front a base on which is a monument cross. At the base of this cross there is a plaque commemorating the battle and its date. There are decaying memorial wreaths at the base of the cross and votive candle, which are still lit. A Greek flag stands to the left of the cross. The entire cemetery is enclosed by a low stone-built wall and a wrought iron fence with small cross painted white at the top of each palisade. There is a large parking lot and a magnificent view of the Pindus mountains at the spot.</text>
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                <text>ΣΕ ΜΝΗΜΗ\ 43 ΑΞΚΩΝ ΚΑΙ ΕΘΖΩΝΩΝ\ ΠΕΣΟΝΤΩΝ ΗΡΩΙΚΩΣ ΚΑΤΑ\ ΤΙΣ ΜΑΧΕΣ ΠΕΡΙΟΧΗΣ\ ΒΙΓΛΑΣ (14-17 ΝΟΕ 1940) \ ΕΝΑΝΤΙΟΝ ΤΩΝ ΙΤΑΛΙΚΩΝ\ ΔΥΝΑΜΕΩΝ ΕΙΣΒΟΛΗΣ ΕΚ ΤΩΝ\ ΟΠΟΙΩΝ 18 ΑΙΤΩΛΟΑΚΑΡΝΑΝΕΣ\ ΕΝΤΑΦΙΑΣΤΗΚΑΝ ΕΝΤΑΥΘΑ\ ΙΟΥΝ. 2008 ; In memory of 43 officers and soliders who fell bravely in the battle of the region of Viglas (14 - 17 November 1940) against the invasion of Italian forces out of which 18 Etoloakarnanians are buried in this place. June 2008.; ΠΕΣΟΝΤΕΣ\ 2/39 ΣΥΤΑΓΜΑΤΟΣ ΕΥΖΩΝΩΝ\ (14-17 ΝΟΕΜΒΡΙΟΥ 1940)\ ΑΞΚΟΙ\ ΥΠΑΓΟΣ ΧΟΡΜΟΒΑΣ ΝΙΚΟΛΑΟΣ\ΑΝΘΑΓΟΣ ΝΙΚΑΣ ΒΕΝΙΖΕΛΟΣ\ ΕΦ. ΑΝΘΑΓΟΣ ΤΣΙΦΚΑΣ ΑΝΔΡΕΑΣ\'' ΜΠΟΥΡΤΣΑΛΑΣ ΔΗΜΗΤΡΙΟΣ\ '' ΣΤΕΡΠΑΚΗΣ ΕΥΘΥΜΙΟΣ\ ΟΠΛΙΤΕΣ\ ΕΦ. ΛΧΙΑΣ ΚΑΛΥΒΑΣ ΒΑΣΙΛΕΙΟΣ\ '' ΠΑΠΑΣΠΥΡΟΥ ΔΗΜΗΤΡΙΟΣ\ ΕΦ. ΔΝΕΑΣ ΠΑΠΑΝΤΩΝΗΣ ΧΑΡΙΛ\ '' ΑΣΗΜΑΚΗΣ ΑΛΕΞΑΝΔΡΟΣ\ ΣΤΡΤΗΣ ΓΕΩΡΓΟΠΟΥΛΟΣ ΧΑΡΙΛ\ '' ΓΩΓΑΚΗΣ ΑΠΟΣΤΟΛΟΣ\ '' ΚΟΥΚΑΣ ΔΗΜΗΤΡΙΟΣ\ '' ΛΑΚΚΗΣ ΙΩΑΝΝΗΣ\ ΣΤΡΤΗΣ ΚΑΛΟΓΕΡΑΣ ΔΗΜΗΤΡΙΟΣ\'' ΞΗΡΟΣ ΦΩΤΙΟΣ\ '' ΛΑΜΠΟΣ ΑΘΑΝΑΣΙΟΣ\ '' ΠΑΠΑΝΙΚΟΛΑΟΥ ΚΩΝ/ΝΟΣ\ '' ΜΠΛΑΝΗΣ ΒΑΣΙΛΕΙΟΣ \'' ΤΣΟΛΚΑΣ ΧΡΗΣΤΟΣ\ '' ΑΠΟΣΤΟΛΟΠΟΥΛΟΣ ΣΠΥΡ. \'' ΓΚΡΙΖΗΣ ΚΩΝ/ΝΟΣ\ '' ΤΑΛΑΓΑΝΗΣ ΑΘΑΝΑΣΙΟΣ\ '' ΧΑΣΑΝΗΣ ΔΗΜΗΤΡΙΟΣ\ ΕΞΑΦΑΝΙΣΘΕΝΤΕΣ\ ΥΔΝΕΑΣ ΠΑΠΑΙΩΑΝΝΟΥ ΝΙΚΟΛ\ ΣΤΡΤΗΣ ΚΑΡΑΓΙΑΝΝΗΣ ΝΙΚΟΛ.\ '' ΚΑΛΙΑΚΜΑΝΗΣ Η' \ ΚΑΛΑΥΜΑΝΗΣ ΙΩΑΝΝΗΣ\ '' ΧΑΣΑΠΗΣ ΙΩΑΝΝΗΣ\ ΣΤΡΤΗΣ ΜΕΡΜΙΓΓΗΣ ΗΛΙΑΣ\ '' ΒΑΣΙΛΟΠΟΥΛΟΣ ΚΩΝ/ΝΟΣ\ ''ΒΕΛΕΤΖΑΣ ΚΩΝ/ΝΟΣ\ '' ΔΗΜΟΠΟΥΛΟΣ ΠΕΤΡΟΣ\ '' ΚΟΛΩΝΙΑΣ ΓΕΩΡΓΙΟΣ\ '' ΠΑΠΑΙΩΑΝΝΟΥ  ΝΙΚΟΛΑΟΣ\ '' ΠΑΞΗΜΑΔΕΛΟΣ ΚΥΡΙΑΚΟΣ\ ''ΣΤΡΑΒΟΔΗΜΟΣ ΑΛΕΞΑΝ\ '' ΣΤΡΑΤΟΠΟΥΛΟΣ ΣΠΥΡΙΔ\ '' ΠΡΟΒΙΔΑΣ ΓΕΩΡΓΙΟΣ\'' ΠΟΛΥΖΟΣ ΧΡΗΣΤΟΣ\'' ΠΕΙΝΑΣΜΕΝΟΣ ΕΥΘΥΜΙΟΣ\ '' ΚΑΛΤΣΑΣ ΑΘΑΝΑΣΙΟΣ\ '' ΚΑΡΑΓΙΑΝΝΗΣ\ ΑΡΙΣΤΟΜΕΝΗΣ Η' ΑΡΙΣΤΕΙΔΗΣ\ '' ΖΑΚΑΣ ΣΩΤΗΡΙΟΣ\ '' ΠΑΠΑΝΙΚΟΛΑΟΥ ΕΛΕΥΘΕΡ. ; Those who fell\ of the 2/39 Regiment of Soldier\on November 14-17, 1940\ Officers\ Lieutenant Nikolaos Chormovas\ 2nd lieutenant Benizelos Nikas\ Reserve 2nd Lieutenant Andreas Tsifkas\ '' Dimitrios Bourtsalas\'' Euthymios Sterpakis\ Soldiers\ Reserve Sergeant Vasileios Kalyvas\ '' Dimitrios Papaspyros\ '' Reserve [  ] Charil Papantonis\ '' Alexandros Asimakis\ Soldier Charil Georgopoulos\ '' Apostolos Gogakis\'' Dimitrios Koukas\'' Ioannis Lakkis\ Soldier Dimitrios Kalogeras\ '' Fotis Xiros\ ''Athanasios Lampos\  '' Konstantinos Papanikolaou\  '' Vasileios Blanis\  ''Christos Tsolkas\  '' Spyros Apostolopoulos\  '' Konstantinos Grizis\  '' Athanasios Talaganis\  '' Dimitrios Chasanis\ The Missing\ [  ] Nikolaos Papaioannou\ Soldier Nikolaos Karagiannis \ Kaliakmanis E\ Ioannis Kalaumanis\  '' Ioannis Chasapis\ Soldier Elias Mermiggis\  '' Konstantinos Basilopoulos\  '' Konstantinos Veletzas\  '' Petros Dimopoulos\  '' Georgios Kolonias\  ''Nikolaos Papaioannou\  '' Kyriakos Paximadelos\  '' Alexandros Stravodimos\  '' Spyridon Stratopoulos\ Georgios Providas\  '' Christos Polyzos.</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                  <text>Christopher J. Richter, Christina Salowey</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>Not far from the War Museum in Kalpaki is the location of the historic site, the Strategion, or Army Headquarters, of the 8th Division, which was inhabited during the Italian invasion in October 1940.  The site is secured behind a fence and not generally open to the public. The courtyard in front of the caves in the native bedrock is paved with stoned and reinforced with a retaining wall at one side. There is one large cave opening with an excerpt from a decree of the 8th division to the right of it. There is a small wall shrine and a bust of Charalambos Katismitros, the commander,  in the courtyard.</text>
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                <text>ΤΑΚΤΙΚΟΝ ΣΤΡΑΤΗΓΕΙΟΝ ΔΙΟΚΗΤΟΥ VIII ΜΕΡΑΡΧΙΑΣ ΥΠΟΣΤΡΑΤΗΓΟΥ ΧΑΡ. ΚΑΤΣΙΜΗΤΡΟΥ ΚΑΤΑ ΤΟΝ ΕΛΛΗΝΟΙΤΑΛΙΚΟΝ ΠΟΛΕΜΟΝ 1940-1941. ; Tactical army headquarters of the 8th division under Lieutenant Charambalos Katsimitros during the Greco-Italic War 1940-41.; Απόσπασμα διαταγής VIII Μεραρχίας της 30-10-1940\ Λήξαντος του προκαλύπτικου αγώνος\ από σήμερον η μεραρχία κατέχει την\ τοποθεσίαν αγολων (?) των δυνάμεων της\ επι της τοποθεσίας ταυτης θα δόθηο\ αποφασιστικός αγών προς τον εχθρόν\ ο αγων θα διεξάχθη μετά πείσματος\ και επιμονής ακατάβλητου\ άμυνα κρατερα επι των θέσεων μας&#13;
μέχρις ισχατων\ ουδεμία ιδέα είσαι ουδένα να υπαρχη\ περί υποχωρήσεως πάντες από του\ στρατηγού διοικητου μεραρχίας μέχρι\ και του τελευταίου στρατιώτου θα άγω-\νισθομεν επι των θέσεων μας και εν\ ανάγκη θα πεσωμεν όλοι υπερασπίζο- μένοι αυτας.\ ΧΑΡΑΛ. ΚΑΤΣΙΜΗΤΡΟΣ\Υποστράτηγος ; [no translation available]</text>
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                <text>[inscriptions were unreadable in current conditions]</text>
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                <text>After the Supreme Court decision, Hopkins was awarded a partnership at Price Waterhouse.  These letters and memos congratulate her courage for taking the job—acknowledging how difficult it might be to return.  Also, included are memos from her World Bank colleagues where she was employed at the time of the decision. Finally, there are a few memos from Price Waterhouse, illustrating that it may indeed be challenging to return.</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                <text> (Grambala Hill)</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>This conical memorial, roughly 15 feet in height, surrounded by a circular paved area and risers forming a theatral area, is positioned at a hairpin turn in the road up to the Papingo villages. The stone-built truncated conical monument is topped with three crossed arrows and is inset with a bronze memorial plaque. The monument is set within a stone enclosure topped by a metal balustrade. The metal gate is flanked by marble plaques recording the names of the deceased. The plaque on the right is broken in four pieces, one of which is missing. The same names as recorded on the bronze plaque are listed on these.  There are remains of memorial wreaths and shabbat candles on site.</text>
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                <text>At the intersection of the main Kalpaki road and a dirt farm road stands a memorial to a particular incursion against the Nazi force. The memorial is marked by low metal posts, painted white joined by a chain, and two cedar trees, the usual memorial tree for a cemetery. The monument is a simple trapezoidal form faced with marble and topped with the representation of a window bars that have been broken through. A plaque on the southeastern side records the circumstances of the battle and the single casualty, Lazos Oikonomou from Pyrgos, Konitsa. Many weathered laurel wreaths are at the base of the inscription. A poem, laminated and set on a wooden plaque, was added to the monument on February 2, 1985. The poem recounts the victory but also the death of Lazos Oikonomou.</text>
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                <text>Aegina, Attica, Central Greece and Euboea, Greece</text>
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                <text>IG IV 35</text>
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                <text>Horos Inscription B (Aegina)</text>
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                <text>On a tall rectangular stone, the inscription is written from left to right in the top section of the boundary marker. Most of the letters are clear, except a few have worn away. This boundary stone marked the sanctuary of Apollo and Poseidon as a sacred space. </text>
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                <text>ΗΟΡΟΣ / ΤΕΜΕΝΟΣ / ΑΠΟΛΛΟΝ / [Ο]Σ ΠΟΣΕΙ / ΔΩΝΟΣ (on the stone) ὅρος / τεμένος / Ἀπόλλων / [ο]ς Ποσει / δῶνος (transcribed Greek) Boundary Sanctuary Of Apollo (and) Poseidon (translation) </text>
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            <name>Format</name>
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                <text>limestone</text>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;Greek in the Wild: Inscriptions Explained&lt;/a&gt;</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&lt;/a&gt;.</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the library.</text>
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                <text>Demetrias, Magnisía, Thessaly, Greece (discovery)</text>
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                <text>Volos</text>
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                <text>A.S. Arvanitopoulos, Θεσσαλικὰ Μνημεῖα. Ἀθανασάκειον Μουσείον ἐν Βολῷ Ι. (Athens 1909) 122-127.; A.S. Arvanitopoulos, Graptai Stelai Demetriados-Pagason (Athens 1928). 143 – 46; fig. 166 – 169; Plate 1.; Ch. Charitonides, Mnemosyne 1919, 116.</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Greece, Ancient</text>
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                <text>Funerary art</text>
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                <text>Hellenistic</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="792">
                <text>object (utilitarian)</text>
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              <elementText elementTextId="952">
                <text>tombstones (sepulchral monuments)</text>
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              <elementText elementTextId="953">
                <text>stelae</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>stratonikos 1</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="794">
                <text>250-225 BCE (creation)</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Stratonikos, son of Stratos</text>
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                <text>Tina Salowey</text>
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            <description>An account of the resource</description>
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                <text>The stele is in the form of a naiskos, with carved and painted architectural details; the roof is indicated with incisions. There is a preserved tang at the bottom to fit into a base. The epistyle block is inscribed with the deceased name, and a longer prose inscription is found at the top of the painted scene. The painted scene is framed by the pilasters of the naiskos form and depicts a standing young man on the left and a seated man on the right. The standing man, dressed in a short red chiton and a white himation draped over his left shoulder, grasps the right hand of the seated man, most likely Stratonikos the deceased. The seated man is swathed in a himation that covers his legs. Both men wear footwear. The bench on which the man sits is topped by a cushion.  &#13;
&#13;
A small black herm (Hermes Chthonios) is drawn at the bottom of the right pilaster of the naiskos.&#13;
&#13;
An inscription is carved shallowly on the epistyle in letters painted black.  Under the epistyle is carved a metrical inscription in smaller letters.</text>
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                <text>ΣΤΡΑΤΟΝΙΚΟΣ ΣΤΡΑΤΩΝΟΣ; Stratonikos, son of Stratōn; ψυχὴν μὲν ἐνείδομεν, ἣ προελίνπα-νεν· ὀστέα δὲ ὧδε μητρί τε καὶ ἀδελφῇ ἀνιηρὸν κῆδος ἵκανεν;  We observe your life that has forsaken you. So bones have arrived as a unholy care for your mother and sister (Tina Salowey).</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>marble (rock) (White marble with pigments, complete except for wear and tear)</text>
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                <text>painting (image-making), inscriptions</text>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;Greek in the Wild: Inscriptions Explained&lt;/a&gt;</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="984">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&lt;/a&gt;.</text>
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        <name>Hellenistic</name>
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                  <text>McVitty French Book of Hours</text>
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                  <text>Kathleen Nolan&#13;
Jordan Shook&#13;
Shelby Barbee&#13;
Elise Schloff&#13;
Clara Souvignier&#13;
Hannah Blackburn-Jones&#13;
Rebecca Davis &#13;
Katelyn Curley&#13;
Mackenzie Roberts&#13;
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                <text>Gospels Lessons; St. John on Patmos, fol. 16</text>
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            <description>The topic of the resource</description>
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                <text>medieval manuscripts</text>
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                <text>books of hours</text>
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                <text>miniatures</text>
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                <text>This miniature opens the Gospel Lessons by depicting John the Evangelist on the island of Patmos writing his Gospel. This image, like others in the book of hours, helped a reader to navigate her way through the text.  John begins the sequence, since rather than following the order of the first four books of the New Testament, the lessons highlight the readings for four major feast days of the liturgical year, starting with John’s text, “In principio erat  verbam,” “In the beginning was the word,” read on Christmas Day. In addition to the full-page miniature for John’s lesson, small illuminated initials featuring the Evangelist and his symbol mark each of the other Gospel excerpts. &#13;
The depiction of John seated in the landscape, intently writing and seemingly communing with his symbol, the eagle, follows a long tradition of author portraits in the book arts dating back to early medieval times.  There can be other ways of illustrating John’s Gospel, but an author portrait is a standard image, appearing, for example, in the closely related Morgan Library MS M. 2, fol. 15, or Morgan MS. M. 1093, fol. 13r.  What is distinctive about the McVitty Master’s scene is the rock formation that appears behind John.  Other artists, like the Master of the Geneva Latini and his workshop (as in Morgan MS. M. 1093), made use of geological props in their landscapes, but not with the same frequency or emphasis as the McVitty Master.  Seven of the miniatures in the McVitty Hours include freestanding rocks, and in five of them, complex, faceted outcrops dominate the composition.  These imaginative red-brown structures bear little resemblance to the white limestone of the Parisian basin and seem to be the artist’s signature device through which he emphasized key protagonists and actions in his miniatures.  The rock in John’s scene is fairly contained, but tilts slightly at the top to frame the Evangelist.  Here as in other outdoor scenes, the McVitty Master successfully evokes an expansive landscape setting studded with trees and a deep, atmospheric background.&#13;
The author portrait of John is also characteristic of the approach the McVitty Master took to the human figure, with its slender, doll-like form, pale, ovoid face and flaxen hair.  Here as elsewhere in the manuscript, the garments are etched with a fine web of gold paint.</text>
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                <text>The Hours of the Cross, which typically followed the Hours of the Virgin, was a short Office intended to focus the reader’s devotions on the Passion of Christ, through hymns and responses that focused on his suffering on the Cross.  A depiction of the Crucifixion therefore usually introduces the Office.  In the McVitty Hours, the Crucifixion scene is a particularly detailed miniature, seemingly depicting more figures and activity than any of the others. Jesus is crucified at the center, flanked on his left by his followers and family and on the right by a Roman soldier who presides over his execution. Also visible are a number of accessory figures including a group of soldiers, and a figure on horseback. This is not only far more populated than other miniatures within the McVitty Book of Hours, but is also more complex, even, than Crucifixion scenes from relatively similar books of hours. One such manuscript, Morgan MS M.2, which is closely related in date and place of origin and bears significant stylistic similarities, contains (fol. 117v) a Crucifixion scene which makes the complexity of the McVitty Crucifixion apparent. In comparison, the Crucifixion scene in MS M.2 depicts only Christ on the cross surrounded by the Virgin Mary and the John the Evangelist, whereas the Crucifixion scene from the McVitty Book of Hours is so populated with figures and activity. This is not to say that the McVitty Crucifixion scene is entirely exceptional, merely that in comparison to others within the same manuscript and some of its contemporaries it is more detailed. &#13;
The border surrounding the miniature of the Crucifixion is one of the most striking examples of marginal illustrations found in the McVitty book of hours. While it employs many of the same colors as the other illustrations throughout the text, the quilt-like pattern and focus on larger shapes differs greatly from the rest of the illustrations in a way that could suggest a restoration or numerous illustrators. While the particular shade cornflower blue recalls other illustrations in the book, the lack of a similar red, prominent in other miniatures, and flatter colors lends itself to a striking difference. The borders surrounding this Crucifixion scene are also a great deal more geometric than the borders throughout the rest of the text. While other borders feature geometric patterns, such as the scenes of the Visitation and Adoration of the Magi, they shapes are meant to contain more organic floral patterns, whereas those in this scene contain bolder blocks of color. The difference in style between the Crucifixion and the other borders certainly complicates the question of authorship in the McVitty hours. </text>
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Hannah Blackburn-Jones&#13;
Rebecca Davis &#13;
Katelyn Curley&#13;
Mackenzie Roberts&#13;
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                <text>Provenance:  Presented to Hollins College, Virginia, by S. Herbert McVitty in memory of Lucy Winton McVitty, Trustee of the college from December 30, 1926 until her death August 7, 1941.</text>
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Jordan Shook&#13;
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Clara Souvignier&#13;
Hannah Blackburn-Jones&#13;
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Katelyn Curley&#13;
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                <text>Lauds, The Visitation, fol. 55r</text>
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                <text>Lauds continues the theme of pairing the beginning of the reader’s day with the early phases of the Life of Christ.  The text of Lauds interweaves the story of Mary, pregnant with the Christ Child, with that of her cousin Elizabeth, who became pregnant with John the Baptist despite her advanced age.  The pregnant Mary traveled from Nazareth to the hill country to meet her cousin, who recognized the miraculous nature of Mary’s conception. In Lauds, the reader encounters Elizabeth’s greeting to her cousin, “Benedicta tu in mulieribus,” “Blessed art thou among women,” (Luke 1: 41-42) and also the canticle of Zacharias, the prophecy that John’s father spoke when he saw his son (Luke 1:68-79).  Lauds is nearly always illustrated by the Visitation, the meeting between the cousins.  The McVitty Master followed the usual pattern of silhouetting the two women against a landscape, with Mary a stationary figure and Elizabeth approaching her from the right.  Frequently the women gesture towards each other and often, as in Morgan MS M. 2, fol. 54r, and M. 231, 57r, Elizabeth touches Mary’s womb.  The Visitation is one of the most expressive miniatures in the McVitty Hours, with Mary’s face suggesting subtle emotion, and Elizabeth gazing intently at her young cousin.  &#13;
The McVitty Master’s characteristic rock formation rises behind the Virgin in a way that both highlights her presence and extends the slight tilt of her head towards Elizabeth. And in this instance the marginal decoration seems in keeping with the theme of fertility in the main miniature, for the small compartments team with fruit and flowers and are more verdant than any of the other borders. </text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the Wyndham Robertson Library.</text>
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          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="1086">
                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/hucodex1/introduction"&gt;Miniatures from the McVitty Book of Hours&lt;/a&gt;.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="1087">
                <text>codex</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1088">
                <text>[Latin]</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1089">
                <text>book of hours</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1090">
                <text>McV5_Visitation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="1091">
                <text>||||osm&#13;
France (country of origin)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1208">
                <text>Clara Souvignier (author of description)</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="39">
        <name>Book of Hours</name>
      </tag>
      <tag tagId="38">
        <name>HU Codex 1</name>
      </tag>
      <tag tagId="41">
        <name>McVitty</name>
      </tag>
      <tag tagId="40">
        <name>medieval manuscripts</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
