Previously, as in Byzantine art, spoken words, if they appeared at all, were usually painted alongside a figure; these are called tituli. However, earlier works using banderoles are the Aachen Gospels of Otto III (c. 975) and the 12th-century English Romanesque Cloisters Cross. The latter work demonstrates the use of banderoles as attributes for Old Testament prophets, to distinguish them from the book-carrying Four Evangelists of the New Testament and other Christian saints, a convention appearing in Italy in the 13th century.
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Kupferstichkabinet, Munich, c. 1470, showing a Judensau. The Jews (identified by the Judenhut) are suckling from a pig and eating its excrement. The banderoles display rhymes mocking the Jews. The Jewish prohibition against eating pork comes from Torah, in the Book of Leviticus Chapter 11, verses 2 through 8.
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Some of his presumed pupils have also been given names by art historians, such as the "Master of the Nuremberg Passion", the "Master of 1446", and the "Master of the Banderoles". If the Master also practiced as a painter, whether on panel or in manuscript illuminations, no identification of any of his works has been generally accepted.
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A 1506 painting by Bernhard Strigel with banderole. Scenes of the Resurrection, an illuminated manuscript, 1188. In contrast to the abstract nature of Mesoamerican speech scrolls, Medieval European speech scrolls or banderoles appear as actual scrolls, floating in apparent three-dimensional space (or in actual space in sculpture). They first become common at the start of the Gothic period.
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In the 1990s, the organization started to invest in the illegal international drug trade, mainly importing cocaine from Colombia. Deputy President of the regional parliament of Calabria Francesco Fortugno was killed by the 'Ndrangheta on 16 October 2005 in Locri. Demonstrations against the organization then ensued, with young protesters carrying banderoles reading "Ammazzateci tutti!", "Im Schattenreich der Krake" , Süddeutsche Zeitung, 19 May 2010.
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On carved figures the words would usually be painted on the scroll and have since worn away. In some Late Gothic and Renaissance works, and in architectural decoration, very elaborate empty banderoles seem to be for decorative purposes only. The European speech scroll fell out of favor largely due to an increasing interest in realism in painting; the halo had a similar decline.
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In another example, a miniature from Hildesheim of 1160-80, there is no mechanical press and Christ just treads in a small vat which is, for once, circular. He is flanked by figures with banderoles, perhaps Isaiah and John the Evangelist. Christ's banderole has part of , and those of the flanking figures and .Schiller, 128-129, 228 and figs. 432 (Comburg) and 433 (Hildesheim).
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A German prostitute's self-portrait in a brothel. Engraving from the 15th century, Master of the Banderoles Prostitution in Germany is legal, as are other aspects of the sex industry, including brothels, advertisement, and job offers through HR companies. Full service sex work is widespread and regulated by the German government, which levies taxes on it. In 2016, the government adopted a new law, the Prostitutes Protection Act, in an effort to improve the legal situation of sex workers.
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In 1932, Kolff entered the security printing field when the government awarded the firm contracts to print banderoles for the collection of tobacco excise. G. Kolff & Co. was one of the largest producers of postcards of Batavia in early 20th- century. The postcards, which provides a glimpse of colonial Batavia between the 1900s to 1920s, are now collectors' items. G. Kolff & Co. was also one of the largest supplier of educational books in the Netherlands Indies.
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The banderoles were painted over after the paintings were removed, but some have been restored later. The shapes of the canvases were also altered when they were removed from their original location in 1872, with additional areas added to square them off, but those in New York and Vienna have been restored to their original shapes. Tiepolo adopted a less retrained palette for these paintings than his earlier works, with elements of the Baroque or even the Rococo.
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A contemporary illustration of the Breton warship Cordelière and the English warship Regent ablaze at the Battle of St Mathieu on 10 August 1512. Both are flying banderoles: the Breton Kroaz Du and the English flag of St George. The side of the Cordelière is adorned with shields bearing the ducal coat of arms. The black cross standard became widely used as the emblem of the Breton soldiers and as the flag for the ships from the end of the Hundred Years' War in the 15th century.
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Ridderbos et al. (2004), 43 Detail showing the Cumaean Sibyl Zechariah and Micah look down on the fulfillment of their prophecies contained in the banderoles floating behind them. The Erythraean Sibyl is shown observing, while the Cumaean Sibyl, wearing a green dress with thick fur sleeves, gazes down at Mary, her hand held in empathy over her own womb.Jolly (1998), 376 Micah's lunettes are an early instance of an illusionistic motif, wherein the sense of the boundary between the painting, frame and viewer's space becomes blurred.
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The napkin is not held by God, whose two hands are raised in a blessing gesture; it seems tied around the souls and to rest on God's lap. Male and female donor figures with banderoles kneel beside God's feet; they are at an intermediate scale between God and the souls. The Burrell figure, dated as 14th century, also has nine "souls" but the figures themselves are apparently restored;Ramsay, who is not wholly clear on this point. God holds an end of the napkin in either hand.
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155-156 During the 14th century, quotations in banderoles increasingly allowed artists to include more complex ideas in their works, though for the moment usually in Latin, thus greatly restricting the audience that could follow them.Ladis & Maginnis 1997, pp. 156-161 Unlike Mesoamerican speech scrolls, European speech scrolls usually contain the spoken words, much like a modern- day speech balloon. The majority of these are in religious works and contain Biblical quotations from the figure depicted – Old Testament prophets for example, were often shown with an appropriate quotation from their work.
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Those 2,000 students that went on Japanese strike, wearing white banderoles on arm, are from 15 high schools in the cities of Sfântu Gheorghe, Târgu Secuiesc, Covasna and Baraolt. Furthermore, students in Covasna organized a protest meeting. The Ministry of Education has accumulated, from October to March, a debt of more than 1.6 million lei for settlement of students commuting subscriptions in Covasna County. Likewise, around 150 students from high schools throughout the Mureș County went on indefinitely Japanese strike, in solidarity with the colleagues which were not settled money for commuting subscriptions.
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The Jesse Tree was the only prophecy in the Old Testament to be so literally and frequently illustrated, and so came also to stand for the Prophets, and their foretelling of Christ, in general. Both the St-Denis and Chartres windows include columns of prophets, as do many depictions. Often they carry banderoles with a quotation from their writings, and they may point to Christ, as the foretold Messiah. The inclusion of kings and prophets was also an assertion of the inclusion and relevance in the biblical canon of books that some groups had rejected in the past.
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An illustration of eleven Imperial Roman vexilloids. A vexilloid is any flag- like (vexillary) object used by countries, organisations, or individuals as a form of representation other than flags. American vexillologist Whitney Smith coined the term vexilloid in 1958, defining it as This includes vexilla, banderoles, pennons, streamers, heraldic flags, standards, and gonfalons. The first most primitive proto-vexilloids may have been simply pieces of cloth dipped in the blood of a defeated enemy in pre-historic times, and the precursors of all later vexilloids and flags.. The use of flags replaced the use of vexilloids for general purposes during late medieval times between about 1100 to about 1400.
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A 1506 painting by Bernhard Strigel with banderole. The term is also used in art and architecture for a speech scroll or streamer, representing a roll of parchment carried by or surrounding a figure or object, for bearing an inscription, mainly during the medieval and Renaissance periods. In particular banderoles were used as attributes for Old Testament prophets, as may be seen in the Santa Trinita Maestà by Cimabue, (Uffizi, 1280–90), Duccio's Maestà (1308–11), and other works. The convention had a historical appropriateness, as the Old Testament was originally written on scrolls, whereas nearly all surviving New Testament manuscripts are codices (like modern books).
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A contemporary illustration of the Breton warship Cordelière and the English warship Regent ablaze at the Battle of St. Mathieu on August 10, 1512. Both are flying banderoles (the Breton Kroaz Du and the English flag of St. George.) A banderole (, "little banner") is a comparatively small but long flag, historically used by knights and on ships, and as a heraldic device for representing bishops. Bannerol, in its main uses is the same as banderole, and is the term especially applied to banners about a yard square carried at the funerals of great men and placed over the tomb. Often it commemorated a particular exploit of the person bearing the coat of arms.
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Deruta, maiolica tiles The local clay was good for ceramics, whose production began in the Early Middle Ages, but found its artistic peak in the 15th and early 16th century, with highly characteristic local styles of maiolica, such as the "Bella Donna" plates with conventional portraits of beauties, whose names appear on fluttering banderoles with flattering inscriptions. The lack of fuel enforced low firing temperatures, but from the beginning of the 16th century, Deruta became (with Gubbio) a specialist centre for metallic lustreware in golds and ruby red, added over the glaze. In the 16th century Deruta produced the so-called "Rafaellesque" ware, decorated with fine arabesques and grottesche on a fine white ground. Deruta, with Gubbio and Urbino, continues to produce some of the finest Italian maiolica.
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Schiller, I, 152–3Mâle, 177 The problems can clearly be seen in the small scenes of the Saint Augustine Gospels (late 6th century), where about 200 years after the manuscript was written tituli were added, which according to some art historians misidentify some scenes.Lewine, Carol F.; JSTOR Vulpes Fossa Habent or the Miracle of the Bent Woman in the Gospels of St. Augustine, Corpus Christi College, Cambridge, Banderoles were a solution that became popular in the later Middle Ages, and in Northern Europe in the 15th century were sometimes used very extensively for speech, rather as in modern comics, as well as tituli. These were abandoned as old-fashioned in the Renaissance, but increased respect for classical traditions led to continued use of Ancient Roman-style tituli where they were considered necessary, including on portraits.
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Small and inconspicuous banderoles or ribbons carrying biblical verses elucidate the rather complex theological meaning of the work, for which Botticelli must have had a clerical advisor, but do not intrude on a simpler appreciation of the painting and its lovingly detailed rendering, which Vasari praised.Lightbown, 180–185; Ettlingers, 72–74 It is somewhat typical of Botticelli's relaxed approach to strict perspective that the top ledge of the bench is seen from above, but the vases with lilies on it from below.Legouix, 38 The donor, from the leading Bardi family, had returned to Florence from over twenty years as a banker and wool merchant in London, where he was known as "John de Barde",Lightbown, 180; Ettlingers, 73 and aspects of the painting may reflect north European and even English art and popular devotional trends.Lightbown, 184 There may have been other panels in the altarpiece, which are now missing.
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There were three paintings on the shorter walls to either side, with one large central painting flanked by two smaller ones. The paintings on the west wall, lit from the windows to the south, were The Triumph of Marius (also in New York) flanked by Quintus Fabius Maximus before the Roman Senate and Cincinnatus Offered the Dictatorship, and on the east wall opposite were The Tarantine Triumph flanked by Mucius Scaevola before Porsenna and Veturia Pleading with Coriolanus (all five at the Hermitage in St Petersburg). The tall central scenes measure approximately , and each of the four flaking scenes is approximately . Apart from the two battle scenes, the other eight canvases had banderoles explaining the subject, with Latin text taken from the Epitome of Roman History ("Epitome de T. Livio Bellorum omnium annorum DCC Libri duo"), an early 2nd century commentary attributed to Lucius Annaeus Florus on the 1st century AD History of Rome of Livy.
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