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(c. 1440), Dominican monastery of San Marco, Florence.]] The Holy Lance (also known as the Spear of Destiny, Holy Spear, Lance of Longinus, Spear of Longinus or Spear of Christ) is the name given to the lance that pierced Jesus's side as he hung on the cross in John's account of the Crucifixion.
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The phenomenon of blood and water was considered a miracle by Origen. Catholics generally choose to employ a more allegorical interpretation: it represents one of the main key teachings/mysteries of the Church, and one of the main themes of the Gospel of Matthew, which is the homoousian interpretation adopted by the First Council of Nicaea, that "Jesus Christ was both true God and true man." The blood symbolizes his true humanity, the water his divinity. A ceremonial remembrance of this is also done when the Eucharist is celebrated. A small amount of water is poured into the wine before consecration, which acknowledges Christ's humanity and divinity.
miniature, Rabula Gospels, with the legend "Loginos"]]
The name of the soldier who pierced Christ's side with a longche is not given in the Gospel of John, but in the oldest known references to the legend, the apocryphal Gospel of Nicodemus appended to late manuscripts of the 4th century Acts of Pilate, the soldier is identified as a centurion and called Logginus or Longinus (making the spear's "correct" Latin name Lancea Longini).
A form of the name Longinus also occurs on a miniature in the Rabula Gospels (conserved in the Laurentian Library, Florence), which was illuminated by one Rabulas in the year 586. In the miniature, the name LOGINOS (ΛΟΓΙΝΟC) is written in Greek characters above the head of the soldier who is thrusting his lance into Christ's side. This is one of the earliest records of the name, if the inscription is not a later addition.
No actual lance is known until the pilgrim Antoninus of Piacenza (AD 570), describing the holy places of Jerusalem, says that he saw in the Basilica of Mount Zion "the crown of thorns with which Our Lord was crowned and the lance with which He was struck in the side". A mention of the lance also occurs in the so-called Breviarius at the Church of the Holy Sepulchre. The presence in Jerusalem of this important relic is attested by Cassiodorus (c. 485 - c. 585) as well as by Gregory of Tours (c. 538 – 594), who had not actually been to Jerusalem.
In 615 Jerusalem and its relics were captured by the Persian forces of King Khosrau II (Chosroes II). According to the Chronicon Paschale, the point of the lance, which had been broken off, was given in the same year to Nicetas, who took it to Constantinople and deposited it in the church of Hagia Sophia, and later to the Church of the Virgin of the Pharos. This point of the lance, which was now set in an icon, was acquired by the Latin Emperor, Baldwin II of Constantinople, who later sold it to Louis IX of France. The point of the lance was then enshrined with the Crown of Thorns in the Sainte Chapelle in Paris. During the French Revolution these relics were removed to the Bibliothèque Nationale but subsequently disappeared. (The present "Crown of Thorns" is a wreath of rushes.)
As for the larger portion of the lance, Arculpus claimed he saw it at the Church of the Holy Sepulchre around 670 in Jerusalem, but there is otherwise no mention of it after the sack in 615. Some claim that the larger relic had been conveyed to Constantinople in the 8th century, possibly at the same time as the Crown of Thorns. At any rate, its presence at Constantinople seems to be clearly attested by various pilgrims, particularly Russians, and, though it was deposited in various churches in succession, it seems possible to trace it and distinguish it from the relic of the point. Sir John Mandeville declared in 1357 that he had seen the blade of the Holy Lance both at Paris and at Constantinople, and that the latter was a much larger relic than the former; it is worth adding that Mandeville is not generally regarded as one of the Middle Ages' most reliable witnesses, and his supposed travels are usually treated as an eclectic amalgam of myths, legends and other fictions.
Whatever the Constantinople relic was, it fell into the hands of the Turks, and in 1492, under circumstances minutely described in Pastor's History of the Popes, the Sultan Bayazid II sent it to Innocent VIII to encourage the pope to continue to keep his brother and rival Zizim (Cem) prisoner. At this time great doubts as to its authenticity were felt at Rome, as Johann Burchard records, because of the presence of other rival lances in Paris (the point that had been separated from the lance), Nuremberg (see "Vienna lance" below), and Armenia (see "Echmiadzin lance" below). In the mid 18th century Benedict XIV states that he obtained from Paris an exact drawing of the point of the lance, and that in comparing it with the larger relic in St. Peter's he was satisfied that the two had originally formed one blade. This relic has never since left Rome, where it is preserved under the dome of Saint Peter's Basilica, although the Church makes no claim as to its authenticity.
When the French Revolutionary army approached Nuremberg in the spring of 1796 the city councilors decided to remove the Reichskleinodien to Vienna for safe keeping. The collection was entrusted to one "Baron von Hügel", who promised to return the objects as soon as peace had been restored and the safety of the collection assured. However, the Holy Roman Empire was disbanded in 1806 and the Reichskleinodien remained in the keeping of the Habsburgs. When the city councilors asked for the Reichskleinodien back, they were refused. As part of the imperial regalia it was kept in the Imperial Treasury Schatzkammer (Vienna) and was known as the lance of Saint Maurice.
During the Anschluss, when Austria was annexed to Germany, the Reichskleinodien were returned to Nuremberg and afterwards hidden. They were found by invading U.S. troops and returned to Austria by American General George S. Patton after World War II.
Dr. Robert Feather, an English metallurgist and technical engineering writer, tested the lance for a documentary in January 2003. He was given unprecedented permission not only to examine the lance in a laboratory environment, but was also allowed to remove the delicate bands of gold and silver that hold it together. In the opinion of Feather and other academic experts, the likeliest date of the spearhead is the 7th century A.D. - only slightly earlier than the Museum's own estimate. However, Dr. Feather also stated in the same documentary that an iron pin - long claimed to be a nail from the crucifixion, hammered into the blade and set off by tiny brass crosses - is "consistent" in length and shape with a 1st century A.D. Roman nail. According to Paul the Deacon, the Lombard royal line bore the name of the Gungingi, which Karl Hauck and Stefano Gasparri maintain identified them with the name of Odin’s lance, Gungnir (a sign that they probably claimed descent from Odin, as did most of the Germanic royal lines) Paul the Deacon also notes that the inauguration rite of a Lombard king consisted essentially of his grasping of a sacred/royal lance. Milan, which had been the capital of the Western Roman Empire in the time of Constantine, was also the capital of the Lombard kings Perctarit and his son Cunipert, who became Catholic Christians in the 7th century. Thus it seems possible that the iron point of the Lombardic royal lance might have been recast in the 7th century in order to enshrine one of the 1st century Roman nails that St. Helena was reputed to have found at Calvary and brought to Milan, thus giving a new Christian sacred aura to the old pagan royal lance. If Charlemagne’s inauguration as the King of the Lombards in 774 had likewise included his grasping of this now-Christianized sacred or royal lance, this would explain how it would have eventually become the oldest item in the German imperial regalia. We might also note that the Iron Crown of Lombardy (dated to the 8th century), which eventually became the primary symbol of Lombardic kingship, takes its name from the tradition that it also contains one of the holy nails. Alternately, since Gregory of Tours in his Libri Historiarum VII, 33, states that in 585 the Merovingian king Guntram designated his nephew Childebert II his heir by handing him his lance, it is possible that a royal lance was also a symbol of kingship among the Merovingian kings and that a nail from Calvary was in the 7th century incorporated into this royal lance and thus eventually would have come into the German imperial regalia.
The story told by William of Malmesbury of the giving of the Holy Lance to King Athelstan of England by Hugh Capet seems to be due to a misconception.
Trevor Ravenscroft’s 1973 book, The Spear of Destiny (as well as a later book, The Mark of the Beast), claims that Adolf Hitler started World War II in order to capture the spear, with which he was obsessed. At the end of the war the spear came into the hands of US General George Patton. According to legend, losing the spear would result in death, and that was fulfilled when Hitler committed suicide.
Ravenscroft repeatedly attempted to define the mysterious “powers” that the legend says the spear serves. He found it to be a hostile and evil spirit, which he sometimes referred to as the Antichrist, though that is open to interpretation. He never actually referred to the spear as spiritually controlled, but rather as intertwined with all of mankind's ambitions.
Category:Christian folklore Category:Crusades Category:Imperial Regalia of the Holy Roman Empire Category:Medieval legends Category:Mythological weapons Category:Relics associated with Jesus Category:Spears Category:Christian terms
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In Crusade's prologue, Indiana's intentions are revealed as prosocial, as he believes artifacts "belong in a museum." In the film's climax, Indiana undergoes "literal" tests of faith to retrieve the Grail and save his father's life. He also remembers Jesus as a historical figure - a humble carpenter - rather than an exalted figure when he recognizes the simple nature and tarnished appearance of the real Grail amongst a large assortment of much more ornately decorated ones. Henry Senior rescues his son from falling to his death when reaching for the fallen Grail, telling him to "let it go," overcoming his mercenary nature. The Young Indiana Jones Chronicles explains how Indiana becomes solitary and less idealistic after fighting in World War I. or that he "got that beat."
Indiana Jones was designed by comic book artist Jim Steranko. George Lucas suggested the flight jacket (which reminded Steranko of Lucas), the fedora (which reminded him of Humphrey Bogart in The Treasure of the Sierra Madre) and a whip (reminiscent of Zorro). Steranko added the Sam Browne belt, a belt with a holster, and the khaki shirt and trousers. During an intensive casting process, Lucas and Spielberg auditioned many actors, and finally cast then little-known actor Tom Selleck as Indiana Jones. Shortly afterward pre-production began in earnest on Raiders of the Lost Ark.
However, CBS refused to release Selleck from his contractual commitment to Magnum, P.I. (which was gradually gaining momentum in the ratings), forcing him to turn down the role. After Spielberg suggested Ford again, Lucas finally gave in, and he was cast in the role — less than 3 weeks before filming of Raiders began.
One of CBS's concerns was that shooting for Magnum P.I. conflicted with shooting for Raiders, both of which were to begin about the same time. However, Selleck was to say later in an interview that shooting for Magnum P.I. was delayed and did not actually begin until shooting for Raiders had concluded. Sadly for Selleck, he could have finished his participation in Raiders and still had time to return for Magnum.
Beloit College professor and paleontologist Roy Chapman Andrews. named eight past and current archaeologists who they felt "embodied [Jones'] spirit" as recipients of the "Indy Spirit Awards" in 2008. That same year Ford himself was elected to the Board of Directors of the Archaeological Institute of America. Commenting that "understanding the past can only help us in dealing with the present and the future," Ford was praised by the association's president for his character's "significant role in stimulating the public's interest in archaeological exploration."
While himself a homage to various prior adventurers, aspects of Indiana Jones also directly influenced some subsequent characterizations: Lara Croft, the female archaeologist of the Tomb Raider franchise, was originally designed as a man, but was changed to a woman, partly because the developers felt that the original design was too similar to Indiana Jones. Paramount Pictures, which distributed the Indiana Jones film series, would later make two films based on the Tomb Raider games. Prince of Persia producer Ben Mattes explained that their "inspiration was anything Harrison Ford has ever done: Indiana Jones, Han Solo." The video game series Uncharted is also very heavily influenced by Indiana Jones, as well as some of the influences that led to Indiana Jones himself, such as pulp magazines and movie serials. The design team felt the sources shared themes of mystery and "what-if scenarios" that romanticized adventure and aimed to include those in Uncharted.
Category:Fictional characters introduced in 1981 Category:Fictional archaeologists Category:Fictional characters from New Jersey Category:Fictional professors Category:Fictional American people Category:Fictional American people of Scottish descent Category:Fictional secret agents and spies Category:Fictional colonels Category:Child characters in television Category:Fictional World War I veterans Category:Fictional World War II veterans Category:Indiana Jones characters
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.