Creating Cultural Identity: Opus anglicanum and its Place in the History of English Medieval Art

The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.     

Nietzsche's magnum opus

Nietzsche did not write a completed magnum opus, a ‘Hauptwerk’, but he planned to do so during at least the last 5 years of his active life. I will show that during and after the writing of Also sprach Zarathustra this was his main aim and ambition. The projected work passed through a number of related phases, of which the much discussed and controversial ‘Will to Power’ was merely one. This intention to write a magnum opus has been denied or almost completely ignored by almost all commentators (and even the many writers of Nietzsche biographies). I will bring attention to this intention, discuss why it has been ignored and show that an awareness of it is important for our understanding of the late Nietzsche's thinking and for determining the value and originality of his late notes. It has been a failure of historians of philosophy, intellectual historians and Nietzsche scholars not to have taken this into consideration and account.     

The restored opus sectile panel from the luxurious episcopal residence in the ancient city of Stobi–mineralogical and chemical findings

Samples from the opus sectile panel excavated from the Episcopal Residence building at the archaeological site of Stobi were examined using X-ray powder diffraction, SEM-EDS, and Raman spectroscopy. The analyzed samples, exhibiting plentiful color and surface variations, comprise the reconstructed sectile panel as well as represent the in situ ground remains. The complementary techniques revealed dominant amorphous phase in five samples, whereas the remaining seven specimens confirmed the presence of magnesite, quartz, dolomite, ankerite, cuprite, wüstite, and hematite. The work represents the first systematic attempt to determine the mineral phases in the restored opus sectile panel, assembled by decorative minerals forming a geometric net of polychrome crosses. Furthermore, the mineral characterization has revealed an origin of mineral species not typical for Macedonian terrain (ankerite, wüstite, cuprite, transparent quartz) that lead to the conclusion that the samples were likely imported from other early-Christian communities.