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Apostles' Creed
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The rubric above this 13th-century illuminated manuscript translates "twelve articles of faith set out by twelve apostles".
The Apostles' Creed (Latin: Symbolum Apostolorum or Symbolum Apostolicum), sometimes entitled Symbol of the Apostles, is an early statement of Christian belief—a creed or "symbol".[a] It is widely used by a number of Christian denominations for both liturgical and catechetical purposes, most visibly by liturgical Churches of Western tradition, including the Catholic Church, Lutheranism and Anglicanism. It is also used by Presbyterians, Methodists and Congregationalists.
The Apostles' Creed is Trinitarian in structure with sections affirming belief in God the Father, Jesus Christ His Son and the Holy Spirit. The Apostles' Creed was based on Christian theological understanding of the Canonical gospels, the letters of the New Testament and to a lesser extent the Old Testament. Its basis appears to be the old Roman Creed known also as the Old Roman Symbol. Because of the early origin of its original form, it does not address some Christological issues defined in the Nicene and other Christian Creeds. It thus says nothing explicitly about the divinity of either Jesus or the Holy Spirit. This makes it acceptable to many Arians and Unitarians. Nor does it address many other theological questions which became objects of dispute centuries later.
The first mention of the expression "Apostles' Creed" occurs in a letter of AD 390 from a synod in Milan and may have been associated with the belief, widely accepted in the 4th century, that, under the inspiration of the Holy Spirit, each of the Twelve Apostles contributed an article of a creed.[2][3]
Contents
[hide]
1 Origin
2 Musical settings
3 Text in Latin
4 Text in Greek
5 English translations
5.1 Ecumenical version
5.2 Roman Catholic Church
5.2.1 Articles 1–12
5.2.2 Articles 9–10
5.3 Church of England
5.4 Lutheran Church
5.4.1 Evangelical Lutheran Worship
5.4.2 Lutheran Service Book
5.4.3 Church of Denmark
5.5 United Methodist Church
6 Liturgical use in Western Christianity
6.1 Catholic Church
6.1.1 Rite of Baptism
6.1.2 Profession of faith at Mass
6.1.3 Use in the Divine Office
6.2 Anglican Communion
6.2.1 Episcopal Church (United States)
6.3 Lutheran Church
6.4 Methodism
7 See also
8 Notes
9 References
10 Further reading
11 External links
11.1 English translations
Origin[edit]
The title Symbolum Apostolicum (Symbol or Creed of the Apostles) appears for the first time in a letter, probably written by Ambrose, from a Council in Milan to Pope Siricius in about AD 390 "Let them give credit to the Creed of the Apostles, which the Roman Church has always kept and preserved undefiled".[4][5] But what existed at that time was not what is now known as the Apostles' Creed but a shorter statement of belief that, for instance, did not include the phrase "maker of heaven and earth", a phrase that may have been inserted only in the 7th century.[6]
This illumination from a 13th-century manuscript shows the apostles writing the Creed, receiving inspiration from the Holy Spirit.
The account of the origin of this creed, the forerunner and principal source of the Apostles' Creed,[7] as having been jointly created by the Apostles under the inspiration of the Holy Spirit, with each of the twelve contributing one of the articles, was already current at that time.[5]
The earlier text evolved from simpler texts based on Matthew 28:19,[5] part of the Great Commission, and it has been argued that it was already in written form by the late 2nd century (c. 180).[5][8][9]
While the individual statements of belief that are included in the Apostles' Creed – even those not found in the Old Roman Symbol – are found in various writings by Irenaeus, Tertullian, Novatian, Marcellus, Rufinus, Ambrose, Augustine, Nicetas, and Eusebius Gallus,[10] the earliest appearance of what we know as the Apostles' Creed was in the De singulis libris canonicis scarapsus ("Excerpt from Individual Canonical Books") of St. Pirminius (Migne, Patrologia Latina 89, 1029 ff.), written between 710 and 714.[11] Bettenson and Maunder state that it is first from Dicta Abbatis Pirminii de singulis libris canonicis scarapsus (idem quod excarpsus, excerpt), c. 750.[12] This longer Creed seems to have arisen in what is now France and Spain. Charlemagne imposed it throughout his dominions, and it was finally accepted in Rome, where the Old Roman Symbol or similar formulas had survived for centuries.[5] It has been argued nonetheless that it dates from the second half of the 5th century, though no earlier.[13]
Some have suggested that the Apostles' Creed was spliced together with phrases from the New Testament.[14] For instance, the phrase "descendit ad inferos" ("he descended into hell") echoes Ephesians 4:9, "κατέβη εἰς τὰ κατώτερα μέρη τῆς γῆς" ("he descended into the lower, earthly regions"). It is of interest that this phrase first appeared in one of the two versions of Rufinus in AD 390 and then did not appear again in any version of the creed until AD 650.[15]
This phrase and that on the communion of saints are articles found in the Apostles' Creed, but not in the Old Roman Symbol nor in the Nicene Creed.
Musical settings[edit]
Musical settings of the Symbolum Apostolorum as a motet are rare. The French composer Le Brung published one Latin setting in 1540, the Spanish composer Fernando de las Infantas published two in 1578.
More recently, in 1979 John Michael Talbot, a Third Order Franciscan, composed and recorded "Creed" on his album, The Lord's Supper.[16] In 1986 Graham Kendrick published the popular "We believe in God the Father", closely based on the Apostles' Creed. Rich Mullins and Beaker also composed a musical setting titled "Creed", released on Mullins' 1993 album A Liturgy, a Legacy, & a Ragamuffin Band.[17] The song "Creed" on Petra's 1990 album Beyond Belief is loosely based on the Apostles' Creed.[18]
GIA Publications published a hymn text in 1991 directly based on the Apostles' Creed, called "I Believe in God Almighty." It has been sung to hymn tunes from Wales, the Netherlands, and Ireland.[19]
In 2014 Hillsong released a version of the Apostles' Creed under the title "This I Believe (The Creed)" on their album No Other Name. Keith Getty and Kristyn Getty released an expression of the Apostles' Creed under the title "We Believe (Apostle's Creed)" on their 2016 album Facing a Task Unfinished.
Text in Latin[edit]
Credo
Ecclesiastical Latin pronunciation of the Creed
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Credo in Deum Patrem omnipotentem, Creatorem caeli et terrae,
et in Iesum Christum, Filium Eius unicum, Dominum nostrum,
qui conceptus est de Spiritu Sancto, natus ex Maria Virgine,
passus sub Pontio Pilato, crucifixus, mortuus, et sepultus,
descendit ad infernos, tertia die resurrexit a mortuis,
ascendit ad caelos, sedet ad dexteram Dei Patris omnipotentis,
inde venturus est iudicare vivos et mortuos.
Credo in Spiritum Sanctum,
sanctam Ecclesiam catholicam, sanctorum communionem,
remissionem peccatorum,
carnis resurrectionem,
vitam aeternam.
Amen.[20]
Text in Greek[edit]
The Greek text is "not normally used in Greek and Eastern Orthodox churches".[21]
Πιστεύω εἰς θεòν πατέρα, παντοκράτορα, ποιητὴν οὐρανοῦ καὶ γῆς.
Καὶ (εἰς) Ἰησοῦν Χριστòν, υἱὸν αὐτοῦ τòν μονογενῆ, τòν κύριον ἡμῶν,
τòν συλληφθέντα ἐκ πνεύματος ἁγίου, γεννηθέντα ἐκ Μαρίας τῆς παρθένου,
παθόντα ἐπὶ Ποντίου Πιλάτου, σταυρωθέντα, θανόντα, καὶ ταφέντα,
κατελθόντα εἰς τὰ κατώτατα, τῇ τρίτῃ ἡμέρᾳ ἀναστάντα ἀπò τῶν νεκρῶν,
ἀνελθόντα εἰς τοὺς οὐρανούς, καθεζόμενον ἐν δεξιᾷ θεοῦ πατρὸς παντοδυνάμου,
ἐκεῖθεν ἐρχόμενον κρῖναι ζῶντας καὶ νεκρούς.
Πιστεύω εἰς τò πνεῦμα τò ἅγιον, ἁγίαν καθολικὴν ἐκκλησίαν, ἁγίων κοινωνίαν,
ἄφεσιν ἁμαρτιῶν, σαρκὸς ἀνάστασιν, ζωὴν αἰώνιον.
Ἀμήν.
English translations[edit]
Ecumenical version[edit]
15th-century Flemish tapestry illustrating the first four articles of the Creed
The English Language Liturgical Consultation (ELLC) is an international ecumenical group whose primary purpose is to provide ecumenically accepted texts for those who use English in their liturgy. In 1988 it produced a translation of the Apostles' Creed, distinguished among other things by its avoidance of the word "his" in relation to God. The text is as follows:[22]
I believe in God, the Father almighty,
creator of heaven and earth.
I believe in Jesus Christ, God's only Son, our Lord,
who was conceived by the Holy Spirit,
born of the Virgin Mary,
suffered under Pontius Pilate,
was crucified, died, and was buried;
he descended to the dead.
On the third day he rose again;
he ascended into heaven,
he is seated at the right hand of the Father,
and he will come to judge the living and the dead.
I believe in the Holy Spirit,
the holy catholic Church,
the communion of saints,
the forgiveness of sins,
the resurrection of the body,
and the life everlasting. Amen.
Roman Catholic Church[edit]
The Catechism of the Catholic Church gives the following English translation of the Apostles' Creed.[23] In its discussion of the Creed,[24] the Catechism maintains the traditional division into twelve articles, the numbering of which is here added to the text.
The English text used in the Mass of the Roman Rite is:[25]
1. I believe in God the Father almighty, creator of heaven and earth. I believe in God,
the Father almighty,
Creator of heaven and earth,
2. I believe in Jesus Christ, his only Son, our Lord. and in Jesus Christ, his only Son, our Lord,
3. He was conceived by the power of the Holy Spirit and born of the Virgin Mary. who was conceived by the Holy Spirit,
born of the Virgin Mary,
4. Under Pontius Pilate, He was crucified, died, and was buried. suffered under Pontius Pilate,
was crucified, died and was buried;
5. He descended to the dead. On the third day he rose again. he descended into hell;
on the third day he rose again from the dead;
6. He ascended into heaven and is seated at the right hand of the Father. he ascended into heaven,
and is seated at the right hand of God the Father almighty;
7. He will come again to judge the living and the dead. from there he will come to judge the living and the dead.
8. I believe in the Holy Spirit, I believe in the Holy Spirit,
9. the holy catholic Church, the communion of saints, the holy catholic Church,
the communion of saints,
10. the forgiveness of sins, the forgiveness of sins,
11. the resurrection of the body, the resurrection of the body,
12. and the life everlasting.
Amen. and life everlasting.
Amen.
Articles 1–12[edit]
Pelbartus Ladislaus of Temesvár assigned one special phrase to each apostle: Peter (№ 1), John (№ 2), James, son of Zebedee (№ 3), Andrew (№ 4), Philip (№ 5a: descendit ad infernos…), Thomas (№ 5b: ascendit ad caelos…), Bartholomew (№ 6), Matthew (№ 7), James, son of Alphaeus (№ 8), Simon (№ 9), Jude (№ 10), Matthias (№ 11–12).[26]
Articles 9–10[edit]
Anabaptist theologians fought for believer's baptism under reference to a biblical understanding of the creed:
Leonhart: Which of the articles of the creed deal with baptism?
Hans: The ninth and tenth articles, where we confess the universal Christian church, the fellowship of the saints and forgiveness of sins, just as the Lord's Supper is also included there.[27]
Church of England[edit]
In the Church of England there are currently two authorized forms of the creed: that of the Book of Common Prayer (1662) and that of Common Worship (2000).
Book of Common Prayer, 1662[28][29][30]
I believe in God the Father Almighty,
Maker of heaven and earth:
And in Jesus Christ his only Son our Lord,
Who was conceived by the Holy Ghost,[b]
Born of the Virgin Mary,
Suffered under Pontius Pilate,
Was crucified, dead, and buried:
He descended into hell;
The third day he rose again from the dead;
He ascended into heaven,
And sitteth on the right hand of God the Father Almighty;
From thence he shall come to judge the quick and the dead.
I believe in the Holy Ghost;
The holy Catholick Church;
The Communion of Saints;
The Forgiveness of sins;
The Resurrection of the body,
And the Life everlasting.
Amen.
Common Worship[34]
I believe in God, the Father almighty,
creator of heaven and earth.
I believe in Jesus Christ, his only Son, our Lord,
who was conceived by the Holy Spirit,
born of the Virgin Mary,
suffered under Pontius Pilate,
was crucified, died, and was buried;
he descended to the dead.
On the third day he rose again;
he ascended into heaven,
he is seated at the right hand of the Father,
and he will come to judge the living and the dead.
I believe in the Holy Spirit,
the holy catholic Church,
the communion of saints,
the forgiveness of sins,
the resurrection of the body,
and the life everlasting.
Amen.
Lutheran Church[edit]
Evangelical Lutheran Worship[edit]
The publication Evangelical Lutheran Worship gives the ELLC ecumenical version, footnoting the phrase "he descended to the dead" to indicate the alternative reading: "or ‘he descended into hell,’ another translation of this text in widespread use".[35][c]
Lutheran Service Book[edit]
The Lutheran Service Book has the following text:
I believe in God, the Father Almighty,
Maker of heaven and earth.
And in Jesus Christ, His only Son, our Lord,
who was conceived by the Holy Spirit,
born of the virgin Mary,
suffered under Pontius Pilate,
was crucified, died and was buried.
He descended into hell.
On the third day He rose again from the dead.
He ascended into heaven
and sits at the right hand of God the Father Almighty.
From thence He will come to judge the living and the dead.
I believe in the Holy Spirit,
the holy Christian Church,
the communion of saints,
the forgiveness of sins,
the resurrection of the body,
and the life everlasting. Amen.[36][37][d][e]
The creed is footnoted in the LSB for the word "Christian": "Christian: the ancient text reads "catholic," meaning the whole Church as it confesses the wholeness of Christian doctrine."[40]
Church of Denmark[edit]
The Church of Denmark still uses the phrase "We renounce the devil and all his doings and all his beings" as the beginning of this creed, before the line "We believe in God etc." This is mostly due to the influence of the Danish pastor Grundtvig. See Den apostolske trosbekendelse.
United Methodist Church[edit]
The United Methodists commonly incorporate the Apostles' Creed into their worship services. The version which is most often used is located at No. 881 in the United Methodist Hymnal, one of their most popular hymnals and one with a heritage to brothers John Wesley and Charles Wesley, founders of Methodism.[41][42] It is notable for omitting the line "he descended into hell", but is otherwise very similar to the Book of Common Prayer version. The 1989 Hymnal has both the traditional version and the 1988 ecumenical version,[43] which includes "he descended to the dead."
The United Methodist Hymnal also contains (at #882) what it terms the "Ecumenical Version" of this creed which is the ecumenically accepted modern translation of the International Committee on English Texts (1975) as amended by the subsequent successor body, the English Language Liturgical Consultation (1987).[44] This form of the Apostles' Creed can be found incorporated into the Eucharistic and Baptismal Liturgies in the Hymnal and in The United Methodist Book of Worship, and hence it is growing in popularity and use. The word "catholic" is intentionally left lowercase in the sense that the word catholic applies to the universal and ecumenical Christian church.
I believe in God the Father Almighty, maker of heaven and earth; And in Jesus Christ his only Son our Lord: who was conceived by the Holy Spirit, born of the Virgin Mary, suffered under Pontius Pilate, was crucified, dead, and buried; the third day he rose from the dead; he ascended into heaven, and sitteth at the right hand of God the Father Almighty; from thence he shall come to judge the quick and the dead. I believe in the Holy Spirit, the holy catholic church, the communion of saints, the forgiveness of sins, the resurrection of the body, and the life everlasting. Amen.
Liturgical use in Western Christianity[edit]
The examples and perspective in this section deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (December 2015) (Learn how and when to remove this template message)
The liturgical communities in western Christianity that derive their rituals from the Roman Missal, including those particular communities which use the Roman Missal itself (Roman Catholics), the Book of Common Prayer (Anglicans and Episcopalians), Evangelical Lutheran Worship (Evangelical Lutheran Church in America), Lutheran Service Book (Lutheran Church–Missouri Synod), and The United Methodist Book of Worship (The United Methodist Church), use the Apostles' Creed and interrogative forms of it in their rites of Baptism, which they consider to be the sacrament of initiation into the Church.
Catholic Church[edit]
Rite of Baptism[edit]
An interrogative form of the Apostles' Creed is used in the Rite of Baptism (for both children and adults). The minister of baptism asks the following questions (ICEL, 1974):
Do you believe in God, the Father almighty, creator of heaven and earth?
Do you believe in Jesus Christ, his only Son, our Lord, who was born of the Virgin Mary, was crucified, died, and was buried, rose from the dead, and is now seated at the right hand of the Father?
Do you believe in the Holy Spirit, the holy catholic Church, the communion of saints, the forgiveness of sins, the resurrection of the body, and life everlasting?
To each question, the catechumen, or, in the case of an infant, the parents and sponsor(s) (godparent(s)) in his or her place, answers "I do." Then the celebrant says:
This is our faith. This is the faith of the Church. We are proud to profess it, in Christ Jesus our Lord.
And all respond: Amen.
Profession of faith at Mass[edit]
Since the 2002 edition, the Apostles' Creed is included in the Roman Missal with the indication, "Instead of the Niceno-Constantinopolitan Creed, especially during Lent and Easter time, the baptismal Symbol of the Roman Church, known as the Apostles' Creed, may be used."[45] Previously the Nicene Creed was the only profession of faith that the Missal gave for use at Mass, except in Masses for children; but in some countries use of the Apostles' Creed was already permitted.
Use in the Divine Office[edit]
In the 1962 Breviary, authorized by Summorum Pontificum, the Apostles' Creed is recited at Prime and Compline on certain days during Advent and Lent as part of the Preces, a series of versicles and responses preceded by Kyrie, eleison ("Lord, have mercy") and the Our Father. In prior editions, it was also said after the Our Father and Hail Mary before Matins and Prime, and after Compline.
Anglican Communion[edit]
The Apostles' Creed is used in the non-Eucharistic services of Matins and Evening Prayer (Evensong). It is invoked after the recitation or singing of the Canticles, and it is the only part of the services in which the congregation traditionally turns to face the altar, if they are seated transversely in the quire.
Episcopal Church (United States)[edit]
The Episcopal Church uses the Apostles' Creed as a Baptismal Covenant for those who are to receive the Rite of Baptism. Regardless of age, candidates are to be sponsored by parents and/or godparents. Youths able to understand the significance of the Rite may go through the ritual speaking for themselves. Younger children and infants rely on their sponsors to act upon their behalf.
1. The celebrant calls for the candidates for Baptism to be presented.
2. The catechumen or sponsors state their request for Baptism.
3a. If the catechumen is of age, the celebrant will ask him or her if he or she desires Baptism, to which the catechumen will respond: "I do."
3b. If the candidate relies on sponsors, the celebrant asks them if they will raise the child in "the Christian faith and life" (ECUSA BCP), and will raise the child through "prayers and witness to grow into the full stature of Christ" to which the parents will state to each, "I will, with God's help."
4. A series of questions is then asked, to which the reply is always "I renounce them":
Do you renounce Satan and all the spiritual forces of wickedness that rebel against God?
Do you renounce the evil powers of this world which corrupt and destroy the creatures of God?
Do you renounce all sinful desires that draw you from the love of God?
5. The second half of the query is asked, to which the reply is always "I do":
Do you turn to Jesus Christ and accept him as your Savior?
Do you put your whole trust in his grace and love?
Do you promise to follow and obey him as your Lord?
6. The Apostles' Creed is then recited by candidates, sponsors and congregation, each section of the Creed being an answer to the celebrant's question, 'Do you believe in God the Father (God the Son, God the Holy Spirit)?'
Lutheran Church[edit]
Lutherans following the Lutheran Service Book (Lutheran Church–Missouri Synod and the Lutheran Church–Canada), like Roman Catholics, use the Apostles' Creed during the Sacrament of Baptism:
Do you believe in God, the Father almighty, maker of heaven and earth?
Do you believe in Jesus Christ, His only son, our Lord, who was conceived by the Holy Spirit, and born of the virgin Mary, suffered under Pontius Pilate, was crucified, died and was buried. He descended into hell. On the third day He rose again from the dead. He ascended into heaven and sits at the right hand of the Father. From thence He will come to judge the living and the dead?
Do you believe in the Holy Spirit, the holy catholic Church, the communion of saints, the forgiveness of sins, the resurrection of the body, and the life everlasting?
Following each question, the candidate answers by saying "Yes, I believe". If the candidate is a child, the godparents are to answer the questions.[46]
For ELCA Lutherans who use the Evangelical Lutheran Worship book, the Apostles' Creed appears during the Sacrament of Holy Baptism Rite on p. 229 of the hardcover pew edition.
Methodism[edit]
Methodists use the Apostles' Creed as part of their baptismal rites in the form of an interrogatory addressed to the candidate(s) for baptism and the whole congregation as a way of professing the faith within the context of the Church's sacramental act. For infants, it is the professing of the faith by the parents, sponsors, and congregation on behalf of the candidate(s); for confirmands, it is the professing of the faith before and among the congregation. For the congregation, it is a reaffirmation of their professed faith.
Do you believe in God?
I believe in God, the Father Almighty, creator of heaven and earth.
Do you believe in Jesus Christ?
I believe in Jesus Christ, his only Son, our Lord, who was conceived by the Holy Spirit, born of the Virgin Mary, suffered under Pontius Pilate, was crucified, died, and was buried; he descended to the dead. On the third day he rose again; he ascended into heaven, is seated at the right hand of the Father, and will come again to judge the living and the dead.
Do you believe in the Holy Spirit?
I believe in the Holy Spirit, the holy catholic church, the communion of saints, the forgiveness of sins, the resurrection of the body, and the life everlasting.[47]
See also[edit]
Christianity portal
Nicene Creed
Chalcedonian Creed
Lutheran Book of Worship
Virgin birth of Jesus
Passion of Jesus
One, Holy, Catholic, and Apostolic Church
Notes[edit]
Jump up ^ Not in the sense that the word "symbol" has in modern English, but in the original meaning of the word, derived from "Latin symbolum, sign, token, from Greek σύμβολον, token for identification (by comparing with its counterpart), from συμβάλλειν, to throw together, compare".[1]
Jump up ^ In a suggested revision of 1923, this line has "of the Holy Ghost".[31] The Scottish Book of Common Prayer (1637) has "which was conceived of the holy Ghost".[32] This goes back to the 1559 Book of Common Prayer, which has "whiche was conceived of the holy Ghost".[33]
Jump up ^ This ecumenical version of the English Language Liturgical Consultation (ELLC) and its predecessor. the International Consultation on English Texts (ICET) is included in Evangelical Lutheran Worship, the primary worship resource for the Evangelical Lutheran Church in America, the largest Lutheran denomination in the United States, and the Evangelical Lutheran Church in Canada.
Jump up ^ The Lutheran Church–Missouri Synod has a slightly different text.[38]
Jump up ^ The version used by the German Lutheran Trinity Church Melbourne is also slightly different.[39]
References[edit]
Jump up ^ The American Heritage Dictionary of the English Language, Bartleby .
Jump up ^ Rogers, Jack (1985), Presbyterian Creeds, Westminster John Knox Press, pp. 62–63, ISBN 978-0-664-25496-4 .
Jump up ^ Orr, James. "The Apostles' Creed". International Standard Bible Encyclopedia. Reformed. Archived from the original on June 22, 2011. Retrieved May 19, 2011.
Jump up ^ Ambrose of Milan. "Letter 42:5". Tertullian.org. Archived from the original on June 5, 2011. Retrieved May 19, 2011.
^ Jump up to: a b c d e "Apostles' Creed", Dictionary of the Christian Church, Oxford University Press, 2005, p. 90, ISBN 978-0-19-280290-3 .
Jump up ^ Day, Gardiner Mumford (1963), The Apostles' Creed: an interpretation for today, Scribner, p. 33 .
Jump up ^ McGiffert, Arthur Cushman (2008), The Apostles' Creed: Its Origin, Its Purpose, and Its Historical Interpretation, p. 42, ISBN 0-559-85199-5 .
Jump up ^ Bettenson, Henry, ed. (1963), Documents of the Christian Church (2nd ed.), London, p. 23 .
Jump up ^ Lynch, Joseph (1992), The Medieval Church, London and NY: Longman, p. 7 .
Jump up ^ Creeds of Christendom, with a History and Critical notes, II. The History of Creeds, Christian Classics Ethereal Library, July 13, 2005, retrieved May 19, 2011
Jump up ^ Kelly, JND (1972), Early Christian Creeds (third ed.), London: Longman, Green & Co, pp. 398–434 .
Jump up ^ Bettenson, Henry; Maunder, Chris (1999), Documents of the Christian Church (3 ed.), New York: Oxford University Press, p. 26 .
Jump up ^ "Origin of the Creed", Catholic Encyclopedia, New advent .
Jump up ^ Trillhaas, Wolfgang, "Creeds, Lutheran Attitude Toward", in Bodensieck, Julius, The Encyclopedia of the Lutheran Church, A–E, Minneapolis: Augsburg, p. 629 .
Jump up ^ Grudem, Wayne A (2004), Systematic Theology: An Introduction to Biblical Doctrine, Leicester, ENG; Grand Rapids, MI: Inter-Varsity Press; Zondervan, p. 586 .
Jump up ^ Smith, Michael G (February 1, 1985), "Troubador of the Kingdom", Christianity Today, p. 88 .
Jump up ^ Powell, Mark Allan (2002), Encyclopedia of Contemporary Christian Music, Hendrickson, p. 615, ISBN 1-56563-679-1
Jump up ^ Powell, Mark Allan (2002), Encyclopedia of Contemporary Christian Music, Hendrickson, p. 696, ISBN 1-56563-679-1
Jump up ^ "I believe in God almighty", Hymnary .
Jump up ^ "Symbolum Fidei" [Faith symbol]. Catechismus Catholicae Ecclesiae (in Latin). Vatican. June 25, 1992. Retrieved August 5, 2014.
Jump up ^ Bird, Michael F. (July 5, 2016). What Christians ought to believe: an introduction to Christian doctrine through the Apostles’ Creed. New York City: HarperCollins. p. 185. ISBN 978-0-310-52093-1.
Creeds of Christendom, with a History and Critical notes, Volume II. The History of Creeds, CCEL, February 19, 2009, retrieved September 29, 2016 .
Jump up ^ "Praying Together" (PDF). English Language Liturgical Consultation. 1988. p. 22. Retrieved March 6, 2017.
Jump up ^ "English translation of the Apostles' Creed". The Catechism of the Catholic Church. Vatican. March 25, 1997. Retrieved April 26, 2013.
Jump up ^ "Part I, Section II". English translation of the Apostles' Creed. Vatican. Archived from the original on May 14, 2011. Retrieved May 19, 2011.
Jump up ^ New English translations of Ordo Missae to be set to music (PDF), Catholic Church in Australia, April 13, 2010, p. 5, retrieved September 28, 2016 .
Jump up ^ Sermones Pomerii de sanctis II. Pars aestivalis. Sermo XXVII.: Item in divisionis apostolorum festo. Hagenau 1499.
Cf. Rufinus, "Commentary on the Apostles' Creed", newadvent.org, retrieved October 1, 2016, each contributing his several sentence to one common summary […].
Jump up ^ Pipkin, H. Wayne; Yoder, John Howard, eds. (1989), Balthasar Hubmaier, theologian of Anabaptism, Scottdale, Pennsylvania: Herald Press, p. 351, ISBN 0-8361-3103-7 ; cf. p. 239: Hubmaier, Balthasar (1527), Twelve articles in prayer form, Nikolsburg, O my Lord Jesus Christ, institute once again the two bands, namely water baptism and the Supper, with which thou has outwardly girded and bound thy bride.
Jump up ^ "The Book of Common Prayer (original text)" (PDF). Vulcan hammer. Archived (PDF) from the original on May 16, 2011. Retrieved May 19, 2011.
Jump up ^ "The Order for Morning Prayer". Anglican. Archived from the original on April 19, 2009. Retrieved May 19, 2011.
Jump up ^ "The Order for Evening Prayer". Anglican. Retrieved May 19, 2011.
Jump up ^ A Suggested Prayer Book, Being the text of the English Rite altered and enlarged in accordance with the Prayer Book Revision proposals made by the English Church Union (PDF). 1923. p. 13. Archived (PDF) from the original on November 24, 2015.
Jump up ^ "The Order of Confirmation". The Book of Common Prayer for Scotland. 1637. Archived from the original on July 11, 2015.
Jump up ^ "Confirmacion". The Book of Common Prayer. 1559. Archived from the original on May 16, 2015.
Jump up ^ "Creeds and Authorized Affirmations of Faith". Church of England. Retrieved May 19, 2011.
Jump up ^ "The Apostles' Creed", Statements of belief, Evangelical Lutheran Church in America .
Jump up ^ Lutheran Service Book (PDF), St. Louis: Concordia, 2006, pp. 159, 175, 192, 207 .
Jump up ^ Lutheran Worship, St. Louis: Concordia, 1982, pp. 142, 167, 186 .
Jump up ^ LCMS, archived from the original on March 10, 2011 , .
Jump up ^ German Lutherans, Melbourne, AU: ASN, archived from the original on September 28, 2007 .
Jump up ^ Lutheran Service Book, St. Louis: Concordia, 2006, pp. 159, 175, 192, 207 .
Jump up ^ "Contemporary Evangelical Perspectives". Catalyst resources. Archived from the original on May 18, 2011. Retrieved May 19, 2011.
Jump up ^ "Contemporary Evangelical Perspectives". Catalyst resources. Archived from the original on May 18, 2011. Retrieved May 19, 2011.
Jump up ^ "Apostle's Creed Traditional and Ecumenical Versions". The United Methodist Church. Retrieved July 15, 2015.
Jump up ^ Hickman, Hoyt, ed. (1989), "The Worship Resources", United Methodist Hymnal, p. 200 .
Jump up ^ Roman Missal | Apostles' Creed, Wentworthville: Our Lady of Mount Carmel, 2011, retrieved September 30, 2016 .
Jump up ^ "Rite of Baptism", Lutheran Service Book .
Jump up ^ "Baptismal Covenant I", The United Methodist Hymnal, p. 35 .
Further reading[edit]
Cannata, Raymond F.; Reitano, Joshua D. (2013), Rooted: The Apostles’ Creed, Oro Valley, AZ: Doulos Resources, ISBN 978-1-937063-92-4
Lochman, Jan Milič (1999), "Apostles' Creed", in Fahlbusch, Erwin, Encyclopedia of Christianity, 1, Grand Rapids: Wm. B. Eerdmans, pp. 109–10, ISBN 0-8028-2413-7
External links[edit]
Wikimedia Commons has media related to Apostles' Creed.
Latin Wikisource has original text related to this article: Symbolum Apostolicum
Vaghi, Msgr. Peter J (2008), The Faith We Profess: A Catholic Guide to the Apostles' Creed, Ave Maria press .
Languages, UK: CPRF . A website with the Creeds in a significant number of languages.
Rosary prayers in different languages, Mary rosaries . A website with prayers in many languages; a significant number of the languages also have the Apostles' Creed.
Audio recordings and texts of the Apostle's Creed and other prayers in various languages
English translations[edit]
The full text of Apostles' Creed at Wikisource
"Roman Catholic translation". Catechism of the Catholic Church. Rome, IT: Vatican. Retrieved June 21, 2005.
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The Stanley Hotel
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Stanley Hotel" redirects here. For the hotel in Nairobi, Kenya, see Stanley Hotel, Nairobi.
The Stanley Hotel
U.S. National Register of Historic Places
U.S. Historic district
Location
333 Wonderview Avenue, Estes Park, Colorado
Coordinates
40°23′0″N 105°31′6″W / 40.38333°N 105.51833°W / 40.38333; -105.51833Coordinates: 40°23′0″N 105°31′6″W / 40.38333°N 105.51833°W / 40.38333; -105.51833
Architect
Freelan Oscar Stanley, T. Robert Weiger, Henry Rogers
Architectural style
Colonial Revival
NRHP reference #
85001256[1]
Added to NRHP
May 26, 1977 (Expanded June 20, 1985 & April 16, 1998)
The Stanley Hotel is a 142-room Colonial Revival hotel in Estes Park, Colorado. Approximately five miles from the entrance to Rocky Mountain National Park, the Stanley offers panoramic views of Lake Estes, the Rockies and especially Long's Peak. It was built by Freelan Oscar Stanley of Stanley Steamer fame and opened on July 4, 1909, catering to the American upper class at the turn of the century.[2] The hotel and its surrounding structures are listed on the National Register of Historic Places.[1]
The Stanley Hotel hosted the horror novelist Stephen King, serving as inspiration for the Overlook Hotel in his 1977 bestseller The Shining and its 1980 film adaption of the same name, as well as the location for the 1997 miniseries. Today, it includes a restaurant, spa, and bed-and-breakfast and provides guided tours which feature the history and alleged paranormal activity of the site.
Contents
[hide]
1 History
2 Gallery
3 Architecture
3.1 Main Building
3.2 Concert Hall
3.3 The Lodge
3.4 The Hedge Maze
4 The Shining
5 Film location and arts venue
6 Haunted reputation
7 Famous Guests
8 Ownership History
9 See also
10 References
11 External links
History[edit]
In 1903, the Yankee steam-powered car inventor Freelan Oscar Stanley (1849-1940) was stricken with a life-threatening resurgence of tuberculosis.[3] The most highly recommended treatment of the day was fresh, dry air with lots of sunlight and a hearty diet. Therefore, like many "lungers" of his day, Stanley resolved to take the curative air of Rocky Mountain Colorado. He and Flora arrived in Denver in March and, in June, decided to spend the rest of the summer in the mountains, in Estes Park. Over the course of the season, Stanley's health improved dramatically.[2] Impressed by the beauty of the valley and grateful for his recovery, he decided to return every year. He lived to the ripe age of 91, dying of a heart attack in Newton, Massachusetts, one year after his wife, in 1940.
By 1907, Stanley had recovered completely. However, not content with the rustic accommodations, lazy pastimes and relaxed social scene of their new summer home, Stanley resolved to turn Estes Park into a resort town. In 1907, construction began on the Hotel Stanley, a 48-room grand hotel that catered to the class of wealthy urbanites who composed the Stanleys' social circle back east.[3]
The 4th Earl of Dunraven and Mount-Earl
The land was officially purchased in 1908 through the representatives of Lord Dunraven, the Anglo-Irish peer who had originally acquired it by stretching the provisions of the Homestead Act and pre-emption rights. Between 1872 and 1884, Dunraven claimed 15,000 acres (61 km2) of the Estes Valley in an unsuccessful attempt to create a private hunting preserve, making him one of the largest foreign holders of American lands. Unpopular with the local ranchers and farmers, Dunraven left the area for the last time in 1884 relegating the ranch to the management of an overseer.[2][3] Dunraven's presence in Colorado had become so well known in the United States that his situation was parodied in Charles King's novel Dunraven Ranch (1892) as well as James A. Michener's Centennial (1974). His reputation was such that, when Stanley suggested "The Dunraven" as a name for his new hotel, 180 people signed a buckskin petition requesting that he name it for himself instead.
The structure was completed in 1909 and featured a hydraulic elevator, dual electric and gas lighting, running water, a telephone in every guest room and a fleet of specially-designed Stanley "Model Z" Mountain Wagons to bring guests from the train depot twenty miles away; all of this at a time when Estes Park was little more than a locale for hunters and naturalists. Originally, Stanley chose an ocher color for the hotel's exterior with white accents and trim. The hotel was not equipped with heat until 1983 and closed for the winter every year. The presence of the hotel and Stanley's own involvement greatly contributed to the growth of Estes Park (incorporated in 1917) and the creation of the Rocky Mountain National Park (established in 1915).
Stanley operated the hotel almost as a pastime remarking once that he spent more money than he made each summer. In 1926, he sold the Stanley to a private company incorporated for the sole purpose of running it. The venture failed and, in 1929, Stanley purchased his property out of foreclosure selling it again, in 1930, to fellow auto and hotel magnate Roe Emery of Denver. During Emery's tenure as owner, the structures were painted white inside and out and most of the original electro-gas fixtures were replaced.
Gallery[edit]
June 2008
February 2011
South elevation
Lobby looking east
Music Room looking south
Architecture[edit]
The Stanley Hotel National Register Historic District contains eleven contributing buildings including the main hotel, a concert hall, carriage house and The Lodge, a smaller bed-and-breakfast originally called Stanley Manor. The buildings were designed by F.O. Stanley with the professional assistance of Denver architect T. Robert Wieger, Henry "Lord Cornwallis" Rogers, and contractor Frank Kirchoff. The site was chosen for its vantage overlooking the Estes valley and Long's Peak within the National Park. The main building is a steel-frame structure with wood cladding resting upon a granite masonry foundation. Wood for flooring, clapboarding and finishing was brought from Kirchoff's Denver Lumberyard and the Bluff City Lumber Company of Pine Bluff, Arkansas. The Griffith sawmill near Bierstadt Lake and Stanley's own Hidden Valley lumber operation, located in the future national park, supplied framing material. The materials were brought to Lyons, Colorado by rail and thence to Estes Park by mule-drawn wagon. Simultaneously, Stanley oversaw the construction of a hydroelectric power plant which brought electricity to Estes Park for the first time in 1909. Stanley claimed that his hotel was the first to be powered entirely by electricity from the lighting to the kitchens. Water was supplied by the Black Canyon Creek which was dammed in 1906.
The style of the campus is so-called Colonial Revival. Although rare in the western United States, F.O. Stanley chose the Colonial Revival for its fashionable popularity in New England where he had already designed his own home and a social club in the style. The hotel's clientele would presumably, like the Stanleys, have identified the style with New England respectability and sophistication in contrast to the rusticity of the surrounding town. At one time, Stanley planned to build another, more economical hotel in Estes Park as well as a headquarters and residence for the superintendent of the Rocky Mountain National Park in the same style, to harmonize with his grand hotel. While the forms and layouts of the buildings are suited to their modern uses, their ornamentation exhibits the stylistic hallmarks of Georgian or Federal architecture from the staunch symmetry of the south elevation to the cupola, dormers, Palladian windows, side- and fan-lights, scroll brackets and "swan's neck" pediments that articulate the exterior.
Main Building[edit]
The floor plan of the main hotel building was laid out to accommodate the various activities popular with the American upper class at the turn of the twentieth century and the spaces are decorated accordingly. The music room, for instance, with its cream-colored walls (originally green and white), large windows and fine, classical plaster-work was designed for letter-writing during the day and chamber music at night - cultured pursuits perceived as feminine. On the other hand, the smoking lounge (today the Piñon Room) and adjoining billiard room, with their dark stained-wood elements and granite fireplace were designated for enjoyment by male guests. Stanley himself, having been raised in a Protestant household in the tee-totaling State of Maine and having recovered from a serious lung disease, did not smoke cigars or drink alcohol, but these were essential after-dinner activities for most men at the time. Billiards, however, was among Stanley's most cherished pastimes.
The layout was also determined by air circulation. The window at the top of the grand stair provides a pleasant breeze across the lobby, French doors in the state rooms open onto shaded verandas and the two curving staircases connecting the guest corridors prevent stagnant air in the upper floors. Although the hotel was finally updated with central heating in 1983, guests still depend on Rocky Mountain breezes for cooling in the summer. Also completed in 1983, the hotel's service tunnel connects the basement level to the staff entrance. It is cut directly through the granite on which the hotel sits.
Concert Hall[edit]
The concert hall, east of the hotel, was built by Stanley in 1909 with the assistance of Henry "Lord Cornwallis" Rogers, the same architect who designed his summer cottage. According to popular legend, it was built as a gift for Flora Stanley who was an avid pianist despite her failing eyesight. The interior is decorated in the same manner as the smaller music room and somewhat resembles that of the Boston Symphony Hall (McKim, Mead & White, 1900) with which the Stanleys may have been familiar. The stage features a trap door, used for theatrical entrances and exits. The lower level once housed a bowling alley. This feature has long since disappeared but it possibly resembled the one at the Stanley's Hunnewell Club in Newton, pictures of which are archived in the Newton Free Library. The hall underwent extensive repair and renovation in the 2000s.
The Lodge[edit]
Once called Stanley Manor, this smaller hotel between the main structure and the concert hall is a 2:3 scaled-down version of the main hotel. Unlike its model, the manor was fully heated from completion in 1910 which may indicate that Stanley planned to use it as a winter resort when the main building was closed for the season. However, unlike many other Colorado mountain towns now famous for their winter sports, Estes Park never attracted off-season visitors in Stanley's day and the manor remained empty for much of the year. Today it is called The Lodge and serves as a bed-and-breakfast off-limits to the public.
The Hedge Maze[edit]
In 2015, the open area in front of the hotel, originally a driveway for Stanley Steamers and a promenade for guests to enjoy mountain views, was replaced with a hedge maze. This non-historic feature was added to evoke the hotel's connection to The Shining. Although a hedge maze features prominently in Stanley Kubrick's version of The Shining, no such feature can be found in Stephen King's novel. The lawn of the Overlook Hotel, as King imagined it, was adorned with topiary animals and it was set that way for the shooting of the miniseries in 1996. Historically, neither feature existed at the Stanley. The design was the result of a competition, chosen from amongst 300 entrants from across the globe. The winning submission was designed by New York architect Mairim Dallaryan Standing.[4] In 2016, John Cullen, owner of the Stanley Hotel, announced a competition for a sculpture to be the centerpiece of the terrace in front of the hotel. Sculptors Sutton Betti and Daniel Glanz won the competition with a sculpture of F.O. Stanley holding one of his violins. The sculpture was installed and dedicated on September 29, 2016. They used another hotel to film the outside shots and the Stanley for inside shots.
The Shining[edit]
Cover of The Shining, first edition, 1977
On October 30, 1974, horror writer Stephen King and his wife Tabitha spent one night at the Stanley Hotel during their one year of residency in Boulder, Colorado.[5] They were driving through Estes Park as night approached when they happened upon the Stanley Hotel. They decided to book a room and, upon checking in, discovered that they were the only overnight guests. "They were just getting ready to close for the season, and we found ourselves the only guests in the place — with all those long, empty corridors."[6][7] He and his wife were served dinner in an empty dining room accompanied by canned orchestral music. "Except for our table all the chairs were up on the tables. So the music is echoing down the hall, and, I mean, it was like God had put me there to hear that and see those things."[8] That night, according to King, "I dreamed of my three-year-old son running through the corridors, looking back over his shoulder, eyes wide, screaming. He was being chased by a fire-hose. I woke up with a tremendous jerk, sweating all over, within an inch of falling out of bed. I got up, lit a cigarette, sat in a chair looking out the window at the Rockies, and by the time the cigarette was done, I had the bones of The Shining firmly set in my mind."[9]
The Shining was published in 1977 and became the third great success of King's career after Carrie and 'Salem's Lot. The Overlook Hotel - the fictional hotel in King's book inspired by the Stanley - is an evil entity haunted by its many victims. Room 217 of the Overlook features prominently in the novel, having been the room where King spent the night at the Stanley. This is the room on the second floor in the center of the west wing with a balcony overlooking the south terrace. Room 217 remains the hotel's most requested accommodation.
Film location and arts venue[edit]
In 1980, The Shining became the basis for a film adaptation directed by Stanley Kubrick. Kubrick's vision for the movie differed from King's significantly in many ways, including the portrayal of the Overlook Hotel. The exteriors of Kubrick's Overlook were supplied by the Timberline Lodge on the slopes of Mt. Hood in Oregon. Inspiration for the interior sets (erected at Elstree Studios in England) came from the 1927 Ahwahnee Hotel in Yosemite National Park. The management of the Timberline Lodge, fearful that guests would refuse to stay in their Room 217 if it were featured in a horror movie, insisted that Kubrick change the haunted room in the film to Room 237.
In 1997 The Shining TV series was produced, with the Stanley Hotel as the primary shooting location. A playhouse version of the main building which adorned the lawn of the Overlook Hotel in the series can be viewed in the basement of the Stanley.
The Hotel has also been used as a filming location for other movies and TV shows; most notably, as the fictional "Hotel Danbury" of Aspen, CO, in the 1994 film Dumb and Dumber.[10]
From 2013 to 2015, the hotel property hosted the Stanley Film Festival, an independent horror film festival operated by the Denver Film Society, held in early May. The festival featured screenings, panels, student competitions, audience awards and receptions.[11] The Stanley Film Festival was put on hiatus in 2016, and canceled for 2017.[12]
The historic Stanley Concert Hall serves as venue for various musical groups such as country-punk band Murder By Death which has performed a Shining-themed series of concerts in the space.
Haunted reputation[edit]
Despite a peaceful early history, in the years following the publication of The Shining, The Stanley Hotel has gained a reputation among paranormal investigators for frequent activity.[13][14][15] The hotel offers guided "Ghost Tours" to guests and visitors which feature spaces reputed to be exceptionally active.[16][17] The hotel has also served as a location for numerous paranormal investigation shows such as Ghost Hunters[18][19] and Ghost Adventures.[20]
Famous Guests[edit]
The Stanley Hotel has hosted the following persons of note:
1934 - Erich Fromm, the German psychoanalyst[21]
1936 - Gov. Alf Landon (R, Kansas): opponent to Franklin Delano Roosevelt’s re-election[22][23]
1974 - Stephen King, author who was inspired to write The Shining from his stay in room 217[5]
1976 - Bob Dylan & Joan Baez, classic rock icons during the Rolling Thunder Revue tour[24]
1994 - HM Emperor Akihito of Japan with consort and crown prince, on a state visit to the US[25]
Ownership History[edit]
1908-26 - Freelan Oscar Stanley
1926-29 - The Stanley Corporation
1929-30 - Freelan Oscar Stanley
1930-? - Roe Emery
Maurice L. Albertson, Civil Engineer at CSU
Maxwell Abbell, Chicago real estate investor
1995–present - Grand Heritage Hotel Group
See also[edit]
Freelan Oscar Stanley
The Shining (novel)
The Shining (film)
The Shining (miniseries)
Colonial Revival Architecture
Estes Park, CO
National Register of Historic Places listings in Larimer County, Colorado
References[edit]
^ Jump up to: a b National Park Service (2008-04-15). "National Register Information System". National Register of Historic Places. National Park Service.
^ Jump up to: a b c "Rocky Mountain Legends". LegendsOfAmerica.com. Missing or empty |url= (help); |access-date= requires |url= (help)
^ Jump up to: a b c "Rocky Mountain National Park - Culture". US-Parks.com. Retrieved 2007-05-10.
Jump up ^ Turkewitz, Julie (3 September 2015). "Hotel That Inspired 'The Shining' Builds on Its Eerie Appeal". New York Times. Retrieved 17 September 2015.
^ Jump up to: a b Beahm, George (September 1998). Stephen King from A to Z: An Encyclopedia of His Life and Work. Andrews McMeel Publishing. ISBN 9780836269147.
Jump up ^ "The Stephen King Companion" Beahm, George Andrews McMeel press 1989
Jump up ^ "Stephen King Country" Beahm, George Running Press 1999
Jump up ^ Vvdailypress.com Archived October 18, 2006, at the Wayback Machine.
Jump up ^ "Stephen King: America's Best Loved Boogeyman" Beahm, George Andrews McMeel Press 1998
Jump up ^ "Stanley Hotel Ghost Story". Allstays.com. Retrieved 2007-05-09.
Jump up ^ McHargue, Brad. "Inaugural Stanley Film Festival to Showcase Independent Horror Cinema May 2–5 at the Stanley Hotel". Mile High Cinema. Retrieved 19 February 2013.
Jump up ^ Walker, Chris (15 November 2016). "Stanley Hotel Cancels 2017 Horror Film Fest; Film Center Director Resigns". Westword. Retrieved 27 March 2017.
Jump up ^ "Haunted Hotel History". www.stanleyhotel.com.
Jump up ^ "Stanley Ghost Stories Shine with Authenticity". www.stanleyhotel.com.
Jump up ^ McCarthy, Sky (14 April 2016). "Stanley Hotel guest captures creepy figure in lobby". Fox News.
Jump up ^ "Hotel Tours | Estes Park Colorado Tours | The Stanley Hotel". www.stanleyhotel.com.
Jump up ^ "UPDATED: Haunted Stanley Hotel Suspends Ghost Hunts".
Jump up ^ "The Stanley Hotel: Season 2, Episode 22". Syfy.
Jump up ^ "Best of the Stanley Hotel: Season 3, Episode 5". Syfy.
Jump up ^ "Stanley Hotel - Ghost Adventures - TravelChannel.com". Travel Channel.
Jump up ^ Funk, Rainer (2000). Erich Fromm: His Life and Ideas, an Illustrated Biography. A&C Black. p. 82. ISBN 9780826415196. Retrieved 14 October 2017.
Jump up ^ Mitchell, Steve (2016). Legendary Locals of Estes Park. Arcadia Publishing. ISBN 9781439655955. Retrieved 14 October 2017.
Jump up ^ "Headquarters at Estes Park for Alf Landon". Newspapers.com. Greeley Daily Tribune from Greeley, Colorado. June 24, 1936. Retrieved 14 October 2017.
Jump up ^ Johnson, Tracy (2000). Encounters with Bob Dylan: If You See Him, Say Hello. humble Press. ISBN 9780964700925. Retrieved 14 October 2017.
Jump up ^ "(album.rmnp100.com)". album.rmnp100.com. Retrieved 14 October 2017.
External links[edit]
Official Website
Stanley Hotel National Register Nomination
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Opera buffa
From Wikipedia, the free encyclopedia
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Not to be confused with Opéra bouffe.
Opera buffa (pronounced [ˈɔːpera ˈbufa]; plural: opere buffe; Italian for "comic opera") is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso.
Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, buffa was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter.
The New Grove Dictionary of Opera considers La Cilla (music by Michelangelo Faggioli, text by Francesco Antonio Tullio (it), 1706) and Luigi and Federico Ricci's Crispino e la comare (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example Ernst Krenek's Zeitoper Schwergewicht). High points in this history are the 80 or so libretti by Carlindo Grolo, Loran Glodici, Sogol Cardoni[1] and various other approximate anagrams of Carlo Goldoni, the three Mozart/Da Ponte collaborations, and the comedies of Gioachino Rossini.
Similar foreign genres such as opéra comique or Singspiel differed as well in having spoken dialogue in place of recitativo secco, although one of the most influential examples, Pergolesi's La serva padrona (which is an intermezzo, not opera buffa), sparked the querelle des bouffons in Paris as an adaptation without sung recitatives.
History[edit]
Comic characters had been a part of opera until the early 18th century, when "opera buffa" began to emerge as a separate genre, an early precursor having been the operatic comedy, Il Trespolo tutore, by Alessandro Stradella, in 1679. Opera buffa was a parallel development to opera seria and arose in reaction to the so-called first reform of Zeno and Metastasio.[1] It was, in part, intended as a genre that the common man could relate to more easily. Whereas opera seria was an entertainment that was both made for and depicted kings and nobility, opera buffa was made for and depicted common people with more common problems. High-flown language was generally avoided in favor of dialogue that the lower class would relate to, often in the local dialect, and the stock characters were often derived from those of the Italian commedia dell'arte.
In the early 18th century, comic operas often appeared as short, one-act interludes known as intermezzi that were performed in between acts of opera seria. These gave way to the full-fledged opera buffa later in the 18th century. La serva padrona (1733) by Giovanni Battista Pergolesi (1710–1736), is the one intermezzo still performed with any regularity today, and provides an excellent example of the style.
Apart from Pergolesi, the first major composers of opera buffa were Nicola Logroscino, Baldassare Galuppi and Alessandro Scarlatti, all of them based in Naples or Venice.
The opera buffa's importance diminished during the Romantic Period. Here, the forms were freer and less extended than in the serious genre and the set numbers were linked by recitativo secco, the exception being Donizetti's Don Pasquale in 1843. With Rossini, a standard distribution of four characters is reached: a prima donna soubrette (soprano or mezzo); a light, amorous tenor; a basso cantante or baritone capable of lyrical, mostly ironical expression; and a basso buffo whose vocal skills, largely confined to clear articulation and the ability to "patter", must also extend to the baritone for the purposes of comic duets.[2]
The type of comedy could vary, and the range was great: from Rossini's The Barber of Seville in 1816 which was purely comedic, to Mozart's The Marriage of Figaro in 1786 which added drama and pathos. Another example of Romantic opera buffa would be Donizetti's L'elisir d'amore of 1832.
Relation to and differences from opera seria[edit]
While opera seria deals with gods and ancient heroes and only occasionally contained comic scenes, opera buffa involves the predominant use of comic scenes, characters, and plot lines in a contemporary setting. The traditional model for opera seria had three acts, dealt with serious subjects in mythical settings, as stated above, and used high voices (both sopranos and castrati) for principal characters, often even for monarchs.
In contrast, the model that generally held for opera buffa was having two acts (as, for example, The Barber of Seville), presenting comic scenes and situations as earlier stated and using the lower male voices to the exclusion of the castrati.[3] This led to the creation of the characteristic "basso buffo", a specialist in patter who was the center of most of the comic action. (A well-known basso buffo role is Leporello in Mozart's Don Giovanni).
References[edit]
Notes
^ Jump up to: a b Patrick J. Smith: The Tenth Muse (Schirmer 1970) p. 103.
Jump up ^ Fisher, Burton D. The Barber of Seville (Opera Classics Library Series)
Jump up ^ Warrack, John; West, Ewan (1992), The Oxford Dictionary of Opera, ISBN 0-19-869164-5
Sources
Eisen, Cliff, et al. "Mozart" in Grove Music Online, Oxford Music Online sections 7–10. (subscription required)
Fisher, Burton D, The Barber of Seville (Opera Classics Library Series). Grand Rapids: Opera Journeys, 2005.
Grout, Donald, A Short History of Opera. New York, Columbia University Press, 1965.
Hunter, Mary (1999), The Culture of opera buffa in Mozart's Vienna: A Poetics of Entertainment. Princeton University Press, Princeton NJ 1999. (reviewed in: Stevens, Jane R. "Shifting Focus to Mozart's Operas." Eighteenth-Century Studies, Vol. 35, No. 1 (Fall 2001) pp. 160–62.)
Opera buffa. World Book Online Reference Center. 2008.
Parker, Roger, The Oxford illustrated History of Opera
Platoff, John (1992). "How Original Was Mozart? Evidence from "Opera Buffa"." Early Music: Vol. 20, No. 1. Oxford University Press, Feb. 1992. pp. 105–17.
Weiss, Piero; Julian Budden, "Opera buffa", Grove Music Online. Oxford Music Online.
Webster, James, Hunter, Mary (1997). Opera Buffa in Mozart's Vienna. Cambridge University Press, Cambridge, England 1997. (reviewed in: Baker, Nicole. "Untitled." Notes, Second Series, Vol. 56, No. 1 (September 1999) pp. 138–40.)
Weiss, Piero and Budden, Julian (1992). "Opera buffa" in The New Grove Dictionary of Opera, ed. Stanley Sadie, London. ISBN 0-333-73432-7
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Atwood machine
From Wikipedia, the free encyclopedia
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Illustration of Atwood machine, 1905.
The Atwood machine (or Atwood's machine) was invented in 1784 by the English mathematician George Atwood as a laboratory experiment to verify the mechanical laws of motion with constant acceleration. Atwood's machine is a common classroom demonstration used to illustrate principles of classical mechanics.
The ideal Atwood Machine consists of two objects of mass m1 and m2, connected by an inextensible massless string over an ideal massless pulley.[1]
When m1 = m2, the machine is in neutral equilibrium regardless of the position of the weights.
When m1 ≠ m2 both masses experience uniform acceleration.
Contents
[hide]
1 Equation for constant acceleration
2 Equation for tension
3 Equations for a pulley with inertia and friction
3.1 Practical implementations
4 See also
5 Notes
6 External links
Equation for constant acceleration[edit]
The free body diagrams of the two hanging masses of the Atwood machine. Our sign convention, depicted by the acceleration vectors is that m1 accelerates downward and that m2 accelerates upward, as would be the case if m1 > m2
We are able to derive an equation for the acceleration by using force analysis. If we consider a massless, inextensible string and an ideal massless pulley, the only forces we have to consider are: tension force (T), and the weight of the two masses (W1 and W2). To find an acceleration we need to consider the forces affecting each individual mass. Using Newton's second law (with a sign convention of m 1 > m 2 {\displaystyle m_{1}>m_{2}} ) we can derive a system of equations for the acceleration (a).
As a sign convention, we assume that a is positive when downward for m 1 {\displaystyle m_{1}} and upward for m 2 {\displaystyle m_{2}} . Weight of m 1 {\displaystyle m_{1}} and m 2 {\displaystyle m_{2}} is simply W 1 = m 1 g {\displaystyle W_{1}=m_{1}g} and W 2 = m 2 g {\displaystyle W_{2}=m_{2}g} respectively.
Forces affecting m1:
m 1 g − T = m 1 a {\displaystyle \;m_{1}g-T=m_{1}a}
Forces affecting m2:
T − m 2 g = m 2 a {\displaystyle \;T-m_{2}g=m_{2}a}
and adding the two previous equations we obtain
m 1 g − m 2 g = m 1 a + m 2 a {\displaystyle \;m_{1}g-m_{2}g=m_{1}a+m_{2}a} ,
and our concluding formula for acceleration
a = g m 1 − m 2 m 1 + m 2 {\displaystyle a=g{m_{1}-m_{2} \over m_{1}+m_{2}}}
Conversely, the acceleration due to gravity, g, can be found by timing the movement of the weights, and calculating a value for the uniform acceleration a: a = 2 d t 2 {\displaystyle a={\frac {2d}{t^{2}}}} .
The Atwood machine is sometimes used to illustrate the Lagrangian method of deriving equations of motion.[2]
Equation for tension[edit]
It can be useful to know an equation for the tension in the string. To evaluate tension, substitute the equation for acceleration in either of the 2 force equations.
a = g m 1 − m 2 m 1 + m 2 {\displaystyle a=g{m_{1}-m_{2} \over m_{1}+m_{2}}}
For example, substituting into m 1 a = m 1 g − T {\displaystyle m_{1}a=m_{1}g-T} , results in
T = 2 g m 1 m 2 m 1 + m 2 = 2 g 1 / m 1 + 1 / m 2 {\displaystyle T={2gm_{1}m_{2} \over m_{1}+m_{2}}={2g \over 1/m_{1}+1/m_{2}}}
Equations for a pulley with inertia and friction[edit]
For very small mass differences between m1 and m2, the rotational inertia I of the pulley of radius r cannot be neglected. The angular acceleration of the pulley is given by the no-slip condition:
α = a r , {\displaystyle \alpha ={a \over r},}
where α {\displaystyle \alpha } is the angular acceleration. The net torque is then:
τ n e t = ( T 1 − T 2 ) r − τ f r i c t i o n = I α {\displaystyle \tau _{\mathrm {net} }=\left(T_{1}-T_{2}\right)r-\tau _{\mathrm {friction} }=I\alpha }
Combining with Newton's second law for the hanging masses, and solving for T1, T2, and a, we get:
Acceleration:
a = g ( m 1 − m 2 ) − τ f r i c t i o n r m 1 + m 2 + I r 2 {\displaystyle a={{g(m_{1}-m_{2})-{\tau _{\mathrm {friction} } \over r}} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Tension in string segment nearest m1:
T 1 = m 1 g ( 2 m 2 + I r 2 + τ f r i c t i o n r g ) m 1 + m 2 + I r 2 {\displaystyle T_{1}={{m_{1}g(2m_{2}+{{I} \over {r^{2}}}+{{\tau _{\mathrm {friction} }} \over {rg}})} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Tension in string segment nearest m2:
T 2 = m 2 g ( 2 m 1 + I r 2 + τ f r i c t i o n r g ) m 1 + m 2 + I r 2 {\displaystyle T_{2}={{m_{2}g(2m_{1}+{{I} \over {r^{2}}}+{{\tau _{\mathrm {friction} }} \over {rg}})} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Should bearing friction be negligible (but not the inertia of the pulley and not the traction of the string on the pulley rim), these equations simplify as the following results:
Acceleration:
a = g ( m 1 − m 2 ) m 1 + m 2 + I r 2 {\displaystyle a={{g(m_{1}-m_{2})} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Tension in string segment nearest m1:
T 1 = m 1 g ( 2 m 2 + I r 2 ) m 1 + m 2 + I r 2 {\displaystyle T_{1}={{m_{1}g(2m_{2}+{{I} \over {r^{2}}})} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Tension in string segment nearest m2:
T 2 = m 2 g ( 2 m 1 + I r 2 ) m 1 + m 2 + I r 2 {\displaystyle T_{2}={{m_{2}g(2m_{1}+{{I} \over {r^{2}}})} \over {m_{1}+m_{2}+{{I} \over {r^{2}}}}}}
Practical implementations[edit]
Atwood's original illustrations show the main pulley's axle resting on the rims of another four wheels, to minimize friction forces from the bearings. Many historical implementations of the machine follow this design.
An elevator with a counterbalance approximates an ideal Atwood machine and thereby relieves the driving motor from the load of holding the elevator cab — it has to overcome only weight difference and inertia of the two masses. The same principle is used for funicular railways with two connected railway cars on inclined tracks, and for the elevators on the Eiffel Tower which counterbalance each other. Ski lifts are another example, where the gondolas move on a closed (continuous) pulley system up and down the mountain. The ski lift is similar to the counter-weighted elevator, but with a constraining force provided by the cable in the vertical dimension thereby achieving work in both the horizontal and vertical dimensions. Boat lifts [3] are another type of counter-weighted elevator system approximating an Atwood machine.
See also[edit]
Wikimedia Commons has media related to Atwood's machine.
Frictionless plane
Kater's pendulum
Spherical cow
Swinging Atwood's machine
Notes[edit]
Jump up ^ Tipler, Paul A. (1991). Physics For Scientists and Engineers (3rd, extended ed.). New York: Worth Publishers. p. 160. ISBN 0-87901-432-6. Chapter 6, example 6-13
Jump up ^ Goldstein, Herbert (1980). Classical Mechanics (2nd ed.). New Delhi: Addison-Wesley/Narosa Indian Student Edition. pp. 26–27. ISBN 81-85015-53-8. Section 1-6, example 2
Jump up ^ See Wikipedia article: https://en.wikipedia.org/wiki/Boat_lift
External links[edit]
Professor Greenslade's account on the Atwood Machine
Atwood's Machine by Enrique Zeleny, The Wolfram Demonstrations Project.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Atwood_machine&oldid=792136529"
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