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Fountain of Life

From Wikipedia, the free encyclopedia

Godescalc Evangelistary, commemorating the Baptism of Charlemagne's son in Rome in 781 with an image of the Fountain of Life.

The Fountain of Life, or in its earlier form the Fountain of Living Waters, is a Christian iconography symbol associated with baptism and/or eucharist, first appearing in the 5th century in illuminated manuscripts and later in other art forms such as panel paintings.

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  • The Fountain of Life: Rocky Mountain National Park
  • Fountain of Life - Iona Easter Pilgrimage 2014
  • 04 — Jeremiah 2:9-19... YHVH. The Fountain of Life

Transcription

The National Archives [Sound of rushing wind] The Rockies, they say, are the backbone of North America. The mountains split the sky with their enormous mass, And alter the face of half the continent. They create their own climate and thereby, shape their own character. Rising as the ultimate barrier to storms from the Pacific and Gulf of Mexico, the Colorado Rockies ring the skies to support their carpet of life. [Rushing stream] The patterns of life repeat year upon year generation upon generation. Yet, life changes; the landscape changes, And the Rockies of today are not like the Rockies of the past. [music] "FOUNTAIN OF LIFE: ROCKY MOUNTAIN NATIONAL PARK" This is an ancient land. The rock is called precambrian: Stone first laid down some 1.7 billion years ago. In effect, this rock preceded most life on earth. Before mammals, before trees, before dinosaurs, Before the earliest animals of land or fish of the seas, This rock lay here. This rock twisted and folded under incredible pressure 300 million years past. Molten rock penetrated the earth and cooled to crystals of granite, And still, only the simplest of life was present. This is the larger geological story of the land, But there is a gap in the story, caused by repeated uplifts and erosion. Along the foothills, younger layers still survive, Carrying a record the mountaintops once held. Aided by uplifts that grazed the mountains more than a mile, Aided by the cooling of the earth's climate, Ice has been the major sculptor of the earth for the past 2 million years. Advancing and retreating, again and again. Reshaping stream valleys into U shapes. Gouging and bulldozing the earth. It was ice that gave the latest touch to the landscape. Mountain lakes like strings of beads lie where ice gouged out the bedrock in its various routes downstream. Great symmetrical moraines, the dumping grounds of glaciers, lie adjacent to the old paths of ice floes. But the thousands of feet of ice did disappear quickly. In as little as 2,000 years, the climate warmed. Snowfall decreased. And the glaciers--the mighty, mountain- moving glaciers--wasted away. The Rockies of today were exposed only 15,000 years ago. It is the character of life to advance where it can. To spread where it is able. Life supports life. The greater the diversity of plant communities, the greater the number of animals. And the larger the area, the greater the diversity of life. This Rocky Mountain wilderness is blessed with both. Plants adapted to cold, spread upon the mountains as fast as glaciers retreated. And with them, came the browsers and grazers and predators of life. Rocky Mountain weather is fickle. And the land can be as bone dry as it is wet. At lower elevations, less then 15 inches of moisture falls each year. Here, sagebrush and bitterbrush defy the stresses of life. At middle elevations, precipitation increases, And ponderosa pine woodlands appear. These are the open forests that cover so much of the West. Higher still, and up to the limit of trees, The dark and cool forest of subalpine fir and angelman spruce thrive where snow piles deepest in winter. Only where they are buried by summer snowbanks, Or pruned into flags or elfin trees by wind-driven ice do they end. And higher, across the roof of the Rockies, lies the alpine tundra -- the land above the trees. Here, the physical conditions that control life are exceedingly harsh. Winter temperatures often plummet to 30 degrees Fahrenheit below zero. Abrasive winds exceed 170 miles an hour. The ultraviolet radiation above 11,000 feet is twice that at sea level. Sunlight is 25% greater. Freezing and thawing perpetually churn the earth, creating fantastic rock patterns. The growing season lasts only 10-12 weeks each year And yet, and yet, life has found a way. Ground-hugging and perennial, the plants of the alpine tundra often possess enormous root systems. They have adjusted to this treeless world by the dozens. One-fourth of these ankle-high plants are the same species that carpet the arctic tundra of Alaska, Canada, and Siberia. But even though adapted to survive the harshness of such climate, tundra plants are fragile. A trampled patch of this alpine tundra make take 400 - 1,000 years to recover. For Rocky Mountain National Park, bighorn sheep stand as the symbol. They thrive where few animals can. Many of them live all year on the alpine tundra. Pica, that little haymaker of the mountains, uses the brief alpine summer to harvest a winter supply of food. while yellow-bellied marmot eat and fatten all summer in preparation for their winter's hibernation. White-tailed ptarmigan blend with the alpine landscape to enhance their chances of survival. And they do the same in winter. Once hunted from these mountains, elk were reintroduced and now outnumber all large mammals. Scattered over the land in summer, they congregate in the fall to mate. Their haunting bugle echos in the mountains and meadows as bull elk compete for the control of harems. [Elks calling] Range upon range, valley upon valley, The land is nearly as wild as when those first unnamed people approached and saw that it was good. The traces of those first people are subtle. Since their arrival about 11,000 years ago, the earth has erased most of their marks. But their stone tools and firepits lie buried in the ground. Their trails still cross the mountains. They left no written record, nor did the Ute or Arapahoe. or early French trappers. But in late September of 1843, a mountain man entered the foothills of the Rockies and later described what he saw. "The locality of my encampment presented numerous and varied attractions," wrote Rufus Sage. It seemed indeed like a concentration of beautiful, lateral valleys, intersected by meandering water courses, ridged by lofty ledges of precipitous rock and hemmed in upon the west by vast piles of mountains climbing beyond the clouds. The fame of the Rockies began to spread. Joel Estes settled here in 1860. And short on the heels of the early homesteaders came adventurous travelers whose writings brought more and more fame to the region. Into this mountainous country, in 1873, rode an unprepossessing British woman, Isabella Bird, who lived in rustic style, climbed Long's Peak, and described the land in a way that captivated readers. "This is a glorious region, and the air and life are intoxicating. "This is surely one of the most entrancing spots on earth. "The glades which begin so softly are soon lost in the dark, primeval forests. "Every valley ends in mystery." This was the west where riches were in store for those who know how to find them. And so the search for wealth came to northern Colorado. The land was reshaped. In 1879, promising gold and silver ore was discovered in the upper headwaters of the Colorado River. And with the rush to the region, Lulu City was born the following summer, Carrying visions of riches, the hopeful miners poured in. But promises were only promises. The ore never justified a stamping bill. And eventually, even the most optimistic dreamers moved on. By 1884, the bears and mountain lions ran a government of their own. Lulu City began to fade back into the earth. Horseshoe Park became a place to raise hay, As did Moraine Park and much of the Kawuneechee Valley. But ranching is marginal in the mountains, and one by one, the settlers learned that travelers -- a new breed that came to the mountains for leisure -- were happy to find a place to bunk for the night. The era of early-day Dude Ranching was born. However primitive, such hostelries began to serve a travel-hungry America. But others came, too. Market hunters pursued wildlife herds. Water developers made their claims. Cattlemen grazed their herds. And lumbermen downed the alpine forests. By 1909, the idea for a Rocky Mountain National Park was born. The issue was an emotional one, and naturally so, for it pitted commercial interests against those who would preserve such places. [Rushing water] "Listen awhile," declared Enos Mills. "Let music say the things that words can never teach. "Forget the language of the world." To him, the Rocky Mountains were a fountain of life. This was his home and inspiration. Enos Mills became the chief spokesman for the park cause. "The greatest resource of the people "is that which empowers and inspires them to do their best," exhorted Mills. "People are restless for the medicine and the spell of the wilderness." After six years, Mills saw his dream achieved. Rocky Mountain became the 10th National Park in America. What do people see? Why do they come? The answers are as varied and numerous as the people themselves. For many, the mountains mean a journey up Trail Ridge Road to the top of the Continent, to stand in the alpine world astride the Continental Divide where waters diverge to either the Altlantic or Pacific Oceans. For some, it is a place to savor a pace of living not easily found in today's world. For others, life is a search to learn something of the world. "You must seek the beauty," observed Enos Mills. Ranger, "They used those to make the hats when the beaver hats were in fashion." "We'll pass this around." And to the woods and alpine meadows they go. Into the winter storms, and to the mountain tops. There are no roads, no power lines, no vehicles, no conveniences. What they find may not be in the world, but within themselves. Afternoon lightning and wind, sudden snow storms, and dizzy heights far above the trees add the element of unpredictability. For each traveler, the experience is unique, colored by the nature of their personal encounter with the mountains. There is space enough to dream. This is again the world of river otter and peregrine falcon. Bighorn and elk again claim the high country. Where this exists, it is preserved. Where it is changed, it is being restored. There lies the space -- the wide and high and dazzling space of the mountains. 'FOUNTAIN OF LIFE" "ROCKY MOUNTAIN NATIONAL PARK" [Credits] "Presented by" "NATIONAL PARK SERVICE U.S. DEPARTMENT OF THE INTERIOR" The End

Baptismal font

The symbol is usually shown as a fountain enclosed in a hexagonal structure capped by a rounded dome and supported by eight columns. The fountain of living waters, fons vivus[1] is a baptismal font (a water fountain in which one is baptized, and thus reborn with Christ), and is often surrounded by animals associated with Baptism such as the hart. The font probably represents the octagonal Lateran Baptistery in Rome, consecrated by Pope Sixtus III (432-440), which was iconographically associated with the fountain of the water of life mentioned in Revelation 21:6.

The fountain of blood icon in a Mexican painting, 18th century (Brooklyn Museum)

The best examples date from the Carolingian period: the Godescalc Evangelistary made to commemorate the Baptism of the son of Charlemagne in 781, and in the Soissons Gospels.

Fountain of blood

In the Ghent Altarpiece: The Adoration of the Lamb by Jan van Eyck (1438), the Lamb of God stands upon an altar dressed as for the Mass of the Precious Blood, with a blood-red frontal: the Lamb's blood is caught in a chalice, and its Eucharistic intention is signaled by the dove of the Holy Spirit above. In the foreground, offering the other means of grace, is the Fountain of the Living Water surrounded by the faithful. In the Prado, Madrid, is the Fountain of Living Water emanating from the Lamb of God,[2] in which the open fountain is set into the outer wall of Heaven. That the water is not merely the purifying water of baptism is shown by the innumerable wafers that float upon its surface: the two sacraments are represented as one.

Allegoric representation of Sacramental union, the Lutheran doctrine of Real presence of Christ in the Eucharist, after a woodcut by Lucas Cranach the Elder (ca. 1550). In the front Communion under both kinds is pictured with (on the left) Martin Luther giving the chalice to John, Elector of Saxony and on the right Jan Hus giving the eucharistic bread to Frederick III, Elector of Saxony (Frederick the Wise). In the back a Fountain of Living Water: The blood of Christ's Five Holy Wounds spills in a fountain on the altar.

In a miniature in a Book of Hours,[3] probably painted at Ghent at the end of the 15th century, the Fountain of Living Water has given way to a fountain of blood, the Fountain of Life, in which the figure of Christ stands upon a Gothic pedestal at the center and fills the fountain from his wounds, though the aureole that surrounds him identifies him as the transfigured Christ and the location as Paradise.

Blood from the Five Holy Wounds

In Flanders at the close of the Middle Ages an intense devotion to the Precious Blood of Christ gave rise to an iconographic tradition of the 15th and 16th centuries, which rendered the theological concept of Grace,[4] expressing Roman Catholic dogma allegorically as a fountain of blood. This transformation was first addressed in Evelyn Underhill in 1910, taking her point of departure an Assembly of Saints and the Fountain of Life of 1596 in Ghent,[5] in which blood from the five Holy Wounds of Christ flows into the upper basin of a "Fountain of Life"[6] and streams out through openings in the lower "Fountain of Mercy". Saints and martyrs, patriarchs and prophets hold golden chalices of blood, which some empty into the fountain. Below the faithful hold out their hearts to receive droplets of blood.

In legend

Alexander the Great

Alexander Romance

Traditions about Alexander's search for the Fountain of Life were influenced by earlier legends about the Mesopotamian hero Gilgamesh and his search for immortality, such as in the Epic of Gilgamesh.[7] In the Alexander Romance (3rd century AD), Alexander is travelling along with his company in search of the Land of the Blessed. On the way to the Land, Alexander becomes hungry and asks one of his cooks, Andreas, to get him some meat. Andreas gets some fish and begins to wash it in a fountain. Immediately upon being washed, the fish sprang to life and escaped into the fountain. Realizing the has discovered the Fountain of Life, Andreas tells no one else about it and drinks the water for himself. He also stores away some of the water into a silver vessel, hoping to use some of it to seduce Alexander's daughter. Meanwhile, Alexander eventually reaches the Land of the Blessed but is unable to enter it. At the same time, he learns of Andreas losing the fish and questions him over it. Andreas confesses about what happened with the fish, and he is whipped for it, but he denies that he drank any and does not mention that he stored some, and asks Alexander over why he should worry about the past. At a later point, Andreas manages to use the water to seduce Alexander's daughter, who is enticed by the opportunity to drink from it, which she does and becomes immortal. Alexander learns of the miracle and punishes both Andreas and his daughter greatly: for Andreas is turned into a daimōn of the sea and his daughter into a daimōn of the desert.[8] This story was elaborated on in subsequent versions of the Romance, such as in the Syriac Song of Alexander and in the Talmud.[9][10]

Song of Alexander

In the sixth or seventh century, a Syriac language Christian text known as the Song of Alexander was composed and spuriously attributed to the poet Jacob of Serugh. It contains a slightly revised version of the narrative of Alexander's search for the water of life, compared to its appearance in the Greek Romance. During Alexander's search for the fountain, he encounters a wise old man who tells Alexander that he might identify the water of life by washing salted fish in the diverse springs in his region. One of Alexander's cooks named Andrew is one of the ones instructed with the task of testing out the springs. He begins washing one of the fish in the water. Suddenly, the fish springs to life and escapes into the water, swimming away into a river. The cook is worried that this will anger the king, Alexander, and so he tries to catch it but to no avail. He notifies Alexander of the event but also tells him that, during his episode, he had discovered the fountain of life. Alexander is happy and goes to bathe in the water, but in trying to approach the water enters suddenly into a middle of darkness and is unable to reach it. Alexander is sad, but is consoled by the wise old man; at this point the story shifts into questions asked to the wise man by Alexander and the responses he receives.[11][12] Unlike the earlier Romance, the version in the Song draws on Christian iconography, where bathing in the fountain is represented in baptismal terminology, and the fish symbolizes Jesus who rises from the dead.[11]

Babylonian Talmud

Yet another version appears a little earlier, in the Babylonian Talmud which was composed in the late fifth or sixth century. In this version, there is neither a cook (as in the Romance and Song) nor a wise old man (as in the Song). It is Alexander himself who, in his search for the water, washes the fish in the water which subsequently comes alive. Noticing that he has found the fountain of life, Alexander proceeds to watch his own face in the water. However, the Talmud does not explain the significance of this event. The Talmud also recounts an alternative version of the story where instead of washing his face, he traces the source of the fountain to the entrance of the Garden of Eden and demands to be let in on account of his status as a king. He is denied entry, however.[12]

See also

Notes

  1. ^ "Sit fons vivus" said the priest in the traditional Roman missal when blessing the baptismal font, in the Benedictio Fontis.
  2. ^ Book of Revelation 22:1.
  3. ^ British Library, Add MS 17026, f. 13, noted by Underhill 1910).
  4. ^ See Catholic Encyclopedia 1908: "Grace".
  5. ^ Painted, probably by Lucas Horenbault for the Beguines of Ghent.
  6. ^ Inscribed "fonteyn des levens".
  7. ^ Tesei, Tommaso (2010). "Survival and Christianization of the Gilgamesh Quest for Immortality in the Tale of Alexander and the Fountain of Life". Rivista degli studi orientali. 83 (1/4): 417–440. ISSN 0392-4866.
  8. ^ Crone, Patricia (2016). Islam, the Ancient Near East and Varieties of Godlessness: Collected Studies in Three Volumes, Volume 3. Brill. p. 66.
  9. ^ Crone, Patricia (2016). Islam, the Ancient Near East and Varieties of Godlessness: Collected Studies in Three Volumes, Volume 3. Brill. pp. 67–68.
  10. ^ Reynolds, Gabriel Said (2018). The Qur'an and the Bible: text and commentary. New Haven, CT: Yale University Press. pp. 463–465. ISBN 978-0-300-18132-6.
  11. ^ a b Reynolds, Gabriel Said (2018). The Qur'an and the Bible: text and commentary. New Haven, CT: Yale University Press. pp. 463–465. ISBN 978-0-300-18132-6.
  12. ^ a b Crone, Patricia (2016). Islam, the Ancient Near East and Varieties of Godlessness: Collected Studies in Three Volumes, Volume 3. Brill. pp. 67–68.

References

  • Leslie Brubaker (1989). "Fountain of Life". Dictionary of the Middle Ages. vol-5. ISBN 0-684-18161-4
  • Underhill, Evelyn (1910). "The Fountain of Life: An Iconographical Study" The Burlington Magazine 17.86 (May 1910), pp. 99–101 and illus. (available on-line through JSTOR).
  • Paul Underwood, "The Fountain of Life in Manuscripts of the Gospels", Dubarton Oaks Papers, 5 (1950).
This page was last edited on 26 March 2024, at 00:23
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