The Nine Worthies were personalities established in the Middle Ages who were said to represent the ideals of chivalry. Which 'tamer of horses' and heroic defender from Greek mythology is missing in the Pagans section? Pagans: ___, Alexander the Great, Julius Caesar Old Testament Jews: Joshua, David, Judas Maccabeus Chivalric Christian Heroes: King Arthur, Charlemagne, Godfrey of Bouillon
"North Mymms Place, Hertfordshire, an up-to-date house built by the Coningsby family, 1599. The Cloisters, in New York City, has important portions of an early 15th-century tapestry series illustrating the surviving five of the Nine Worthies: King Arthur, Joshua, David, Hector, and Julius Caesar. ""I Nove Prodi"", a fresco by the ""Maestro del Castello della Manta"", an anonymous master, painted c. 1420 in the ""sala baronale"" of the Castello della Manta, Saluzzo, Italy. The series also includes depictions of their female counterparts. Montacute House has sculptures of the Nine Worthies spaced along the upper eastern façade on the exterior of"
"Nine Worthies, a group of heroes whose lives were believed to encapsulate all the ideal qualities of chivalry. Irish playwright Aubrey Thomas de Vere wrote ""Alexander the Great, a Dramatic Poem"". Apart from a few inscriptions and fragments, texts written by people who actually knew Alexander or who gathered information from men who served with Alexander were all lost. Contemporaries who wrote accounts of his life included Alexander's campaign historian Callisthenes; Alexander's generals Ptolemy and Nearchus; Aristobulus, a junior officer on the campaigns; and Onesicritus, Alexander's chief helmsman. Their works are lost, but later works based on these original sources"
"on the instruments of the Passion, and the shield of the Trinity. Medieval literature attributed coats of arms to the Nine Worthies, including Alexander the Great, Julius Caesar, and King Arthur. Arms were given to many kings predating heraldry, including Edward the Confessor and William I of England. These attributed arms were sometimes used in practice as quarterings in the arms of their descendants. Attributed or imaginary arms appeared in literature in the middle of the 12th century, particularly in Arthurian legends. During the generation following Chrétien de Troyes, about 40 of Arthur's knights had attributed coats of arms (Pastoreau"
"three pagan, three Jewish and three Christian exemplars of chivalry. The Worthies were first listed in Jacques de Longuyon's ""Voeux du Paon"" in 1312, and subsequently became a common subject in literature and art. The development of the medieval Arthurian cycle and the character of the ""Arthur of romance"" culminated in ""Le Morte d'Arthur"", Thomas Malory's retelling of the entire legend in a single work in English in the late 15th century. Malory based his book—originally titled ""The Whole Book of King Arthur and of His Noble Knights of the Round Table""—on the various previous romance versions, in particular the"
"the Great Feast of the Nativity of the Lord), when he is commemorated together with other ancestors of Jesus. He is also commemorated on the Sunday after the Nativity, together with Joseph and James, the Brother of the Lord. In European Christian culture of the Middle Ages, David was made a member of the Nine Worthies, a group of heroes encapsulating all the ideal qualities of chivalry. His life was thus proposed as a valuable subject for study by those aspiring to chivalric status. This aspect of David in the Nine Worthies was popularised firstly through literature, and was thereafter"
"Judas Maccabeus) and three Christians (King Arthur, Charlemagne, and Godfrey of Bouillon). They were first described in the early fourteenth century, by Jacques de Longuyon in his ""Voeux du Paon"" (1312). Their selection, as Johan Huizinga pointed out, betrays a close connection with the romance genre of chivalry. Neatly divided into a triad of triads, these men were considered to be paragons of chivalry within their particular traditions, whether Pagan, Jewish, or Christian. Longuyon's choices soon became a common theme in the literature and art of the Middle Ages and earned a permanent place in the popular consciousness. The medieval"
"(France, Denmark and Hungary) and ""three noble dynasties"" (Louis XI of France, called ""Louis the Prudent"" as Dauphin, Ladislaus I of Hungary, and Otto III, Duke of Brunswick-Lüneburg of the House of Welf). As a group, the nine worthies represent all facets of the perfect chivalrous warrior. All, with the exception of Hector, are conquering heroes. (Despite Arthur's later downfall, historical and literary texts record his early conquests in Britain and on the Continent). Those not royal were presumed to come from knightly families. All lived in the pre-heraldic era, and attributed arms were invented for them, as in Lucas"
"of chivalry that developed in medieval Europe had its roots in earlier centuries. It arose in the Holy Roman Empire from the idealisation of the cavalryman—involving military bravery, individual training, and service to others—especially in Francia, among horse soldiers in Charlemagne's cavalry. The term ""chivalry"" derives from the Old French term ""chevalerie"", which can be translated to ""horse soldiery"". Originally, the term referred only to horse-mounted men, from the french word for horse, ""cheval"", but later on it became associated with knightly ideals. Over time, its meaning in Europe has been refined to emphasise more general social and moral virtues."
"with his champion Diarmuid. The rest of the story centers on the ""Brotherhood of the Round Table."" Heroes still lived but they were different from their forebears, most notably in the moralizing effects of chivalry. A knight was expected to be kind to women, to show mercy to defeated foes, and to refuse no plea for help. Horses also gave men greater mobility. Under the salvific influence of Christianity, Arthur and his men were the finest heroes in all Christendom and beyond. Despite the Christian kingdom of Camelot being at peace, such men were needed as giants, dragons, and witches"
"This treatment of elements from Greek mythology is similar to that of the Old French literary cycle known as the Matter of Rome, which was made up of Greek and Roman mythology, together with episodes from the history of classical antiquity, focusing on military heroes like Alexander the Great and Julius Caesar – where the protagonists were anachronistically treated as knights of chivalry, not much different from the heroes of the ""chansons de geste"". Following J.R.R. Tolkien's death, his son Christopher Tolkien found an unpolished translation of ""Sir Orfeo"" and published it in edited form with ""Sir Gawain and the"
"None of the authors of these three texts knew the other two texts, so fusing the three to deduce a general concept of chivalry is not precisely in harmony with any of them. To different degrees and with different details, they speak of chivalry as a way of life in which the military, the nobility, and religion combine. The ""code of chivalry"" is thus a product of the Late Middle Ages, evolving after the end of the crusades partly from an idealization of the historical knights fighting in the Holy Land and from ideals of courtly love. Gautier's Ten Commandments"
"story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. In Medieval Europe, tales of knighthood and chivalry, the officer class of the period, captured the popular imagination. Writers and poets like Taliesin, Chrétien de Troyes, and Thomas Malory wrote tales of derring-do featuring Arthur, Guinevere, Lancelot, and Galahad. Even in the 21st century, books and films about the Arthurian legend and the Holy Grail continuing to appear. A century or so later, in the hands of writers such as Jean Froissart, Miguel de Cervantes, and William Shakespeare, the fictional knight Tirant lo"
"conception of Westerns. In some ways, such protagonists may be considered the literary descendants of the knight errant which stood at the center of earlier extensive genres such as the Arthurian Romances. Like the cowboy or gunfighter of the Western, the knight errant of the earlier European tales and poetry was wandering from place to place on his horse, fighting villains of various kinds and bound to no fixed social structures but only to his own innate code of honor. And like knights errant, the heroes of Westerns frequently rescue damsels in distress. Similarly, the wandering protagonists of Westerns share"
"that of heraldry during this early period; nor do many of the shields described in antiquity bear a close resemblance to those of medieval heraldry; nor is there any evidence that specific symbols or designs were passed down from one generation to the next, representing a particular person or line of descent. The medieval heralds also devised arms for various knights and lords from history and literature. Notable examples include the toads attributed to Pharamond, the cross and martlets of Edward the Confessor, and the various arms attributed to the Nine Worthies and the Knights of the Round Table. These"
"an Emperor. ""The Caesars"" is a humorous tale of a contest among some of the most notable Roman Emperors: Julius Caesar, Augustus, Trajan, Marcus Aurelius, Constantine, and also Alexander the Great. This was a satiric attack upon the recent Constantine, whose worth, both as a Christian and as the leader of the Roman Empire, Julian severely questions. One of the most important of his lost works is his ""Against the Galileans"", intended to refute the Christian religion. The only parts of this work which survive are those excerpted by Cyril of Alexandria, who gives extracts from the three first books"
"13th century, chivalry entailed a litany of very specific duties, including riding warhorses, jousting, attending tournaments, holding Round Tables and hunting, as well as aspiring to the more æthereal virtues of ""faith, hope, charity, justice, strength, moderation and loyalty."" Knights of the late medieval era were expected by society to maintain all these skills and many more, as outlined in Baldassare Castiglione's ""The Book of the Courtier"", though the book's protagonist, Count Ludovico, states the ""first and true profession"" of the ideal courtier ""must be that of arms."" ""Chivalry"", derived from the French word ""chevalier"" ('cavalier'), simultaneously denoted skilled horsemanship"
"van Leyden's engraving. All brought glory and honor to their nations and were noted for their personal prowess in arms. As individuals, each displayed some outstanding quality of chivalry which made them exemplars of knighthood. That the nine individual figures were generally not distinguished, iconographically, with respect to relative antiquity or ethnicity, would suggest that the virtues that they manifest are to be understood as timeless and universal. The Nine Worthies comprise a triad of triads as follows: The Nine Worthies were also a popular subject for masques in Renaissance Europe. In William Shakespeare's play ""Love's Labour's Lost"" the comic"
"and diversity of opinion. The upper class or nobility, represented chiefly by the Knight and his Squire, was in Chaucer's time steeped in a culture of chivalry and courtliness. Nobles were expected to be powerful warriors who could be ruthless on the battlefield yet mannerly in the King's Court and Christian in their actions. Knights were expected to form a strong social bond with the men who fought alongside them, but an even stronger bond with a woman whom they idealised to strengthen their fighting ability. Though the aim of chivalry was to noble action, its conflicting values often degenerated"
"of chivalry are: Note that there is no reference to women, horses, quests, or travel. This list would serve a soldier, or even a clergyman. Though these ten commandments are often accepted to be what knights would use, they did not exist at the time. This “code"" was created by Léon Gautier, a literary scholar, in 1883. No historical knight even came close to carrying out all of these ""commandments"" all of the time. Literary knights, being fictitious (but believed to be historical at the time), did better, but not every ""commandment"" was followed or even considered by every knight."
"in passing in Chrétien's ""Lancelot"", as Arthur's primary court. This series of texts was quickly followed by the Post-Vulgate Cycle (), of which the ""Suite du Merlin"" is a part, which greatly reduced the importance of Lancelot's affair with Guinevere but continued to sideline Arthur, and to focus more on the Grail quest. As such, Arthur became even more of a relatively minor character in these French prose romances; in the Vulgate itself he only figures significantly in the ""Estoire de Merlin"" and the ""Mort Artu"". During this period, Arthur was made one of the Nine Worthies, a group of"
"on these topics were called the ""romans d'antiquité"", the ""romances of antiquity."" This name presages the anachronistic approach the medieval poets used in dealing with these subjects. For example, in the epic poems ""Roman d'Alixandre"" and the ""Roman de Troie"", Alexander the Great, and Achilles and his fellow heroes of the Trojan War were treated as knights of chivalry, not much different from the heroes of the ""chansons de geste"". Elements of courtly love were introduced into the poems; in the ""Roman de Thèbes"", a romantic relationship absent from the Greek sources is introduced into the tale of Parthenopæus and"
"century, Godfrey of Bouillon was united with the Trojan War and the adventures of Alexander the Great against a backdrop for military and courtly heroics of the Nine Worthies who stood as popular secular culture heroes into the 16th century, when more critical literary tastes ran instead to Torquato Tasso and Rinaldo and Armida, Roger and Angelica. Later, the rise of a more authentic sense of history among literate people brought the Crusades into a new focus for the Romantic generation in the romances of Sir Walter Scott in the early 19th century. Crusading imagery could be found even in"
"The code of chivalry, as it stood by the Late Middle Ages, was a moral system which combined a warrior ethos, knightly piety, and courtly manners, all conspiring to establish a notion of honour and nobility. In origin, the term ""chivalry"" means ""horsemanship"", formed in Old French, in the 11th century, from ' (horseman, knight), from Medieval Latin '. The French word """" originally means ""a man of aristocratic standing, and probably of noble ancestry, who is capable, if called upon, of equipping himself with a war horse and the arms of heavy cavalryman and who has been through certain"
"to prevent them from going to war. In Medieval Europe, tales of knighthood and chivalry, the officer class of the period captured the popular imagination. Writers and poets like Taliesin, Chrétien de Troyes and Thomas Malory wrote tales of derring-do, featuring Arthur, Guinevere, Lancelot and Galahad. Even in the 21st century, books and films about the Arthurian legend and the Holy Grail continue to appear. A century or so later, in the hands of writers such as Jean Froissart, Miguel Cervantes and William Shakespeare, the fictional knight Tirant lo Blanch, and the real-life condottieri John Hawkwood would be juxtaposed against"
"associated with the ideals of chivalry, a code of conduct for the perfect courtly Christian warrior. An example of warrior chivalry in medieval literature is Sir Gawain (King Arthur's nephew and a Knight of the Round Table) in ""Sir Gawain and the Green Knight"" (late 14th century). Since the early modern period, the title of knight is purely honorific, usually bestowed by a monarch, often for non-military service to the country. The modern female equivalent in the UK is damehood. The ceremony often takes place at Buckingham Palace, and family members are invited to attend. A few examples of knights"
"chivalrous, heroic knight, often of super-human ability, who, abiding chivalry's strict codes of honor and demeanor, goes on a quest, and fights and defeats monsters and giants, thereby winning favor with a lady. The Matter of France, most popular early, did not lend itself to the subject of courtly love, but rather dealt with heroic adventure: in ""The Song of Roland"", Roland, though betrothed to Oliver's sister, does not think of her during the course of events. The themes of love were, however, to soon appear, particularly in the Matter of Britain, leading to even the French regarding King Arthur's"
"chivalric ideals in literature. Sir Thomas Malory's ""Le Morte d'Arthur"" (""The Death of Arthur""), written in 1485, was important in defining the ideal of chivalry, which is essential to the modern concept of the knight, as an elite warrior sworn to uphold the values of faith, loyalty, courage, and honour. Instructional literature was also created. Geoffroi de Charny's ""Book of Chivalry"" expounded upon the importance of Christian faith in every area of a knight's life, though still laying stress on the primarily military focus of knighthood. In the early Renaissance greater emphasis is laid upon courtliness. The ideal courtier—the chivalrous"
"the tale does not follow them both. No history can be written without consideration of the lengthy list of recipients of national medals for bravery, populated by firefighters, policemen and policewomen, ambulance medics and ordinary have-a-go heroes. These persons risked their lives to try to save or protect the lives of others: for example, the Canadian Cross of Valour (C.V.) ""recognizes acts of the most conspicuous courage in circumstances of extreme peril""; examples of recipients are Mary Dohey and David Gordon Cheverie. The philosopher Hegel gave a central role to the ""hero"", personalized by Napoleon, as the incarnation of a"
"still occasionally paraded himself at court dressed in the ""antique mode"" to identify himself also as one of the ""Neuf Preux"". The 1459 Ingeram Codex presents the coat of arms of the Nine Worthies among a larger list of attributed arms of exemplary individuals, as the three ""better Jews"", ""best pagans"" and ""best Christians"" alongside the arms attributed to three heroes of King David (glossed as ""the first coats of arms""), the Three Magi, the ""three mildest princes"", the ""three worst tyrants"" (Nebuchadnezzar, Antiochos Epiphanes and Nero), ""three patient ones"" (Alphonse the Wise, Job and Saint Eustachius), ""three anointed kings"""
"chivalric virtues. This view of knightly piety appears throughout the literature of the Middle Ages. While the details of the literature cannot be taken at face value, the appearance of Christianity in these works marks the importance piety to the warriors of the time. In Lohengrin, Christian prophesy and miracles are spread throughout the work which takes place during the Crusades. The Arthurian Legends are also full of references to God. In Chrétien de Troyes' Perceval, the Story of the Grail, Perceval has two mentors: his mother and Gornemant. Both of them tell Perceval to make sure he always went"
"to be an archetypal Cavalier. Cavalier derives from the same Latin root as the French word ""chevalier"" (as well as the Spanish word ""caballero""), the Vulgar Latin word ""caballarius"", meaning ""horseman"". Shakespeare used the word ""cavaleros"" to describe an overbearing swashbuckler or swaggering gallant in Henry IV, Part 2, in which Shallow says ""I'll drink to Master Bardolph, and to all the cavaleros about London"". ""Cavalier"" is chiefly associated with the Royalist supporters of King Charles I in his struggle with Parliament in the English Civil War. It first appears as a term of reproach and contempt, applied to the"
"Knightly Piety Knightly Piety refers to a specific strand of Christian belief espoused by knights during the Middle Ages. The term comes from ""Ritterfrömmigkeit"" coined by Adolf Waas in his book Geschichte der Kreuzzüge. Many scholars debate the importance of knightly piety, however it is apparent as an important part of the chivalric ethos based on its appearance within the Geoffroi de Charny's Book of Chivalry as well as much of the popular literature of the time. A relationship between Christ and warrior is first seen in secular sources dating back to Carolingian times. This is evident within the ""chansons"
"interpretation, reading the poem as a comic critique of the Christianity of the time, particularly as embodied in the Christian chivalry of Arthur's court. In its zeal to extirpate all traces of paganism, Christianity had cut itself off from the sources of life in nature and the female. The green girdle represents all the pentangle lacks. The Arthurian enterprise is doomed unless it can acknowledge the unattainability of the ideals of the Round Table, and, for the sake of realism and wholeness, recognize and incorporate the pagan values represented by the Green Knight. The chivalry that is represented within 'Gawain'"