Lupus of Sens
Saint Lupus of Sens (or Saint Loup de Sens) (b. ca. 573; d. ca. 623) was an early French bishop of Sens.
He was the son of Betton, Count of Tonnerre, "Blessed Betto," a member of the royal house of the Kingdom of Burgundy.
Church in Saint-Loup-de-Naud
The Romanesque church dedicated to Saint Loup at Naud, 8 km from Provins in Champagne in the east of France is distinguished by the outstanding sculptures in the porch of its great doorway, with an ambitious iconographic program in which Saint Loup mediates entry into the mystery of the Trinity. About 980, Sevinus, archbishop of Sens, made a gift to the Benedictine community of the abbey of Saint-Pierre-le-Vif at Sens of four altars in villa que dicitus Naudus, in honore sancti lupi consecratum—"in the demesne that is called Naud, consecrated in honor of Saint Loup"—betokening the presence of a shrine already on this site, a priory under the direction of the abbot of Saint-Pierre-le-Vif. Other documents mention Saint-Loup-de-Naud among the possessions of the abbey at Sens, seat of an archbishop with close political ties to the French Crown, who had Paris within his diocese. Thus, though it lay so close to Provins, a seat of the counts of Champagne and the abbey church was completed by Henri le Libéral, comte de Champagne, the priory at Saint-Loup-de-Naud looked to Sens for its patronage: a visit from the abbot is documented in 1120. In 1160/61 Hugues de Toucy, Archbishop of Sens, presented to the priory the relic of Saint Loup, brought from the abbey of Sainte-Colombe, to that community's dismay; the sculpted portail with an iconography comparable to the royal portal at Chartres was doubtless undertaken shortly thereafter, when pilgrimages brought wealth to the community.
Loupe (surname)
Loupe is a locational surname of French origin, which originally meant a person from Loupes or La Loupe in France. The name may refer to:
See also
References
Untitled (Selections from 12)
Untitled (Selections From 12) is a 1997 promotional-only EP from German band The Notwist which was released exclusively in the United States. Though the release of the EP was primarily to promote the band's then-current album 12, it contains one track from their 1992 second record Nook as well as the non-album cover of Robert Palmer's "Johnny and Mary". The version of "Torture Day" on this EP features the vocals of Cindy Dall.
Track listing
Untitled (Marc and the Mambas album)
Untitled is the first studio album by the British singer/songwriter Marc Almond's band Marc and the Mambas. It was released by Some Bizzare in September 1982.
Background
Untitled was Almond's first album away from Soft Cell and was made concurrently with the latter's The Art of Falling Apart album. Almond collaborated with a number of artists for this album, including Matt Johnson of The The and Anni Hogan. The album was produced by the band, with assistance from Stephen Short (credited as Steeve Short) and Flood.
Jeremy Reed writes in his biography of Almond, The Last Star, that Untitled was "cheap and starkly recorded". He states that Almond received "little support from Phonogram for the Mambas project, the corporate viewing it as non-commercial and a disquieting pointer to the inevitable split that would occur within Soft Cell". An article in Mojo noted that "from the beginning, Almond and Ball had nurtured sideline projects, though only the former's - the 1982 double 12 inch set Untitled - attracted much attention, most of it disapproving." The article mentions that Almond "who preferred to nail a song in one or two takes" stated that it was all "about feel and spontaneity, otherwise it gets too contrived" when accused of singing flat.<ref name"mojo">Paytress, Mark. "We Are The Village Sleaze Preservation Society". Mojo (September 2014): 69.</ref>
Untitled (West)
Untitled is an outdoor 1977 stainless steel sculpture by American artist Bruce West, installed in Portland, Oregon, in the United States.
Description
Bruce West's Untitled is installed along Southwest 6th Avenue between Washington and Stark streets in Portland's Transit Mall. It was one of eleven works chosen in 1977 to make the corridor "more people oriented and attractive" as part of the Portland Transit Mall Art Project. The stainless steel sculptures is 7 feet (2.1 m) tall. It was funded by TriMet and the United States Department of Transportation, and is administered by the Regional Arts & Culture Council.
