Vexillum

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Vexillum

 

(1) An obsolete name for a military banner.

(2) A small unit in an army of knights in medieval Poland and Lithuania; from the 16th to 18th centuries, a small unit in the Polish-Lithuanian Army, corresponding to a company.

(3) A rectangular or triangular piece of cloth bearing the image of Christ or a saint, attached to a long staff by means of a crosspiece ; a religious banner carried during processions.

Table 1. Planted area, grain production, and state grain purchases in the primary regions of development of virgin and barren lands
 Planted area (million hectares)Grain yield (million tons)State grain purchases (million tons)
 195019601976195019601976195019601976
USSR ...............32.460.364.325.658.782.611.329.043.9
RSFSR ...............26.438.438.820.940.052.89.218.524.3
Siberia and the Far East ...............12.119.118.09.919.418.54.78.85.2
Urals ...............6.18.69.36.010.514.52.45.07.6
Volga region ...............8.210.711.55.010.119.82.14.711.5
Kazakh SSR ...............6.021.025.54.718.729.82.110.519.6
References in periodicals archive ?
"My friends, never forget that we are fighting for our holy religion," Cathelineau declared, before joining his soldiers in the Vexilla Regis -- a prayer recognizing Jesus Christ as the One True King of the faithful.
The first, Vexilla Regis, includes a panegyric apostrophe to the Cross:
Helen Waddell, introducing her translation of Venantius Fortunatus' great processional, 'Vexilla regis prodeunt', described it as 'a mystic's Dream of the Rood'; but in her interpretation, this northern image of the Rood 'is not, as the Latins took it, the symbol and the sign: to Fortunatus, it is still the tree as it grew in the forests, foredoomed to its terrible destiny.
Apart from the parallels between the liturgical text's cross imagery and the Jacobite cross portrait, the imagery found in the antiphons and Vexilla Regis are clearly intended to parallel one another.
Of his six poems on the subject of the Cross, two splendid hymns, the Pange lingua and the Vexilla regis, have been translated into English as "Sing, My Tongue, the Glorious Battle" and "The Royal Banners Forward Go."
Some of Jones' most magnificent works in this medium were produced in the period following Jones' second breakdown in 1947, including the complex Vexilla Regis, 1948, and compositions of flowers and glassware in which still life becomes a vehicle for meditation on the Eucharist.
Al lado del cordero, un texto de Viernes Santo, el inicio del himno del dia que canta el misterio de la cruz, trono de Jesucristo rey: Vexilla Regisprodeunt (= 'los estandartes del Rey avanzan').
The line 'Vexilla regis prodeunt', also quoted in the last canto of Dante's Inferno, is adapted from the opening words of a celebrated poem on the cross by the sixth-century author, Venantius Fortunatus.
In his parody, he changes the beginning words of Venantius Fortunatus's famous hymn from "Vexilla regis prodeunt" ("the banners of the king advance") to "Vexilla regis prodeunt inferni" ("the banners of the king of Hell advance") in order to announce Satan's supreme ephiphany and to contrast his power in Hell to God's in Heaven.