DOCSLIB.ORG

Image and Inscription in the Painterly Manuscripts from Ottonian Cologne

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Image and Inscription in the Painterly Manuscripts from Ottonian Cologne Image and Inscription in the Painterly Manuscripts From Ottonian Cologne The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation O'Driscoll, Joshua. 2015. Image and Inscription in the Painterly Manuscripts From Ottonian Cologne. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467286 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Image and Inscription in the Painterly Manuscripts from Ottonian Cologne A dissertation presented by Joshua O'Driscoll to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts April 2015 © 2015 Joshua O'Driscoll All rights reserved. Dissertation Advisor: Prof. Jeffrey Hamburger Joshua O'Driscoll Image and Inscription in the Painterly Manuscripts from Ottonian Cologne ABSTRACT Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000—and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts—this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter—devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan—demonstrates how the manuscript's carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister- manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates iii how the designer of its program employed philosophical and dialectical terms—taken from the school texts of the day—in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript's narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer—prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art. iv TABLE OF CONTENTS Abstract............................................................................................................................. iii Acknowledgements ......................................................................................................... vii List of Abbreviations ....................................................................................................... xi List of Figures................................................................................................................. xiii Preface.................................................................................................................................1 Chapter One: Beginnings..................................................................................................3 Cologne at the Millennium ..................................................................................................7 Inventing the Painterly Group............................................................................................22 The Insight of Inscriptions.................................................................................................39 Chapter Two: The Milan Gospels in the Ambrosiana .................................................52 The Book of Life................................................................................................................59 An Image of God ...............................................................................................................72 A Demanding Image..........................................................................................................88 The Nurturing Father .......................................................................................................104 The Evangelists and their Tituli.......................................................................................114 Chapter Three: The Gereon Sacramentary in Paris..................................................129 Overshadowing the Virgin...............................................................................................144 A Material Contemplation ...............................................................................................160 Hic erit contemplandum...................................................................................................176 Looking into Heaven .......................................................................................................194 v Chapter Four: The Hitda Codex in Darmstadt ..........................................................209 Virgo paritura..................................................................................................................221 The Signs of Christ ..........................................................................................................235 Perpetual Light.................................................................................................................252 Favored Above All...........................................................................................................273 Conclusion ......................................................................................................................289 Appendix.........................................................................................................................294 Bibliography...................................................................................................................299 Figures.............................................................................................................................333 vi ACKNOWLEDGEMENTS A project such as this could not have been accomplished without the generous and continued support of several individuals and organizations. It is a pleasure to be able to acknowledge here the extent of such support and to try, as best as I can, to express the true depth of my gratitude to all those who have helped me along the way. To my advisor, Jeffrey Hamburger, I owe my first and foremost debt of gratitude. His unwavering encouragement at every stage in the process, along with his critical eye and open mind were absolutely crucial elements in seeing this dissertation through to its end. Whether as a student, a scholar, or a writer, I have learned immensely from him, and I know that in the years to come I will continue to draw on the memories of our many discussions and our shared encounters with works of art. I am ever grateful to Herbert Kessler, in whose seminar on early medieval illumination I first encountered the Ottonian manuscripts from Cologne. Both teacher and mentor, Herb has been a steadfast source of support, advice, and feedback over the years, and I cannot adequately express how important that has been to me. I thank my committee members, Ioli Kalavrezou and David Roxburgh, for their close and critical reading of my text, as well as for their perceptive comments and for sharing their expertise with vii me. Their input has helped me consider my work from several different angles, and I know that their comments will be vital in helping me take the dissertation to its final stage as a book. Of all the institutions and foundations that have supported my research I must first thank the unparalleled and generous support provided by the Center for Advanced Study in the Visual Arts (CASVA), at the National Gallery of Art (Washington, D.C.). Because of a three-year Paul Mellon Predoctoral Fellowship, I was able
Load more

Recommended publications
  • The Post-Resurrection Appearances of Christ
    Konis, P. (2006) “The Post-Resurrection Appearances of Christ. The case of the Chairete or ‘All Hail’”. Rosetta 1: 31-40 http://www.rosetta.bham.ac.uk/Issue_01/Konis.htm Rosetta 1. http://www.rosetta.bham.ac.uk/Issue_01/Konis.htm The Post-Resurrection Appearances of Christ. The case of the Chairete or ‘All Hail’ Polyvios Konis PhD Byzantine Studies, University of Birmingham The post-resurrection appearances of Christ are a series of apparitions described in the four canonical Gospels and the first Epistle of Paul to the Corinthians.1 In the absence of any canonical description about Christ’s actual moment of resurrection, these apparitions became a visual and literal synonym and evidently confirmed the reality of Christ’s resurrection. The details in such descriptions are not necessarily consistent: the number of angels and women differ in each Gospel; the time of Christ’s appearance to them differs as well; and while Paul mentions Peter as the first to see Christ resurrected, the Marys (or Myrrh-bearers) are the individuals described by the Gospels as first at the tomb.2 The most popular apparitions were: the Incredulity of Thomas, an event exclusive in John;3 the Appearance to the Eleven, described by all four Gospels and sometimes fused with the Mission of the Apostles; the Marys at the Tomb described with variations again by the four Gospels; and the Chairete. The Chairete is a unique event described by Matthew. According to the Evangelist, two women, namely Mary Magdalene and the other Mary (the mother of Jacob and Joses) discovered Christ’s empty tomb and when they saw the resurrected Christ, he hailed them.
    [Show full text]
  • Sign of the Son of Man.”
    Numismatic Evidence of the Jewish Origins of the Cross T. B. Cartwright December 5, 2014 Introduction Anticipation for the Jewish Messiah’s first prophesied arrival was great and widespread. Both Jewish and Samaritan populations throughout the known world were watching because of the timeframe given in Daniel 9. These verses, simply stated, proclaim that the Messiah’s ministry would begin about 483 years from the decree to rebuild Jerusalem in 445BC. So, beginning about 150 BC, temple scribes began placing the Hebrew tav in the margins of scrolls to indicate those verses related to the “Messiah” or to the “Last Days.” The meaning of the letter tav is “sign,” “symbol,” “promise,” or “covenant.” Shortly after 150 BC, the tav (both + and X forms) began showing up on coins throughout the Diaspora -- ending with a flurry of the use of the symbol at the time of the Messiah’s birth. The Samaritans, in an effort to remain independent of the Jewish community, utilized a different symbol for the anticipation of their Messiah or Tahib. Their choice was the tau-rho monogram, , which pictorially showed a suffering Tahib on a cross. Since the Northern Kingdom was dispersed in 725 BC, there was no central government authority to direct the use of the symbol. So, they depended on the Diaspora and nations where they were located to place the symbol on coins. The use of this symbol began in Armenia in 76 BC and continued through Yeshua’s ministry and on into the early Christian scriptures as a nomina sacra. As a result, the symbols ( +, X and ) were the “original” signs of the Messiah prophesied throughout scriptures.
    [Show full text]
  • FRATERNITY INSIGNIA the Postulant Pin Signifies to The
    FRATERNITY INSIGNIA The Postulant pin signifies to the campus that a man has affiliated himself with Alpha Chi Rho. The symbol which appears on the pin is called the Labarum. It is a symbol that is made up of the Greek letters Chi and Rho. The Postulant pin is to be worn over your heart. A good way to remember the proper placement of the pin is to count three buttons down from the collar (of a dress shirt, for example) and three finger widths to the left of the button. Never wear your Postulant pin on the lapel of a jacket; keep it close to the heart. The same rules apply to the Brother's badge that a man receives upon initiation into Alpha Chi Rho. The Roman Emperor, Constantine, like most Romans, did not believe in Christianity. However, historians say that Constantine saw a Labarum in the sky on the night before a battle. He had the symbol placed on banners and shields, then recorded a furious victory over his foe. Constantine then converted to Christianity and made the Labarum the symbol of the Imperial Roman Army. Alpha Chi Rho makes use of two forms of the Labarum. The ancient form of the Labarum is the chief public form of the Fraternity. In addition to the postulant pin, the Labarum appears predominately on the Fraternity ensign (flag). The other form of the Labarum, its modified configuration, is very significant to the Ritual of the Fraternity. Also, it is the form used on the Brother's badge. The badge is made up of a modified Labarum mounted on an oval.
    [Show full text]
  • Adolph Goldschmidt Im Jahre 1912 – Lehrer, Organisator, Netzwerker
    Claudia Rückert Adolph Goldschmidt im Jahre 1912 – Lehrer, Organisator, Netzwerker Die Berufung Adolph Goldschmidts im Jahre 1912 als Nachfolger Wölfflins an die Friedrich- Wilhelms-Universität mag aus heutiger Sicht erstaunen, assoziiert man doch – in der gegenwär- tigen Wahrnehmung unseres Fachs – Goldschmidt eher mit einem wenig visionären Gelehrten, der zudem Wölfflin kritisch gegenüber gestanden haben soll.1 Im Gegensatz zu diesem Ein- druck stehen indes die besondere Bedeutung des Berliner Kunstgeschichtsordinariats2 in der Preußischen Hochschullandschaft sowie Goldschmidts hohes Ansehen, innerhalb wie außer- halb akademischer Kreise, das weit über seine Emeritierung im Herbst 1929 hinaus anhielt. Absicht ist es im Folgenden nicht, Goldschmidts Berliner Ordinariat umfassend darzustel- len. Im Fokus des Beitrags stehen vielmehr die Motive, die 1912 zur Berufung Goldschmidts nach Berlin geführt haben. Obwohl man an dieser Stelle nicht mit neuen Fakten aufwarten kann, so lassen sich dennoch die Gründe für diese Entscheidung konkreter fassen. Manches erschließt sich allerdings erst, berücksichtigt man neben der Goldschmidt’schen Vita auch die oben ange- sprochene Wahrnehmungsverschiebung, weshalb diese zunächst thematisiert werden soll. »War Wölfflin der bewundertste Kunsthistoriker seiner Zeit, so Goldschmidt der gelieb- teste«, schreibt Alfred Neumeyer 1967 in seinen Memoiren.3 Für die Wahrnehmung der beiden Kunsthistoriker ist Neumeyers Einschätzung gleichsam repräsentativ, gilt doch bis heute Wölfflin als geistreicher Theoretiker und Redner, Goldschmidt hingegen als verehrter Lehrer und Positivist.4 Goldschmidt hat sich in der Tat nie im großen Stil der Kunsttheorie oder epo- Gedankt sei herzlich Julien Lehmann für die Recherchen im Universitätsarchiv und Romina Nowack für die unent- behrliche Unterstützung. 1 Betthausen 1999, S. 126. – Dass Goldschmidts Forschungen »langweilig« gewesen seien, wurde auf der Tagung auch in einem Diskussionsbeitrag geäußert.
    [Show full text]
  • The Heirs of Alcuin: Education and Clerical Advancement in Ninth-Century Carolingian Europe
    The Heirs of Alcuin: Education and Clerical Advancement in Ninth-Century Carolingian Europe Darren Elliot Barber Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Institute for Medieval Studies December 2019 ii The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. iii Acknowledgements I wish to thank my supervisors, Julia Barrow and William Flynn, for their sincere encouragement and dedication to this project. Heeding their advice early on made this research even more focused, interesting, and enjoyable than I had hoped it would be. The faculty and staff of the Institute for Medieval Studies and the Brotherton Library have been very supportive, and I am grateful to Melanie Brunner and Jonathan Jarrett for their good advice during my semesters of teaching while writing this thesis. I also wish to thank the Reading Room staff of the British Library at Boston Spa for their friendly and professional service. Finally, I would like to thank Jonathan Jarrett and Charles West for conducting such a gracious viva examination for the thesis, and Professor Stephen Alford for kindly hosting the examination. iv Abstract During the Carolingian renewal, Alcuin of York (c. 740–804) played a major role in promoting education for children who would later join the clergy, and encouraging advanced learning among mature clerics.
    [Show full text]
  • Index of Manuscripts
    Cambridge University Press 978-1-108-83682-1 — Rome and the Invention of the Papacy Rosamond McKitterick Index More Information INDEX OF MANUSCRIPTS Albi, Médiathèque Pierre-Amalric (olim VLQ 60 40, 70, 102, 181 n. 34, Bibliothèque municipale) 184 n. 42, 190, 207 n. 106, MS 2 155 n. 90 219–20 Arras, Bibliothèque municipale London, British Library MS 672 (641) 155 n. 89 Cotton Titus C.XV 175, 177 Cotton Nero D.IV 142 n. 44 Berlin, Deutsche Staatsbibliothek Royal I.B.VII 142 n. 44 Phillipps 1743 156 n. 91 Lucca, Biblioteca Capitolare Feliniana Bern, Burgerbibliothek Cod. 490 178–9, 182, 184 n. 42, 188, Cod. 225 199 190–2, 195, 207 n. 106 Cod. 233 199 Cod. 408 182–3 Milan, Biblioteca Ambrosiana Brussels, Bibliothèque royale C.105inf. 188 n. 54 MS 8380-9012 184 n. 42, 217 n. 145 E.147sup. 188 n. 54 MS 14814 68 M.77sup. 182 n. 39, 184 n. 42 Modena, Biblioteca Capitolare Cambrai, Bibliothèque municipale O.I.12 186–7, 188, 189 MS 164 215 n. 140 Monte Cassino, Archivio dell’Abbazia Cambridge, Corpus Christi College MS 269 194 n. 67 MS 286 176 Monza, Cattedrale S. Giovanni Battista Cologne, Dombibliothek Sacrista Tesoro Cod. 164 184 n. 42, 217 n. 145 s.n. 177 Cod. 212 153, 155 Munich, Bayerische Staatsbibliothek Clm 6243 (Collectio Frisingensis) 156 Einsiedeln, Stiftsbibliothek Clm 6385 203 Cod. 326 60 Clm 14387 202–3 Florence, Biblioteca Medicea Laurenziana Naples, Biblioteca Nazionale San Marco 604 193–4, 195 IV.A.8 9 n. 32, 185–6 Fulda, Hessische Landesbibliothek Lat.
    [Show full text]
  • Questions of Fashion
    http://www.jstor.org/stable/10.1086/677870 . Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Bard Graduate Center are collaborating with JSTOR to digitize, preserve and extend access to West 86th. http://www.jstor.org This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Questions of Fashion Lilly Reich Introduction by Robin Schuldenfrei Translated by Annika Fisher This article, titled “Modefragen,” was originally published in Die Form: Monatsschrift für gestaltende Arbeit, 1922. 102 West 86th V 21 N 1 This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Introduction In “Questions of Fashion,” Lilly Reich (1885–1947) introduces readers of the journal Die Form to recent developments in the design of clothing with respect to problems of the age.1 Reich, who had her own long-established atelier in Berlin, succinctly contextualizes issues that were already mainstays for the Werkbund, the prominent alliance of designers, businessmen, and government figures committed to raising design standards in Germany, of which she was a member.
    [Show full text]
  • Wood Curriculum Vitae May 2016
    Christopher Stewart WOOD Professor and Chair, Department of German, New York University (Affiliated Faculty, Department of Comparative Literature) 19 University Place New York, NY 10003 email: [email protected] tel 212-998-8650 CURRICULUM VITAE (May 2016) Academic degrees and study 1979-1983 Harvard College A.B. magna cum laude in History and Literature 1983-1985 Ludwig-Maximilians-Universität, Munich three semesters in degree program in art history 1984-1991 Harvard University Ph.D. in Fine Arts Dissertation: "The Independent Landscapes of Albrecht Altdorfer," advised by Konrad Oberhuber and Henri Zerner 2000 Yale University Honorary Master of Arts Privatim (MAH) Employment 1992-2014 Yale University Assistant, (from 1996) Associate, (from 2000) Full Professor, and (from 2013) Carnegie Professor, History of Art 2014-present New York University Professor, Department of German Visiting professorships fall 1997 University of California, Berkeley Visiting Associate Professor spring 2001 Vassar College Belle Ribicoff Distinguished Visiting Scholar spring 2007 Hebrew University, Jerusalem, Visiting Professor fall 2013 New York University, Department of German, Visiting Professor AWARDS AND FELLOWSHIPS: 2 1980 Jacob Wendell Scholarship, Harvard University 1983-1984 Deutscher Akademischer Austauschsdienst (DAAD) fellowship, Munich 1987-1988 Sheldon Fellowship, Harvard University, for study and travel abroad (Vienna, Paris) 1989-1992 Junior Fellow, Society of Fellows, Harvard University summer 1994 Guest scholar, Institut für Europäische
    [Show full text]
  • Viennese Art, Ugliness, and the Vienna School of Art History: the Vicissitudes of Theory and Practice
    Viennese art, ugliness, and the Vienna school of art history: the vicissitudes of theory and practice Kathryn Simpson Around 1900 in Vienna, the concept of ugliness developed a new significance in both art theory and practice. The theorists of the Vienna school of art history, including Franz Wickhoff, Alois Riegl, and later Otto Benesch and Max Dvoř{k, rejected the scholarly tradition of Germanic contemporaries like renowned art historian Heinrich Wölfflin, who championed classical art as the highest aesthetic good. By contrast the Vienna school art historians opposed absolute aesthetics and its insistence that a specifically classical beauty was the goal of all art.1 At the dawn of the twentieth century, Wickhoff and Riegl both presented radically new theories arguing for a revaluation of aesthetic values, a non-hierarchical relationship between so-called beauty and ugliness, and the importance of developing an art that was appropriate for the age. Ugliness was suddenly spotlighted in Viennese artistic practice as well. Gustav Klimt was the undisputed king of the Viennese art scene; he had inherited the throne from the revered history painter, designer, and decorator Hans Makart, whose sensual, decorative sensibility had defined late-nineteenth-century tastes in Vienna, giving rise to the term Makartstil, or ‘Makart style.’ After three years as the leader of the Vienna Secession movement, Klimt produced a series of works of art which enraged sectors of the intellectual establishment and the general public, who reacted in particular to the purported ugliness of Klimt’s latest visions. Yet shortly thereafter young Viennese artists eager to lead what they called the ‘new art’ movement began to develop deliberate strategies of ugliness to help create and buttress their own antagonistic artistic personae.
    [Show full text]
  • Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross
    religions Article Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross Amanda Doviak Department of History of Art, University of York, York YO10 5DD, UK; [email protected] Abstract: The carved figural program of the tenth-century Gosforth Cross (Cumbria) has long been considered to depict Norse mythological episodes, leaving the potential Christian iconographic import of its Crucifixion carving underexplored. The scheme is analyzed here using earlier ex- egetical texts and sculptural precedents to explain the function of the frame surrounding Christ, by demonstrating how icons were viewed and understood in Anglo-Saxon England. The frame, signifying the iconic nature of the Crucifixion image, was intended to elicit the viewer’s compunction, contemplation and, subsequently, prayer, by facilitating a collapse of time and space that assim- ilates the historical event of the Crucifixion, the viewer’s present and the Parousia. Further, the arrangement of the Gosforth Crucifixion invokes theological concerns associated with the veneration of the cross, which were expressed in contemporary liturgical ceremonies and remained relevant within the tenth-century Anglo-Scandinavian context of the monument. In turn, understanding of the concerns underpinning this image enable potential Christian symbolic significances to be suggested for the remainder of the carvings on the cross-shaft, demonstrating that the iconographic program was selected with the intention of communicating, through multivalent frames of reference, the significance of Christ’s Crucifixion as the catalyst for the Second Coming. Keywords: sculpture; art history; archaeology; early medieval; Anglo-Scandinavian; Vikings; iconog- raphy Citation: Doviak, Amanda. 2021. Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross.
    [Show full text]
  • The Sanctoral Calendar of Wilhelm Loehe's Martyrologium Trans
    The Sanctoral Calendar of Wilhelm Loehe's Martyrologium trans. with an introduction by Benjamin T. G. Mayes October 2001 Source: Wilhelm Loehe, Martyrologium. Zur Erklärung der herkömmlichen Kalendernamen. (Nürnberg: Verlag von Gottfr. Löhe, 1868). Introduction. Loehe's Martyrologium of 1868 was not his first attempt at a Lutheran sanctoral calendar. Already in 1859, he had his Haus-, Schul- und Kirchenbuch für Christen des lutherischen Bekenntnisses printed, in which he included a sanctoral calendar which was different in many ways from his later, corrected version. The earlier calendar contained many more names, normally at least two names per day. Major feasts were labelled with their Latin names. But the earlier calendar also had errors. Many dates were marked with a question mark. A comparison of the two calendars shows that in the earlier calendar, Loehe had mistaken Cyprian the Sorcerer (Sept. 26) with Cyprian of Carthage. On the old calendar's April 13th, Hermenegild was a princess. In the new one, he's a prince. In the earlier calendar, Hildegard the Abbess (Sept. 17) was dated in the 300's. In the new one, she is dated 1179. In fact, in the later calendar, I would suppose that half of the dates have been changed. Loehe was conscious of the limitations of his calendar. He realized especially how difficult the selection of names was. His calendar contains the names of many Bavarian saints. This is to be expected, considering the fact that his parish, Neuendettelsau, is located in Bavaria. Loehe gave other reasons for the selection of names in his Martyrologium: "The booklet follows the old calendar names.
    [Show full text]
  • Title Author Category
    TITLE AUTHOR CATEGORY TITLE AUTHOR CATEGORY A An Invitation to Joy - John Paul II Burke, Greg Popes Abbey Psalter, The - Trappist Monks Paulist Press Religious Orders An Outline of American Philosophy Bentley, John E. Philosophy ABC's of Angels, The Gates, Donna S. Teachings for Children An Unpublished Manuscript on Purgatory Society of the IHOM Faith and Education ABC's of the Ten Commandments, The O'Connor, Francine M. Teachings for Children Anatomy of the Spirit Myss, Caroline, PhD Healing Abraham Feiler, Bruce Saints And The Angels Were Silent Lucado, Max Inspirational Accessory to Murder Terry, Randall A. Reference And We Shall Cast Rainbows Upon The Land Reitze, Raymond Spirituality Acropolis of Athens, The Al. N. Oekonomides Arts and Travel Angel Book, The Goldman, Karen Angels Acts Holman Reference Bible Reference Angel Letters Burnham, Sophy Angels Acts - A Devotional Commentary Zanchettin, Leo, Gen. Ed. Books of the Bible Angel Talk Crystal, Ruth Angels Acts of Kindness McCarty Faith and Education Angels Bussagli, Mario Angels Acts of the Apostles Barclay, William Books of the Bible Angels & Demons Kreeft, Peter Angels Acts of The Apostles Hamm, Dennis Books of the Bible Angels & Devils Cruse, Joan Carroll Angels Acts of the Apostles - Study Guide Little Rock Scripture Books of the Bible Angels and Miracles Am. Bible Society Angels Administration of Communion and Viaticum US Catholic Conference Reference Angels of God Aquilina, Mike Angels Advent and Christmas - St. Francis Assisi Kruse, John V., Compiled St. Francis of Assisi Angels of God Edmundite Missions Angels Advent and Christmas with Fr. Fulton Sheen Ed. Bauer, Judy Liturgical Seasons Anima Christi - Soul of Christ Mary Francis, Mother, PCC Jesus Advent Thirst … Christmas Hope Constance, Anita M., SC Liturgical Seasons Annulments and the Catholic Church Myers, Arhbishop John J., b.b.
    [Show full text]