Index to the Untold Story of the Holy Shroud by Carlos Evaristo Compiled by Paul C
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Finding Jesus: the Shroud of Turin Episode There Is No Record of What Jesus Looked Like in the New Testament. There Are No Conte
Finding Jesus: The Shroud of Turin Episode There is no record of what Jesus looked like in the New Testament. There are no contemporary descriptions at all. However, the Bible does record how Joseph of Arimathea, a member of the Jewish council and a sympathizer with Jesus, wrapped his dead body in expensive linen, and buried it in his own family tomb. In the 14th Century a shroud, bearing the image of a crucified man, surfaces in France, before eventually finding a home in Turin. Is this the very shroud that Joseph wrapped Jesus in? Is the image of the man Jesus Christ? The shroud appears to tell the whole story of Jesus’ Passion in one image – the scourging; the Crown of Thorns; carrying the cross; the Crucifixion; the spear in his side. For centuries, the shroud is a source of great controversy – many Christians believe it is genuine, but others have their doubts. In 1978 a team of scientists lead by former US Navy physicist Dr. John Jackson spend five days intensively studying the shroud, before ultimately concluding it is genuine. It isn’t a forgery or the work of an artist. But a decade later, in 1988, the shroud is subject to Radiocarbon 14 dating – scientists at three separate laboratories date the samples of the Shroud to some point between AD1260–1390. This strongly suggests the shroud is a medieval fake after all. In a final twist, the film visits the Cathedral of San Salvador, in Oviedo, Spain, where there is another burial cloth venerated as having covered the face of Jesus. -
Catalogo.Pdf
ART HISTORY NATURE FOOD & DRINK CINEMA PHOTOGRAPHY HOBBY SPORT HISTORY OF ART 28 History and Figures of the Church 35 The Contemporary Mosaic 45 Contents The First Civilizations 28 Techniques and Materials Bulgari 45 The Classical World 28 of the Arts 35 Gucci 45 The Early Middle Ages 28 The Romanesque 29 DICTIONARIES OF CIVILIZATION 36 SCRIPTS & ALPHABETS 46 Still Life 21 Goya 24 The Gothic 29 Arabic Alphabet 46 ART The Portrait 21 Leonardo 24 The 1400s 29 Oceania 37 Chinese Script 46 Islamic Art 28 Hieroglyphs 46 Art and Eroticism 21 Manet 24 Africa 38 The Painting of the Serenissima 10 Byzantine and Russian Art 28 Mayan Script 46 Landscape in Art 21 Mantegna 24 Celts, Vikings and Germans 38 The Renaissance 29 Japanese Alphabet 46 The Galleria Farnese Michelangelo 25 China 38 The Late 1500s 29 Hebrew Alphabet 46 of Annibale Carracci 11 GREAT MONOGRAPHS 22 Monet 25 Egypt 38 The Baroque 28 Musée d’Orsay 11 Bosch 22 Perugino 24 Etruscans 38 The Early 1700s 28 CULTURE GUIDES 47 Correggio. The Frescoes in Parma 11 Caravaggio 22 Piero della Francesca 24 Japan 38 The Age of the Revolutions 28 Archaeology 47 Botticelli 11 Cézanne 22 Raphael 25 Greece 38 Romanticism 28 Art 47 Goya 11 Gauguin 22 Rembrandt 24 India 38 The Age of Impressionism 28 Artistic Prints 47 Museum of Museums 11 Giotto 22 Renoir 24 Islam 38 American Art 28 Design 47 Goya 22 Tiepolo 24 Maya and Aztec 38 Nicolas Poussin Ethnic Art 47 Leonardo da Vinci 22 Tintoretto 24 The Avant-Gardes 29 Mesopotamy 38 Catalogue raisonné of the Paintings 12 Graphic Design 47 Michelangelo 22 Titian 25 Contemporary Art 28 Rome 38 Photography, Cinema, Design 28 Impressionism 47 Palladio. -
Why Is the Turin Shroud Not Fake?
Short Communication Glob J Arch & Anthropol Volume 7 Issue 3 - December 2018 Copyright © All rights are reserved by Giulio Fanti DOI: 10.19080/GJAA.2018.07.555715 Why is the Turin Shroud Not Fake? Giulio Fanti* Department of Industrial Engineering, University of Padua, Italy Submission: November 23, 2018; Published: December 04, 2018 *Corresponding author: Giulio Fanti, Department of Industrial Engineering, University of Padua, Via Venezia 1 - 35131Padova, Italy Summary The Turin Shroud [1-11], the Holy Shroud or simply the Shroud (Figure 1) is the archaeological object, as well as religious, more studied in it is also religiously important because, according to the Christian tradition, it shows some traces of the Resurrection of Jesus Christ. A recent paperthe world. [12] From showed a scientific why and point in which of view, sense it is the important Shroud becauseis authentic, it shows but manya double persons image still of a keep man onup statingto now thenot contrary,reproducible probably nor explainable; pushed by important Relic of Christianity based on their personal religious aspects thus publishing goal-oriented documents. their religion beliefs that arouses many logical-deductive problems. Consequently, some researchers influence the scientific aspects of the most Figure 1: The Turin Shroud (left) and its negative image (right) with zoom of the face in negative (center) with the bloodstains in positive. This work considers some debatable facts frequently offered during the discussions about the Shroud authenticity, by commenting a recent The assertions under discussion are reported here in bold for clearness. paper [13]. Many claims, apparently contrary to the Shroud authenticity, appear blind to scientific evidence and therefore require clarifications. -
Preliminary Investigation of the Iconography of the Woman with the Skull from the Puerta De Las Platerías of Santiago De Compostela
PRELIMINARY INVESTIGATION OF THE ICONOGRAPHY OF THE WOMAN WITH THE SKULL FROM THE PUERTA DE LAS PLATERÍAS OF SANTIAGO DE COMPOSTELA By KAREN FAYE WEBB A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Karen Faye Webb To Dan and Judy Webb ACKNOWLEDGMENTS I am indebted to many individuals for their support and guidance in my physical and conceptual pilgrimage to Santiago de Compostela. I would most like to thank Dr. David Stanley who has been my constant supporter as my toughest critic and my most caring mentor. Dr. Carolyn Watson’s medieval art class at Furman University introduced me to the complex beauty of the south transept portal. My parents indulged my awe of this portal and physically and metaphorically climbed the steps leading to the Puerta de las Platerías with me to pay homage to the Woman with the Skull. Without them, this study would not have been possible. I would like to thank my reader, Dr. John Scott, for his insightful comments, and Jeremy Culler, Sarah Webb and Sandra Goodrich for their support, friendship, and unwavering faith in me. Finally, I would like to thank the Woman with the Skull, who brought me on this pilgrimage and has given me a new awareness about art and myself. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES .......................................................................................................... -
October 18, 2020
Page 2 CURRENT LITURGICAL SCHEDULE Please see our current schedule below Masks are required at all mes, covering both mouth and nose, and social distancing guidelines will be followed MASS Monday through Friday 8:30 am (Upper Church) ST. PAUL OF THE CROSS WELCOMES: Saturday 4:30 pm (Upper Church) Sunday 7:30 am (Upper Church) Charlee Joelle Olmen 9:00 am (Holy Family Chapel) child of Zachary and Rebecca Olmen 10:30 am (Upper Church) Connor Thomas Paso ADORATION child of Andrew and Amanda Paso 1st and 3rd Fridays immediately following 8:30 am Mass in Upper Church (must register for and aend Mass to stay for Adoraon) Domenico Louis Orlando Adoraon chapel remains closed at this me child of Michael and Samantha Orlando CONFESSION Hannah Grace Pinter Wednesday 3 pm to 4 pm child of Joseph and Tara Pinter Saturday 8 am to 9 am FUNERALS Monday through Saturday Morning WEDDINGS Friday and Saturday BAPTISMS Sunday REGISTRATION IS REQUIRED FOR ALL MASSES To register for Mass, call 847-825-7605 or visit our SignUpGenius registraon pages below: Car Masses: hps://www.signupgenius.com/go/60b0d45afab2da2ff2-carmass All Other Masses: www.signupgenius.com/go/60b0d45afab2da2ff2-massdaily III Brian Green and Emily Sherbin Registraon opens every Friday for the following week Registraon closes 24 hours before the start of the Mass SCHEDULE UPDATES UPCOMING CAR MASS: OCTOBER 21st AT 5:00 PM ADORATION IS HELD 1ST AND 3RD FRIDAYS AFTER 8:30 AM MASS Twenty-ninth Sunday in Ordinary Time October 18, 2020 “Repay to Caesar what belongs to Caesar, and to God what belongs to God.” — Mahew 22:21 Page 3 A LETTER FROM OUR PASTOR, FR. -
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo by Flora Thomas Ward A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Flora Thomas Ward 2014 Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo Flora Thomas Ward Doctor of Philosophy Department of Art University of Toronto 2014 Abstract My dissertation examines the Cámara Santa of the Cathedral of Oviedo as both a medieval and modern monument, shaped by twelfth-century bishops and twentieth-century restorers. I consider the space as a multi-media ensemble, containing manuscripts, metalwork, and sculpture, arguing that we must view it as a composite—if fragmented—whole. My analysis focuses on the twelfth century, a crucial period during which the structure, decoration, and contents of the Cámara Santa were reworked. A key figure in this story is Bishop Pelayo of Oviedo (d. 1153), who sought to enhance the antiquity and authority of the see of Oviedo by means of the cult of its most important reliquary: the Arca Santa. I argue that this reliquary shapes the form and function of the twelfth-century Cámara Santa, considering the use of the space in the context of liturgy and pilgrimage. Finally, I consider the sculpture that lines the walls of the space, arguing that it animates and embodies the relics contained within the Arca Santa, interacting with the pilgrims and canons who used the space. Thus, this sculpture represents the culmination of the long twelfth-century transformation of the Cámara Santa into a space of pilgrimage focused around the Arca Santa and the memory of the early medieval patrons of the Cathedral of Oviedo, a memory which abides to this day. -
Dominic Barberi & the Conversion of J. H. Newman
YOUR EBOOK is brought to you by: Author: Passionist Nuns Company: St.Joseph Monastery Description: Whitesville, KY Web: www.passionistnuns.org Email: [email protected] Copyright: Electronic Rights 2004 Passionist Nuns, Whitesville, KY 42378 All Rights Reserved ________________________________________________________________________ “HE WAS A GREAT LOVER OF ENGLAND” Dominic Barberi and the Conversion of J. H. Newman by Fr. Gregor Lenzen, C.P. Provincial of the South German–Austrian Vice-Province of the Passionists with its seat in Munich. Translated from the German by Sandra Harper Electronic Rights 2004 – Passionist Nuns, Whitesville, KY 42378 All rights reserved The Roman Peasant No account of the conversion of John Henry Newman, the great Christian thinker and future Cardinal, should be written without a reminder of the man who received him into the Catholic Church, namely the Passionist priest Dominic Barberi (1792-1849). Newman himself commemorated him in literature in “Loss and Gain”, his story of a convert, with the following words: “On the Apennines, near Viterbo, there dwelt a shepherd-boy, in the first years of this century, whose mind had early been drawn heavenward; and, one day, as he prayed before an image of the Madonna, he felt a vivid intimation that he was destined to preach the Gospel under the northern sky. There appeared no means by which a Roman peasant should be turned into a missionary; not did the prospect open, when this youth found himself, first a lay- brother, then a Father, in the Congregation of the Passion. Yet, though no external means appeared, the inward impression did not fade; on the contrary it became more definite, and, in process of time, instead of the dim north, England was engraven on his heart. -
Special List 318 1
special list 318 1 RICHARD C.RAMER Special List 318 The Middle Ages 2 RICHARDrichard c. C.RAMER ramer Old and Rare Books 225 east 70th street . suite 12f . new york, n.y. 10021-5217 Email [email protected] . Website www.livroraro.com Telephones (212) 737 0222 and 737 0223 Fax (212) 288 4169 December 3, 2018 Special List 318 The Middle Ages Items marked with an asterisk (*) will be shipped from Lisbon. SATISFACTION GUARANTEED: All items are understood to be on approval, and may be returned within a reasonable time for any reason whatsoever. VISITORS BY APPOINTMENT special list 318 3 Special List 318 The Middle Ages Important Study of Medieval Portuguese Sigillography, Nicely Bound *1. ABRANTES, D. Luís Gonzaga de Lancastre e Távora, Marquês de. O estudo da sigilografia medieval portuguesa: I. Panorama dos estudos sig- ilográficos no nosso país e normas para a sua sistematização; II. Esboço de um Corpus esfragístico medieval português. Lisbon: ICLP / Ministério da Educação, 1983. Large 8°, contemporary navy blue half morocco over marbled boards, spine with raised bands in five compartments, gilt letter, top edges tinted blue, original illustrated wrappers bound in. In very fine condition. 353 pp., (3 ll.), 485 illustrations on 78 ll. plates. ISBN: none. $350.00 FIRST and ONLY EDITION. ❊ OCLC: 165508668 (Bayerische Staatsbibliothek, Universitätsbibliothek Erlangen- Nürnberg,Universitätsbibliothek Würzburg, Universitätsbibliothek Ausburg); 959001864 (Biblioteca de Arte Calouste Gulbenkian). Another Copy, in the Original Wrappers, of this Important Study of Medieval Portuguese Sigillography *2. ABRANTES, D. Luís Gonzaga de Lancastre e Távora, Marquês de. O estudo da sigilografia medieval portuguesa: I. -
Reflexos Dirige Calles. the Iconographic Program of The
Reflexos dirige calles. The Iconographic Program of the Monastery of Santa Maria la Real de NievaÕs ecclesia fratrum (1414-1432)1 Diana Lucêa Gîmez-Chacîn UDC: 726.71.04(460.188)"13" D. Lucía Gómez-Chacón Original scientific paper Universidad Complutense de Madrid Manuscript received: 24. 03. 2016. Departamento de Historia del Arte I (Medieval) Revised manuscript accepted: 29. 03. 2016. Facultad de Geografía e Historia DOI: 10.1484/J.HAM.5.111363 28040 Madrid, España In 1399, Queen Catherine of Lancaster founded the Monastery of Santa Maria la Real de Nieva (Segovia, Spain). e present paper aims to highlight the relevance of the apparently profane scenes and representations of Friars Preachers that decorate this former Dominican convent's ecclesia fratrum, as they constitute a message through which the religious community, and especially its novices, could be instructed in regular observance at a time when the Order of Preachers was undergoing a profound spiritual reform. Key words: Santa Maria la Real de Nieva, Order of Preachers, Queenship, Observant reform, ecclesia fratrum, medieval iconography. According to the chronicles, in 1392 the Virgin Mary In spite of its iconographic richness, the sculptural reliefs appeared to a shepherd called Pedro Amador while he was preserved inside the church have been buried in oblivion for watching over his flock in a slate quarry near the village of many centuries. The representations of diligent as well as Nieva, in the current Spanish province of Segovia. The Mar- lazy Dominican friars that decorate the capitals and corbels ian apparition asked him to go to Segovia and beg Bishop inside the sanctuary have been relegated to the background Alonso de Frias to unearth her effigy, which had remained as a consequence of the interest aroused not only by the hidden in that exact place for a long time. -
Encenações Talássicas E a Imagem De Poder Das Dinastias De Avis E Sabóia Nos Portos De Lisboa E Villefranche-Sur-Mer Por Ocasião Do Casamento Da Infanta D
encenaçõestalássicas e a imagem de poder encenaçõesdas dinastias de avistalássicas e sabóia nos portos e ade lisboa imageme villefranche-sur-mer de poder daspor ocasião dinastiasdo casamento de avisda infanta e sabóiad. beatriz (1521) ... 145 carla alferes pinto* Encenações talássicas e a imagem de poder das dinastias de Avis e Sabóia nos portos de Lisboa e Villefranche-sur-Mer por ocasião do casamento da Infanta D. Beatriz (1521)** No dia 5 de Agosto de 1521, a Infanta D. Beatriz (1504-1538) deixava o Paço da Ribeira para embarcar na nau Santa Catarina do Monte Sinai a caminho de Nice e do ducado de Sabóia, depois do casamento por procuração com o Duque Carlos III (1486-1553) reali- zado em Abril. O embarque assinalava o culminar de uma série de cerimónias cortesãs e eventos públicos realizados na cidade de Lisboa que se destinavam a comemorar o aus- picioso evento, que fora negociado e era interpretado de maneiras diversas pelas cortes portuguesa e saboiana. Se para D. Manuel (r. 1495-1521) era sobretudo uma maneira de procurar intervenção e afirmação dinástica na Europa mediterrânica, onde o seu campo de acção era diminuto, para o Duque, era a concretização de uma ousada estratégia polí- tico-financeira, que desviava o ducado dos matrimónios tradicionalmente ligados à Casa Real francesa, aproximando-se ao invés da dinastia imperial, e que recheava os depau- perados cofres saboianos com o rendimento do dote da Infanta, que em dinheiro, jóias, pedras preciosas, prata, tapeçarias e têxteis ascendia aos 150 000 cruzados (Buescu 2012; Merlin 2012; Pinto 2018a; Pinto 2018b). -
A Cloud of Witnesses in the Orthodox West
A Cloud of Witnesses in the Orthodox West An Introduction to the Saints of the Orthodox Church in the West The Very Rev’d Nicholas R. Alford St. Gregory Orthodox Church Washington, DC Towards the end of the Sermon on the Mount, while warning of false prophets to come, our Lord says “You will know them by their fruits. Do men gather grapes from thorn bushes or figs from thistles? Even so, every good tree bears good fruit, but a bad tree bears bad fruit.” Ultimately the answer to the question of whether the Western Rite is Orthodox or not is answered by how if affects the lives of the men, women and children who live out their relationship with God in this manner. Does the Western Rite, like the Eastern Rite, lead people to become holy, to grow in their relationship with God? Is the Western Rite an expression of authentic Christianity that encourages people to become more like Christ? In answer to these questions we should look at the lives of some of the “cloud of witnesses” as the holy ones are called in the Epistle to the Hebrews. By their fruit you will know them. As we look at the expansion of Christianity into the West, we must start with what is now Italy. Rome, of course, was the capitol of the empire and was generally considered to 1 be the center of the world at the time. Jews had been living in Rome for nearly two hundred years before the birth of Christ. We know this because the Praetor Gnaeus Cornelius Hispanus tried to compel them to return to their homeland in 139BC. -
Books on Display at the 48Th International Congress on Medieval Studies, May 9-12, 2013, Kalamazoo, MI
Books On Display at the 48th International Congress on Medieval Studies, May 9-12, 2013, Kalamazoo, MI Publishers represented include: ADEVA, Amberley Publishing, American Research Center in Sofia (ARCS), Anglo-Saxon Books, Aris & Phillips, Austrian Academy of Sciences Press (VOAW), British Museum Press, Canterbury Archaeological Trust (CAT), Casemate Publishers, Christianity and Culture, Countryside Books, Edizioni Polistampa, English Heritage, Evangelische Verlagsanstalt (EVA), Franz Steiner Verlag, Hellenic Museums Shop, Hirmer Verlag GmbH, Iceland University Press, James Clarke & Co, Legenda, Librairie Droz , Lutterworth Press, Macmillan Art Publishing, Maney Publishing, The Mary Rose Trust, McDonald Institute for Archaeological Research, Medstroms Bokforlag, Midsea Books, Museum of London Archaeology (MOLA), Northcote House Publishers, Oxbow Books, Oxford Archaeology, Paul Holberton, Pen and Sword, Philipp von Zabern, Pindar Press, Pre- Construct Archaeology, Prospect Books, Roman Society Publications, Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), Society of Antiquaries of London (SAL), SPA Uitgevers, Stobart Davies Ltd, Wessex Archaeology and Windgather Press Titles in Bold are sale books at greatly reduced prices. Offers good while stocks last– First Come, First Served! Titles in alphabetical order Author(s) Publisher ISBN List Offer Title in alphabetical order Price Price A l'ombre du pouvoir Marchandisse Librairie Droz 9782870192832 $104.00 $50.00 Accomplisht Cook (1665-85) May Prospect Books