The Way of the Cross
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The Pietà in Historical Perspective
The Pietà in historical perspective The Pietà is not a scene that can be found in the Gospels. The Gospels describe Crucifixion (El Greco), Deposition or descent from the Cross (Rubens), Laying on the ground (Epitaphios), Lamentation (Giotto), Entombment (Rogier Van de Weyden) So How did this image emerge? Background one-devotional images • Narrative images from the Gospel, e.g Icon of Mary at foot of cross • Devotional images, where scene is taken out of its historical context to be used for prayer. e.g. Man of Sorrows from Constantinople and print of it by Israhel van Meckenhem. The Pietà is one of a number of devotional images that developed from the 13th century, which went with intense forms of prayer in which the person was asked to imagine themselves before the image speaking with Jesus. It emerged first in the Thuringia area of Germany, where there was a tradition of fine wood carving and which was also open to mysticism. Background two-the position of the Virgin Mary • During the middle ages the position of Mary grew in importance, as reflected in the doctrine of the Assumption (Titian), the image of the coronation of the Virgin (El Greco) • So too did the emphasis on Mary sharing in the suffering of Jesus as in this Mater Dolorosa (Titian) • Further background is provided by the Orthodox image of the threnos which was taken up by Western mystics, and the image of The Virgin of Humility A devotional gap? • So the Pietà, which is not a Gospel scene, started to appear as a natural stage, between the Gospel scenes of the crucifixion smf the deposition or descent from the cross on the one hand, and the stone of annointing, the lamentation, and the burial on the other. -
New Perspectives on the Creation of the Mercedarian Order
New perspectives on the creation of the Mercedarian Order James William Brodman University of Central Arkansas Among the apsidal chapels of Barcelona’s Cathedral of Santa Eulàlia and Santa Creu is one dedicated to Our Lady of Mercy. Its rococo retablo depicts what has become the official story of foundation for the Mercedarian Order, allegedly on August 10, 1218.1 In the foreground there is an armored Pere Nolasc, kneeling before a very adult-looking King James I and Raymond of Penyafort, with Barcelo- na’s bishop, Berenguer de Palou hovering in the background. At the time of its commission, the re- tablo sought to celebrate but also to validate the canonization of the Mercedarian patriarch, an event that had taken place only in 1628. The problem, of course, was that Nolasc’s biography is an almost complete tabula raza. We do not know when he was born, when he died, where he was from, to whom he was related, what his social status was or even where his body is buried. All we can say with cer- tainty beyond the mere fact of his actual existence is that he acted as head of a confraternity of cap- tives in Barcelona and elsewhere within the crown lands of Aragon during the 1230s and 1240s. In- deed, this very lack of a real biography caused much skepticism at Rome when the cause of Nolasc’s canonization was first broached in the early seventeenth century. It seems that only through persis- tence and clever inventions were the Mercedarians able to prevail and gain the crown of sainthood for their founder.2 But, surely the retablo of Barcelona’s cathedral also reflects a lingering discomfort because the recently canonized founder in fact is portrayed in a position secondary to King James and St. -
Egbert Haverkamp Begemann Rembrandt the Holy Family, St
REMBRANDT THE HOLY FAMILV, ST PETERSBURG PREVIOUSLY PUBLISHED H.W. Janson, Form follows function- o-r does it? Modernist design themy and the histmy of art (The First Gerson Lecture, held on October 2, 1981) D. Freedberg, Iconoclasts and thei-r motives (The Second Gerson Lecture, held on October 7, 1983) C. H. Smyth, Repat-riation of art from the collecting jJoint in Munich afte-r WoTld Wa-r ff (The Third Gerson Lecture, held on March 13, 1986) A. Martindale, Hemes, ancesto-rs, Telatives and the biTth of the jJoTtmit (The Fourth Gerson Lecture, held on May 26, 1988) L. N ochlin, Bathtime: Reno iT, Cezanne, DaumieT and the p-ractices of bathing in nineteenth-century Fmnce (The Sixth Gerson Lecture, held on November 2 1, 1991) M. Warnke, Laudando Pmecipere, der Medicizyklus des Peter Paul Rubens (Der siebente Gerson Vortrag, am rS. November 1993 gehalten) EDITOR'S NOTE The 5th Gerson Lecture was held in 1989. Its final text was made available to the Gerson Lectures Foundation in 1991 . At that moment, an unhappy coincidence of circumstances made publication without further delay impossible. We regret the fact that we had to disappoint the supporters of ow- Foundation for such a long period. Now at last, we are able to publish this lecture, thanks to the generous sponsoring 'in kind' ofWaanders Uitgevers. The Fifth Gerson Lecture held in memoryofHorstGerson (1907-1978) in the aula of the University ofGroningen on the 16th ofNovember 1989 Egbert Haverkamp Begemann Rembrandt The Holy Family, St Petersburg Groningen T he Gerson Lectures Foundation 1995 l REMBRANOT The Holy Family, 1645 4 REMBRANDT THE HOLY FAMILY, ST PETERSBURG Horst Gerson was a remarkable art historian and a remarkable man. -
19835 the Descent from the Cross England, Midlands C. 1480 40 X 24 X 5 Cm; Pale, Pale-Veined Alabaster with Vestiges of Gilding
19835 The Descent from the Cross England, Midlands c. 1480 40 x 24 x 5 cm; pale, pale-veined alabaster with vestiges of gilding and polychromy. A repaired break across the lower right-hand corner, and some infill behind the kneeling figure, including the proper right heel of the figure on the ladder and the background immediately behind it. A candle mark has scorched the stone on Christ’s proper right leg and the robes and underarm of Joseph of Arimathea. A historic drill hole at the top of the cross arm, perhaps used for suspension. Provenance Private Collection, France Description and Iconography One of the key moments in the Christian narrative of Christ’s Passion is the Descent from the Cross, or Deposition as it is also known, which details the process by which Jesus’s body was taken down from the Cross following his death. It is a scene recounted in all four Canonical Gospels1, and images of it circulated widely in Europe during the Medieval period. On this slim alabaster panel, the lifeless body of Christ is shown still in the process of being removed from a tall, Tau-shaped cross by two men who pull the large-headed nails from his hands and feet with pliers. Both men have rolled up the loose fabric of their sleeves to perform their task; one climbs 1 Matthew 27:57-61; Mark 15:42-47; Luke 23:50-56; John 19:38-42. SAM FOGG www.samfogg.com a ladder resting against the arm of the cross in order to reach up to Christ’s hand, while his counterpart kneels on the ground below him to get to the nail in Christ’s feet. -
“We Do Not Pray to Change Divine Decree, but Only to Obtain What God Has Decided Will Be Obtained Through Prayer.” - St
“We do not pray to change divine decree, but only to obtain what God has decided will be obtained through prayer.” - St. Thomas Aquinas, Summa theologiae Common Catholic Prayers: The Our Father Our Father, Who art in heaven, Hallowed be Thy Name. Thy Kingdom come. Thy Will be done, on earth as it is in Heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation, but deliver us from evil. Amen. The Hail Mary Hail Mary, Full of Grace, The Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now, and at the hour of death. Amen. The Apostle’s Creed I believe in God, the Father Almighty, Creator of Heaven and earth; and in Jesus Christ, His only Son Our Lord, Who was conceived by the Holy Spirit, born of the Virgin Mary, suffered under Pontius Pilate, was crucified, died, and was buried. He descended into Hell; the third day He rose again from the dead; He ascended into Heaven, and sitteth at the right hand of God, the Father almighty; from thence He shall come to judge the living and the dead. I believe in the Holy Spirit, the holy Catholic Church, the communion of saints, the forgiveness of sins, the resurrection of the body and life everlasting. Amen. The Glory Be Glory be to the Father, and to the Son, and to the Holy Spirit. -
January 1, 2012: the Octave Day of the Nativity of The
JANUARY 1, 2012: THE OCTAVE DAY OF THE CALENDAR OF EVENTS NATIVITY OF THE LORD. SOLEMNITY OF MONDAY, JANUARY 2 MARY, THE HOLY MOTHER OF GOD -No rosary & evening prayer. TUESDAY, JANUARY 3 -Quilting Circle, 9:00 a.m., KC Hall of Fame Room. -Women’s ACTS meeting, 7:00 p.m., Family Center. -K.C.’s General Meeting, 7:30 p.m., KC Hall. WEDNESDAY, JANUARY 4 LITURGY th -CCD: K-12 Grade, 6:00-7:15 p.m. MASS INTENTIONS & READINGS -English Class, 6:00-7:15 p.m., Family Center. Sunday, January 1, Solemnity of Mary, The Holy Mother of -Divine Mercy Study/Prayers, 7:30 p.m., Church Cry Rm. God (Nm 6:22-27/Gal 4:4-7/Lk 2:16-21) 8:00 am- Pete Steinberg THURSDAY, JANUARY 5 10:30 am- James Bludau & Rose Trojcak -First Friday Adoration of the Blessed Sacrament begins Monday, January 2, Sts. Basil the Great & Gregory Nazianzen, at 6:00 p.m. in church. The intention this month: respect Bishops & Doctors of the Church (1 Jn 2:22-28/Jn 1:19-28) for life and success of Catholic schools. 7:00 am- Lou Kubena -Holy Hour of Eucharistic Adoration, 7:00 p.m. in church. 10:00 am- Pete Brom Family, Benefactors (H’ville Rehab) Tuesday, January 3, The Most Holy Name of Jesus (1 Jn 2:29- FRIDAY, JANUARY 6 3:6/Jn 1:29-34) -First Friday Adoration of the Blessed Sacrament ends 7:00 am- Florian & Martha Tomsu with Benediction at 6:00 p.m. -
The Tradition of the Red Mass Was Begun by Pope Innocent IV in 1243
Mass with Bishop Timothy L. Doherty followed by a dinner for legal professionals and a presentation by Notre Dame Law Professor Richard W. Garnett The tradition of the Red Mass was begun by Pope Innocent IV in 1243 for the Ecclesial Judical Court asking the invocation of the Holy Spirit as a source of wisdom, understanding, counsel, fortitude and strength for the coming term of the court. The color red signifies the Holy Spirit and martyrdom. St. Thomas More is the patron saint of lawyers. The Diocese of Lafayette-in-Indiana will celebrate the fifth annual Red Mass on Monday, October 5, 2020, at the Cathedral of St. Mary of the Immaculate Conception in Lafayette at 5:30 pm. All government officials (federal, state, local levels, executive, legislative, judicial branches), attorneys, paralegals, law students and their spouses are cordially invited to attend. One does not have to be Catholic to join us in prayer and fellowship for the legal community. The Red Mass is a tradition in the Catholic Church which dates back to the 13th century. The first Red Mass is believed to have been celebrated in the Cathedral of Paris in 1245, and thereafter the tradition spread throughout Europe. A Red Mass was initially celebrated to mark the beginning of the annual term of the courts but can be held at other times. The word “red” was originally used to describe the Mass in 1310, because the justices of the English Supreme Court wore scarlet robes. Over time the “Red” Mass came to have a deeper theological meaning, with red symbolizing the “tongues of fire” that descended upon the Apostles at Pentecost bestowing the gifts of the Spirit. -
Piero Della Francesca
the cambridge companion to Piero della Francesca Edited by Jeryldene M. Wood University ofIllinois, Urbana-Champaign published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Fairfield Medium 10.5/13 pt. System QuarkXPress® [GH] A catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The Cambridge companion to Piero della Francesca / edited by Jeryldene M. Wood. p. cm. – (Cambridge companions to the history of art) Includes bibliographical references and index. isbn 0-521-65254-5 – ISBN 0-521-65472-6 (pbk.) 1. Piero, della Francesca, 1416?–1492 – Criticism and interpretation. 2.Art, Renaissance – Italy. 3. Art, Italian – 15th century. I. Wood, Jeryldene. II. Series. ND623.F78 C26 2002 759.5 – dc21 2001043485 isbn 0 521 65254 5 hardback isbn 0 521 65472 6 paperback I. Encyclopedias and dictionaries ag5.c26 1990 031-dc20 isbn 0 521 39538 3 hardback isbn 0 521 39539 3 paperback Contents List of Illustrations page vii Acknowledgments xiii Contributors xv Introduction 1 Jeryldene M. -
The Kingdom Within; Selections from the Imitation of Christ
I LIBRARY OF CONGRESS. I - £v 4^1 Chap,...— Copyright I Shelf. 2. ' | L'NITEB STATES OF AMERICA. ' . 5'' THE KINGDOM WITHIN Classics of the Quiet Hour* Selections for every day in the month. EDITED BY Francis E. Clark, D. D. Handsomely printed and daintily bound. Price, 25 cents each, postpaid. THE PRESENCE OF GOD. Selections from the Devotional Works of Bishop Jeremy Taylor. LIVING AND LOVING. Selections from the Devotional Works of Professor A. Tholuck. THE GOLDEN ALPHABET. Selections from the works of Master John Tauler. THE KINGDOM WITHIN. Selections from “ The Imitation of Christ,” by Thomas h Kempis. United Society of Christian Endeavor* Boston and Chicago. Classics of tj)e (&uiet J^ottr THE KINGDOM WITHIN Selections from tEfje Imitation of (Jurist tig THOMAS A KEMPIS For Every Day of the Month / /\.y Edited and with Introduction by FRANCIS E. CLARK, D. D. President of the United Society of Christian Endeavor UNITED SOCIETY OF CHRISTIAN ENDEAVOR BOSTON AND CHICAGO C/Ws T he Library o« Cow HESS Vt HNQTON • C 5" --— ^ 15133 Copyright, 1898 By United Society of Christian Endeavor JW0 ^Urico ftci/ciy£0« 2n JS9 6. CONTENTS Thomas A Kempis .... The Kingdom Within The Song of Love . How to Persevere .... The Wings of the Soul . Rest in Jesus. The Bondage of Things . The Steadfast One .... Knowing Ourselves .... Our Friends. The Folly of Self-Conceit . The Profit of Adversity Bearing and Forbearing. The Quiet Hour .... The Best Preparation for Death Self-watchfulness .... Grace for the Humble . The Joy of a Good Conscience j . Why Trouble Comes Lovers and Cross-bearers 5 6 CONTENTS. -
The Stephan Kuttner Institute of Medieval Canon Law München 2013
THE STEPHAN KUTTNER INSTITUTE OF MEDIEVAL CANON LAW MÜNCHEN 2013 BULLETIN OF MEDIEVAL CANON LAW NEW SERIES VOLUME 30 AN ANNUAL REVIEW PUBLISHED BY THE CATHOLIC UNIVERSITY OF AMERICA PRESS FOR THE STEPHAN KUTTNER INSTITUTE OF MEDIEVAL CANON LAW BULLETIN OF MEDIEVAL CANON LAW THE STEPHAN KUTTNER INSTITUTE OF MEDIEVAL CANON LAW MÜNCHEN 2013 BULLETIN OF MEDIEVAL CANON LAW NEW SERIES VOLUME 30 AN ANNUAL REVIEW PUBLISHED BY THE CATHOLIC UNIVERSITY OF AMERICA PRESS FOR THE STEPHAN KUTTNER INSTITUTE OF MEDIEVAL CANON LAW Published annually at the Stephan Kuttner Institute of Medieval Canon Law Editorial correspondence should be addressed to: STEPHAN-KUTTNER INSTITUTE OF MEDIEVAL CANON LAW Professor-Huber-Platz 2 D-80539 München PETER LANDAU, Editor Universität München [email protected] or KENNETH PENNINGTON, Editor The School of Canon Law The Catholic University of America Washington, D.C. 20064 [email protected] Advisory Board PÉTER CARDINAL ERDŐ PETER LINEHAN Archbishop of Esztergom St. John’s College Budapest Cambridge University JOSÉ MIGUEL VIÉJO-XIMÉNEZ ORAZIO CONDORELLI Universidad de Las Palmas de Università degli Studi Gran Canaria Catania FRANCK ROUMY KNUT WOLFGANG NÖRR Université Panthéon-Assas Universität Tübingen Paris II Inquiries concerning subscriptions or notifications of change of address should be sent to the Journals Manager, BMCL, The Catholic University of America Press, Washington D.C. 20064. Notifications can also be sent by email to [email protected] telephone (202) 319 5052; or fax (202) 319 4985. Subscription prices: United States $75 institutions; $35 individuals. Single copies $80 institutions, $40 individuals. The articles in the Bulletin of Medieval Canon Law are abstracted in XXX. -
Decretals Gregory IX
The Authoritative Text: Raymond of Penyafort’s editing of the Decretals of Gregory IX (1234) Edward Andrew Reno III Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Edward Andrew Reno III All rights reserved Abstract The Authoritative Text: Raymond of Penyafort’s editing of the Decretals of Gregory IX (1234) Edward Andrew Reno III The Decretals of Gregory IX, promulgated in 1234, was the first collection of canon law for the Catholic Church invested with universal and exclusive authority, and was the culmination of a century and a half process by which the a now papal-led Church came to be the leading institution within medieval European society. The Decretals, also known as the Liber extra – a compilation of 1971 papal letters, constitutions and conciliar canons drawn principally from the century prior to its issuance – has long been understood as a key text for the study of the medieval papacy, the rise of scholasticism within the universities, and the extension of the Church’s jurisdiction into almost every area of medieval life. The degree to which the man commissioned to edit the collection, the Dominican Raymond of Penyafort (1175-1275), actively shaped the legal content of the Decretals through eliminating, rewording, or supplementing the individual texts has remained elusive, in part because of the complicated manuscript tradition and in part because of our ignorance of all his sources. This dissertation examines Raymond’s editing of the most recent material within the collection, the 195 capitula attributed to the commissioning pope Gregory IX (1227-1241), which in many cases provide definitive statements of the law. -
Art 311: Medieval Art of the West Department of Art Northeastern Illinois University Instructor: Dr
Art 311: Medieval Art of the West Department of Art Northeastern Illinois University Instructor: Dr. William Sieger STUDY GUIDE FOR THE FINAL EXAMINATION For the final examination, you will be expected to know the following works of art and architecture from the required readings found on the course D2L site. Please note that the numbers listed below correspond to the individual numbers assigned to the illustrations in each of these readings. Chapter/Reading Illustration Number 11. 11.8, 11.9, 11.31, 11.32, 11.33, 11.34, 11.37, 11.38. 12. 12.14, 12.17. Luttikhuizen & Verkerk 1, 2, 3, 6, 7, 9, 14, 16, 17. Paoletti & Radke 2, 4, 7, 10. You will also be expected to know the following works of art that have been posted on the instructor’s web site: 1. The Limbourg Brothers, May, 1415. 2. The Limbourg Brothers, August, 1415. 3. Robert Campin, The Merode Altarpiece, 1425-1430. 4. Robert Campin, Portrait of a Woman, c. 1430. 5. Jan van Eyck, The Ghent Altarpiece, 1432. 6. Jan van Eyck, The Marriage of Giovanni Arnoldfini, 1434. 7. Jan van Eyck, Annunciation, 1435. 8. Rogier van der Weyden, The Descent From the Cross, 1436-1437. 9. Rogier van der Weyden, Crucifixion with the Virgin and St. John, 1438. 10. Rogier van der Weyden, St. Luke Painting the Virgin and Child, 1440. 11. Hieronymus Bosch, The Garden of Earthly Delights, 1500. 12. Hieronymus Bosch, The Haywain, 1485. 13. Hieronymus Bosch, The Bearing of the Cross, 1505. 14. Anonymous German, Pestkreuz, 1304. 15. Anonymous German, Rottgen Pieta, 1300.