DOCSLIB.ORG

The Marian Library Newsletter, #37 ), Have Devoted Entire Issues to Mary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Marian Library Newsletter, #37 ), Have Devoted Entire Issues to Mary rrfieMarian Library 'Xf,ws{etter No. 39 (New Series) Winter, 1999-2000 A Thought for Christmas ((And this will be a sign for you: you will find an infant wrapped in swaddling clothes and lying in a manger" (Luke 2,12). St. Luke's Gospel contrasts the splendor of the angels' announcement to the shepherds with the lowliness of Jesus in the manger. On that first Christmas eve, the Gospel relates that the glory of the Lord shone upon the shepherds, and, struck with fear, they heard the multitude of the heavenly hosts singing. An angel then spoke of a sign given to them, a way in which they would recognize the Savior. He was "an infant wrapped in swaddling clothes and lying in a manger" (Luke 2, 12). Earlier, Luke had spoken of Mary, giving birth to her firstborn son, "wrapping him in swad­ dling clothes and laying him in a manger" (Luke 2,7). Since ancient times, biblical commentators have sought out the meaning of the sign-the "infant wrapped in swaddling clothes and lying in a manger." In the Old Fragment from 13th century altarpiece Testament, "the wrapping of the child in swaddling clothes" (The Netherlands) was a sign of the parents' loving reception of their child Messiah's coming with hope and expectation. They were (Wisdom 7,4; Job 38,8-9; Ezechiel 16,4). Ancient writers­ first among those who would follow and be present Cyril of Alexandria, Leo the Great, Ambrose-saw the to their son, even to his final destiny on the cross. swaddling clothes as a sign of that the divine nature had Commenting on the Nativity scene, Saint Augustine now been concealed in the new born. More recently, wrote, "0 infinity become manifest, 0 marvelous humility, commentators have seen a relation between the "child wherein is hidden the total divinity. " The Virgin Mary wrapped in swaddling clothes and lying in a manger" with was both mother of Jesus and the first to believe in him. the body of Jesus "wrapped in a linen cloth and laid in a "Mary was the first to comprehend that God's word can rock hewn tomb" (Luke 23, 53). be concealed in such a tiny reality as a child, and that in Luke's Gospel notes that when the shepherds came to serving this reality the fullness or totality of the word of the manger at Bethlehem, they found not swaddling clothes, God is attained. Mary intuited the whole in the part, so but "Mary and Joseph and the infant lying in a manger." The that in serving the Child Jesus as well as in serving the little sign of the swaddling clothes had been replaced by Mary group of the first Christians, she served all of humanity. and Joseph. Perhaps, Luke made this change to indicate that Her heart was capable of opening up to every creature, the parents of Jesus came to represent all that the swaddling and this qualified her to be mother of the church, not only clothes signified. They were the first to receive the newborn of the church that now is, but of that which ought to be child, to provide him with that love unique to parents. and will be - of all humanity." They were among the poor of Israel who had awaited the (Cardinal Martini, Through Moses to jesus) Fifty Years of the Mariological Society of America, 1949-1999 Fr. Juniper Carol, O.F.M., founded the Mariological Society of in 1962, Fr. Burghardt said that "the temper of our times is ecu­ America in Washington, D.C. , 1949. But the inspiration for the menical." Since the Catholic vision of Mary is perhaps the greatest foundation goes back ten years earlier, when four young priests, challenge in ecumenical dialogue, Fr. Burghardt suggested that then studying at Rome, gathered in Fr. Juniper's room in the "the theological effort from the Catholic side must center on the Antonianum, the Franciscan college, and, as one later remembered, problem of development." "planned what we could do for the glory of the Virgin Mary." In the 1960s, the focus of the meetings changed from doctrine Shortly after that meeting in 1939, World War II began in Europe, to Scripture. There were also conferences on Mary and ecu­ and the priests had to return to their own countries. Fr. Gabriel menism, and, since Scripture scholars were studying Mary's Roschini, O.S.M., remained at Rome and founded the Marianum, virginity, there were also conferences on that topic. In the early which is the name both for the pontifical school of theology and 1960s, no one imagined how deliberations of Vatican II would for the prestigious journal of Marian theology. Fr. Narciso Garcia cause such upheaval in the Church in the United States, especially Garces, C.M.F. , founded the Spanish Mariological Society (1941) in areas related to Marian devotion. In 1964, Fr. Edward O'Connor, and the journal Ephemerides Mariologicae (1951). Fr. Paul Strater C.S.C., spoke of the negative effects which "the critical spirit" was returned to Germany and edited a three-volumed work on the having on Marian piety and belief. The advent of the higher criti­ Blessed Virgin. In 1949, Fr. Juniper Carol founded the Mariological cism in Catholic biblical circles appeared especially directed to Society of America. the texts related to Mary: the Infancy narratives, and, in the Old The first issue of Marian Studies records the events which Testament, the story of Adam, Eve and the Serpent. "No other led to that initial meeting. Father Juniper Carol, O.F.M. called a sphere of theology so sensitive to the confrontation of the Catholic preparatory meeting on October 11, 1949, feast of the Maternity with the critical sprit, as the Mariological." In 1967, Fr. William of the Blessed Virgin Mary, in the library of Holy Name College, Most sounded an even more ominous warning: "We are living in a Washington, D.C. Those present favored the formation of a time when one could hardly name any important dogmatic error society to be devoted to "the furtherance of that section of sacred that is not taught within the Catholic Church. In 1970, Fr. Alban B. theology which deals with our Lady." After receiving the approval Maguire, O.F.M., noted the diminution of Marian devotion which of the Archbishop of Washington, and drawing up a constitution had occurred since the Council: "The five years since Lumen (still in use today), the first meeting took place on Tuesday, gentium seem like a century and the memory of what took place January 3, 1950, in the McMahon Hall Auditorium of the Catholic may become a little blurred. In spite of the assurances of the University of America. "The first official act of the Society, Fathers, there are many who continue to insist that the Council immediately after the approval of the constitution, was to adopt a played down our Lady's role in the Church . .. There can be no resolution, that a humble message be submitted to our Holy doubt that devotion to Mary has diminished since the Council, yet Father, Pope Pius XII, through his worthy representative in this it would be well for us not to assign causes for this until we have country, assuring His Holiness of the unconditional loyalty and weighed the phenomenon more carefully." loving attachment of the members of the Mariological Society of In the 1971 presidential address, Msgr. (later Bishop) Austin America toward the Vicar of Christ on earth ... At the end of the Vaughan of New York well described the tension between the session, those present signed the newly adopted constitution and traditional Mariology and the theology of Vatican II. The council became known as charter members of the Mariological Society stressed ecumenism, whereas Mariology represented the doctrines of America." which were most unacceptable to non-Catholics. In its liturgical At the invitation of Bishop John]. Wright, the second meeting reforms, Vatican II stressed the uniqueness of Christ as our took place at Worcester, Massachusetts. Bishop Wright's address Redeemer and Mediator; Marian devotion seemed to divert was entitled, "Mariology in the English-speaking World." This meet­ attention to Mary and the saints. Vatican II gave special importance ing began a long association between the Mariological Society and to the liturgical prayer (Mass and the Liturgy of the Hours); Bishop Wright, who later became the Cardinal Prefect of the most Marian devotions seemed non-liturgical (rosary, novenas, Congregation for the Clergy. In 1969, the Society's Mariological processions, shrines). Vatican II urged the involvement of the Award was renamed the Cardinal Wright Mariological Award. faithful in the work of sanctifying the world and promoting A survey of the themes and presidential addresses given at the human development, justice and peace, whereas traditional Society's annual meeting is one way of tracing the Society's history. devotion to Mary-prayer, recollection, and intercession- The first ten years of the Society's meeting were devoted to the seemed to lack a social commitment or active involvement. study of Our Lady's privileges: Coredemption, Spiritual Maternity, In 1972, Fr. Charles Neumann, S.M., urged a broadening of focus Queenship, Immaculate Conception, Divine Maternity, Virginity, and a less introspective approach. He cited the eminent Belgian Our Lady's Death, Mary and the Church, the Fundamental Prin­ theologian, Msgr. Gerard Philips, who said, "Authentic Mariology ciple of Mariology. At the 1961 meeting, Fr. Walter Burghardt, S.]. runs no risk of fading away; within an enlarged synthesis it will cited Fr. Rene Laurentin's description of the first ten volumes of command attention even more forcefully than in the past.
Load more

Recommended publications
  • Download Download
    Journal of Arts & Humanities Volume 10, Issue 02, 2021: 28-50 Article Received: 02-02-2021 Accepted: 22-02-2021 Available Online: 28-02-2021 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: https://doi.org/10.18533/jah.v10i2.2053 The Enthroned Virgin and Child with Six Saints from Santo Stefano Castle, Apulia, Italy Dr. Patrice Foutakis1 ABSTRACT A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston, Massachusetts. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. As a result, it appears that the artist of the central panel comes from the Mystras painting school between 1360 and 1380, the author of the other six panels is Lorenzo Veneziano around 1360, and the altarpiece was not a single commission, but the mounting of panels coming from separate artworks. The officer Frà Domenico d’Alemagna, commander of Santo Stefano castle, had the idea of mounting different paintings into a seven-panel altarpiece between 1390 and 1410. The aim is to shed more light on a piece of art which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression.
    [Show full text]
  • I MARY for TODAY: RENEWING CATHOLIC MARIAN DEVOTION
    MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in Theological Studies By Mary Olivia Seeger, B.A. UNIVERSITY OF DAYTON Dayton, Ohio August 2019 i MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Name: Seeger, Mary Olivia APPROVED BY: Elizabeth Groppe, Ph.D. Faculty Advisor Dennis Doyle, Ph.D. Reader Naomi D. DeAnda, Ph.D. Reader Daniel S. Thompson, Ph.D. Department Chair ii © Copyright by Mary Olivia Seeger All rights reserved 2019 iii ABSTRACT MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Name: Seeger, Mary Olivia University of Dayton Advisor: Dr. Elizabeth Groppe The purpose and content of my thesis is to investigate and assess how St. Louis- Marie de Montfort’s True Devotion to Mary contributes to a renewal of Marian devotion in the Catholic Church after the Second Vatican Council. My thesis focuses on a close reading of the primary texts of St. Louis-Marie de Montfort (True Devotion to Mary), the Second Vatican Council (Lumen Gentium, the Constitution on the Church), and St. John Paul II (Redemptoris Mater). As part of my theological method, I renewed my Marian consecration and interviewed four other people who currently practice Marian devotion.
    [Show full text]
  • The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
    The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda.
    [Show full text]
  • Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
    journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018).
    [Show full text]
  • Observations on Van Dyck As a Religious Painter Thomas L
    Document generated on 09/28/2021 9:09 p.m. RACAR : Revue d'art canadienne Canadian Art Review Observations on van Dyck as a Religious Painter Thomas L. Glen Volume 10, Number 1, 1983 URI: https://id.erudit.org/iderudit/1074637ar DOI: https://doi.org/10.7202/1074637ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Glen, T. L. (1983). Observations on van Dyck as a Religious Painter. RACAR : Revue d'art canadienne / Canadian Art Review, 10(1), 45–52. https://doi.org/10.7202/1074637ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1983 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Observations on van Dyck as a Religions Painter* THOMAS L. GLEN McGill University When dealing with Europcan religious art of the for the main altar of the Church of St. Walburgis seventeenth century, one must inevitably contend (Fig. 2). In Rubens’ altarpiece we witness Christ with the awesome personality of Sir Peter Paul triumphant.
    [Show full text]
  • An Aspect of the Mariology of St. THOMAS AQUINAS
    Rev. CORNELIO FABRO, CSS: An Aspect of the Mariology of St. THOMAS AQUINAS ‘As the mariners are guided into port by the shining of a star, so Christians are guided to heaven by Mary.’ St. Thomas Aquinas Rev. Joseph Henchey, CSS Laetare Sunday, 2017 [For the Private use of the Stigmatines] BVM – FABRO TABLE OF CONTENTS 2 TABLE of CONTENTS Presentation 3 1. Significance of the Problem 4 2. The Fullness of the Fontal Originating Source of Grace in Christ as the Man-God and Savior 6 3. The Fontal Fullness derived from the Grace of Christ in the Mother of God 8 4. The Transcendental Super-abundance of Grace in Mary 14 5. The Participation of the Grace in Christ and Mary 19 a. Grace of Union 20 b. Habitual Grace 21 SUMMARY 24 APPENDIX OF MARIAN TEXTS SUPPORTING Fr. FABRO 26 Ineffabilis Deus [Pius IX, Dec. 8, 1854] 26 St. Thomas Aquinas: 26 A. Summa III 27 q. 27 [6 articles] Sanctification 27 q. 28 [4 Articles] Virginity 40 q. 30 [4 articles] Annunciation 50 q. 31 [8 articles] Bodily Matter 58 B. Compendium Theologiae 77 c. 215 – Nature of Christ’s Grace 77 c. 220 – Article of Creed explained 78 c. 221 - Born of a Virgin 79 c. 222 – Mother of Christ 79 c. 223 – Holy Spirit as Father? 80 c. 224 - Sanctification of Mother 81 c. 225 –Perpetual Virginity 82 C. Contra Gentiles IV 84 c. 45 – Befitting birth from Virginity 84 D. In 1 John 86 C. 1, lectio X, ## 201 86 ## 543-544 86 † ††† † BVM – FABRO ST.
    [Show full text]
  • The Mariology of St. Bonaventure As a Source of Inspiration in Italian Late Medieval Iconography
    José María SALVADOR GONZÁLEZ, La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana The mariology of St. Bonaventure as a source of inspiration in Italian late medieval iconography La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana1 José María SALVADOR-GONZÁLEZ Universidad Complutense de Madrid [email protected] Recibido: 05/09/2014 Aceptado: 05/10/2014 Abstract: The central hypothesis of this paper raises the possibility that the mariology of St. Bonaventure maybe could have exercised substantial, direct influence on several of the most significant Marian iconographic themes in Italian art of the Late Middle Ages. After a brief biographical sketch to highlight the prominent position of this saint as a master of Scholasticism, as a prestigious writer, the highest authority of the Franciscan Order and accredited Doctor of the Church, the author of this paper presents the thesis developed by St. Bonaventure in each one of his many “Mariological Discourses” before analyzing a set of pictorial images representing various Marian iconographic themes in which we could detect the probable influence of bonaventurian mariology. Key words: Marian iconography; medieval art; mariology; Italian Trecento painting; St. Bonaventure; theology. Resumen: La hipótesis de trabajo del presente artículo plantea la posibilidad de que la doctrina mariológica de San Buenaventura haya ejercido notable influencia directa en varios de los más significativos temas iconográficos
    [Show full text]
  • Feminist Mariologies: Heteronomy/ Subordination and the Scandal of Christology
    Theological Studies 66 (2005) FEMINIST MARIOLOGIES: HETERONOMY/ SUBORDINATION AND THE SCANDAL OF CHRISTOLOGY KILIAN MCDONNELL, O.S.B. [Feminist Mariologies are partly the reaction of a justified anger to centuries of discrimination against women enshrined in the very Scriptures, in the central theological tradition, and in the life of the Church. Mariology allows feminists to reflect on exegesis, patriar­ chy, equality, autonomy, obedience, sexual life, social roles, and professionalism. The rejection of all subordination, even to other women, and the maleness of Christ drive feminist Mariologies so that some move the theological location of Mariology from the gendered Christology to the ungendered Pneumatology and the reign of God.] LREADY IN 1981 the German feminist Elisabeth Gossmann said she A feared "a new Marian maximalism" which had its origins among feminist theologians.1 Nine years later the Scottish feminist Daphne Hamp- son wrote of a feminist "fixation" on Mary.2 One might surmise that the interest in Mary was dictated by the number of theological lines converging in Mariology: Scripture, Christology, anthropology, discipleship, sexuality, subordination, and eschatology.3 It is possible that some feminists thought that by addressing Mariology they could address the whole of theology. Possible, but not likely. More likely anger motivated them. Elizabeth Johnson, a moderate standing in the central tradition, who has produced the most ambitious and impressive feminist Mariology to date, contends that the charge against Mariology is not irrelevancy, but "complicity in the KILIAN MCDONNELL, O.S.B., received his S.T.D. from the Theological Faculty at Trier, Germany. He is founder and president of the Institute for Ecumenical and Cultural Research, and professor emeritus of theology at St.
    [Show full text]
  • Insight: Contemplating the Cross of Christ in a Time of Healing
    Insight: Contemplating the Cross of Christ in a time of healing September 12, 2018 WASHINGTON, D.C. – As a new school year begins we say ‘thank you’ to catechetical leaders and catechists who begin their ministry of faith formation, education, and witness to faith. As catechists renew their commitment to leading others to Jesus Christ, the one who stands at the heart of all catechetical efforts, they will hear the anguished voices of the faithful in these challenging times. One image of Jesus’ crucifixion offers a profound visual catechesis for catechists and those they serve who seek hope, wisdom, and perseverance in faith in a season of healing. An image for times of pain and scandal The Small Crucifixion was painted by Matthias Grünewald, the master German painter, in the early years of the 16th century, a time marked by widespread scandal and deep divisions in the Church, sadly not unlike our own today. Only two dozen works of the artist survive, among them The Small Crucifixion, from the permanent collection at the National Gallery of Art in Washington, D.C. The painter’s best known masterpiece is the Isenheim Altarpiece, commissioned for the high altar of the church of the Monastery of Saint Anthony in Alsace, where patients suffering from the plague and various skin diseases were treated. In that large altarpiece, Grünewald depicts a crucified Christ whose body is racked with plague type scars. Patients bearing the pain of their physical afflictions found spiritual comfort as they gazed on the crucified Jesus and identified with the mystery of his unjust suffering.
    [Show full text]
  • O Clemens, O Pia, O Dulcis Maria: a Comparison of Mariology
    O CLEMENS, O PIA, O DULCIS MARIA: A COMPARISON OF MARIOLOGY IN MEDIEVAL AND VICTORIAN PERIODS THESIS Presented to the Graduate Council of Texas State University‐San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Amanda King, B.A. San Marcos, Texas May, 2009 O CLEMENS, O PIA, O DULCIS MARIA: A COMPARISON OF MARIOLOGY IN MEDIEVAL AND VICTORIAN PERIODS Committee Members Approved: __________________________________ Kathryn Ledbetter, Chair __________________________________ Edgar Laird __________________________________ Susan Morrison Approved: __________________________________ J. Michael Willoughby Dean of the Graduate College DEDICATION To our Blessed Mother. Sancta Maria, ora pro nobis. ACKNOWLEGMENTS Many thanks to my thesis advisors who guided me through the process: Dr. Laird, who sparked my serious interest in medieval literature, Dr. Ledbetter, who introduced me to Victorian novels, and Dr. Morrison, whose enthusiasm cannot be matched. Thank you to my family, who supported me throughout my years of education—it has never been an easy journey. Most of all, thank you to the Order of the Society of Mary, who first exposed me to Mariology. Without their influence, I could not have undertaken this study. This thesis was submitted on March 29, 2010. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................................................................................... iv CHAPTER 1. INTRODUCING MARIOLOGY .....................................................................1 2. MARY AS
    [Show full text]
  • The Crucifixion C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Paolo Veneziano Venetian, active 1333 - 1358 The Crucifixion c. 1340/1345 tempera on panel painted surface: 31 x 38 cm (12 3/16 x 14 15/16 in.) overall: 33.85 x 41.1 cm (13 5/16 x 16 3/16 in.) framed: 37.2 x 45.4 x 5.7 cm (14 5/8 x 17 7/8 x 2 1/4 in.) Inscription: upper center: I.N.R.I. (Jesus of Nazareth, King of the Jews) Samuel H. Kress Collection 1939.1.143 ENTRY The Crucifixion is enacted in front of the crenellated wall of the city of Jerusalem. The cross is flanked above by four fluttering angels, three of whom collect the blood that flows from the wounds in Christ’s hands and side. To the left of the Cross, the Holy Women, a compact group, support the swooning Mary, mother of Jesus. Mary Magdalene kneels at the foot of the Cross, caressing Christ’s feet with her hands. To the right of the Cross stand Saint John the Evangelist, in profile, and a group of soldiers with the centurion in the middle, distinguished by a halo, who recognizes the Son of God in Jesus.[1] The painting’s small size, arched shape, and composition suggest that it originally belonged to a portable altarpiece, of which it formed the central panel’s upper tier [fig. 1].[2] The hypothesis was first advanced by Evelyn Sandberg-Vavalà (originally drafted 1939, published 1969), who based it on stylistic, compositional, and iconographic affinities between a small triptych now in the Galleria Nazionale of Parma [fig.
    [Show full text]
  • Tinabeattie Cta Paper Final
    Paper given at the Annual Conference of the Catholic Theological Association of Great Britain 2006 Insight beyond sight: Sacramentality, Gender and the Eucharist with reference to the Isenheim Altarpiece 1 Tina Beattie Since Vatican II, the Eucharist has become riven by different interpretations, and gender has become an elusive but persistent theme that haunts the margins of our liturgical coherence. My concerns in this paper are with the relationship of the desiring and suffering body to the sacramental encounter between word and flesh in the unfolding drama of the Mass, and with the extent to which gender functions as a lens through which to view the mystery of Christ in the incarnation and the Eucharist. My argument is that both feminist and neo-orthodox theology 2 exaggerate the significance of gender and sexuality, and in so doing they make the sacramental life of the Church hostage to ideological struggles. I suggest that a more poetic and fluid understanding of gender might enable us to go beyond what many see as the rationalisation of worship after Vatican II, through the rekindling of a sense of mystery which resists the nostalgic mystique that infects much contemporary theology, not least through the cultic sex and death fantasies of Hans Urs von Balthasar. I have divided the paper into three parts, so that it is intended to form a reflective tryptich on the eucharist. In the first part, I consider some of the criticisms that have been made regarding the modern liturgy. In the second part, I contemplate the sacramental vision that informs Grünewald’s Isenheim altar.
    [Show full text]