Canonical Understanding of Martyrdom
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Pope Innocent XI (1611-1689) [1]
Published on The Embryo Project Encyclopedia (https://embryo.asu.edu) Pope Innocent XI (1611-1689) [1] By: Brind'Amour, Katherine Garcia, Benjamin Keywords: Catholicism [2] Popes [3] Abortion [4] Fetus [5] Pope Innocent XI [6], born Benedetto Odescalchi, made considerable contributions to the Roman Catholic approach to embryology [7] by condemning several propositions on liberal moral theology in 1679, including two related to abortion [8] and ensoulment [9]. His rejection of these principles strengthened the Church’s stance against abortion [8] and for the idea of “hominization,” meaning the presence of human qualities before birth. He was born 19 May in 1611 in Como, Italy, and began his studies under the Jesuits at Como before studying jurisprudence at both Naples and Rome. Pope Urban VIII named him prothonotary, president of the Apostolic Camera, commissary at Ancona, administrator of Macerata, and governor of Picena in succession. Shortly thereafter he was appointed cardinal-deacon of Santi Cosma e Damiano in 1645 before being named cardinal-priest of Sant’ Onofrio by Pope Innocent X. During his time as cardinal, Odescalchi was beloved by his people for his love, charity, and devotion to his position. He spent the majority of his time and effort trying to preserve the purity of faith and the morals that governed this purity. This effort to maintain traditionalism and wholesomeness resulted in regulating the dress of Roman women, suppressing the gambling houses, and encouraging receiving daily Communion. Odescalchi was actually introduced to the famine-stricken people of Ferrara as “Mittimus patrem pauperum,” meaning “father of the poor” because of his characteristic attention to their needs. -
From Pope Urban VIII to Bishop Étienne Tempier: the Strange History of the “Doctrine of Double Truth”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano LUCA BIANCHI From Pope Urban VIII to Bishop Étienne Tempier: the Strange History of the “Doctrine of Double Truth” 1. “TWO CONTRADICTING TRUTHS, EXISTING SIDE BY SIDE – ONE RELIGIOUS, THE OTHER SCIENTIFIC” In 1947, when Bertold Brecht was finishing the so-called ‘American’ version of his Life of Galileo, the distinguished American scriptwriter Barrie Stavies also produced in New York a play on Galileo, titled Lamp at Midnight. Des- tined to an extraordinary success, translated in about thirty languages, produced in different countries and even adapted for the small screen in the 1960s, this work is not a masterpiece. It presents – like Brecht’s play – a one-sided and rather anachronistic picture of Galileo’s conflict with his contemporaries. Galileo is described as the champion of freedom of thought and the advocate of scientific knowledge, opposed by a legion of enemies (Aristotelian philosophers, Scholastically-trained theologians and Church authorities), who are all shown as dogmatic defenders of the tradi- tional worldview. This is not to say that Stavies did not rely on a systema- tic, though hasty, reading of seventeenth-century sources: he even used some minor works such as the Dianoia astronomica, optica, physica publi- shed in 1611 by Francesco Sizzi, which is probably the silliest work ever written against Galileo’s astronomic discoveries. Nonetheless, the charac- ter of Cardinal Maffeo Barberini (the -
Rome in Bernini's Footsteps
Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Roma bike tours - Choose the best guided tour Enjoy with us the squares, the monuments, and the streets of the genuine Rome. leadingroma.com Sections Close DONATE VNY PROUD Arts Commenta per primoShared: 6!"#$%& Rome in Bernini’s Footsteps Afer seeing ”Bernini” at the Villa Borghese, follow this itinerary to visit this exceptional artist's other masterpieces around Rome by Lucy Gordan Elephant and Obelisk by Bernini Nov 20 2017 At the Villa Borghese in Rome several of Bernini's sculptures are on permanent exhibit, but his heritage is to be found in more sites in Rome. An easier but not chronological route, which takes about 2 hours on foot (or by hopping on and off the no. 62 bus) not including visiting time, starts at the church of Santa Maria della Vittoria with his Ecstasy of St. Teresa and ends in St. Peter’s Square. Utilizziamo i cookie per offrirti servizi e informazioni in linea con le tue preferenze. Continuando a scorrere e a navigare ne consenti l'uso. OK Maggiori informazioni http://www.lavocedinewyork.com/en/arts/2017/11/20/rome-in-the-berninis-footsteps/ Page 1 of 10 Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Gianlorenzo Bernini Gian Lorenzo Bernini, the most famous and important sculptor in 17th century Europe, but also a recognized architect, painter, events organizer, poet and playwright, was born in Naples on December 7, 1598 to a Mannerist sculptor, Pietro Bernini, originally from near Florence, and Angelica Galante, a Neapolitan, the sixth of their thirteen children. -
Papal Annual Medals, 1605–1700
religions Article Pressing Metal, Pressing Politics: Papal Annual Medals, 1605–1700 Matthew Knox Averett Department of Fine and Performing Arts, Creighton University, 2500 California Plaza, Omaha, NE 68178, USA; [email protected]; Tel.: +1-402-280-1455; Fax: +1-402-280-2320 Academic Editor: Ted G. Jelen Received: 18 February 2016; Accepted: 11 May 2016; Published: 20 May 2016 Abstract: This article surveys images depicted on the reverses of papal annual medals in the seventeenth century, beginning in 1605 under Paul V (r. 1605–21) with the first confirmed annual medal, and ending in 1700 at the conclusion of the papacy of Innocent XII (r. 1691–1700), a reign that marked a distinct change in papal politics in advance of the eighteenth century. The article mines a wealth of numismatics images and places it within a narrative of seventeenth-century papal politics. In the ninety-six years under consideration, ten popes issued ninety-four annual medals (sede vacante produced generic annual medals in 1667 and 1691). Annual medals are a unique iteration of papal commemorative medals and they celebrate an important papal achievement from the preceding year. The production of annual medals was an exercise in identity creation, undertaken to advance the image of the pope as an aristocratic prince in three specific roles: as builder, warrior, and impresario. The timeliness of the medals makes them valuable sources to gauge the perceived success of the papacy on an annual basis and to chart the political course plotted by popes through the seventeenth century. Keywords: Rome; papacy; annual medals; numismatics 1. -
“Pietro Da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St
“Pietro da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St. Teresa,” Art of the Western World, PBS Channel 13, October 30, 1989, in Episode 5, Realms of Light: The Baroque (http://www.amazon.com/Realms-of-Light-The-Baroque/dp/B007NEZIUI) (click here for first page) 1 “Pietro da Cortona—The Barberini Ceiling; Gianlorenzo Bernini—The Chapel of St. Teresa,” Art of the Western World, PBS Channel 13, October 30, 1989, in Episode 5, Realms of Light: The Baroque (http://www.amazon.com/Realms-of-Light-The-Baroque/dp/B007NEZIUI) Art of the Western World PBS Channel 13 October 30, 1989 Pietro da CortonaThe Barberini Ceiling In many ways the age of the Baroque was the dawn of a new era and people were acutely aware that somehow the human spirit had received a great infusion of power. One work of art, perhaps more than any other in Italy, both displays the new spirit and at the same time celebrates its descent upon the world. This is the frescoed vault by the painter Pietro da Cortona in the main ceremonial hall of the Barberini palace, built in Rome during the second quarter of the seventeenth century for the family of the newly elected pope, Urban VIII, the man who perhaps more than any other embodied and promulgated the transformation (Fig. 1). We feel its bold aggressiveness at a glance: the space of the room fairly erupts with turbulent masses of exuberant, cloud-borne and free-floating figures who perform a breathtaking aerial drama against the background of a heavy architectural vault and open sky beyond. -
Faith & Reason
FAITH & REASON THE JOURNAL OF CHRISTENDOM COLLEGE Summer 1977 | Vol. III No. 2 Galileo and the Magisterium: A Second Look Jeffrey A. Mirus The short note that follows does not purport to be an exhaustive reassessment of the Galileo case. Rather, in view of the importance of the topic for contemporary discussions involving the Magisterium, this note is presented as an editorial service. NE OF THE GREAT CLUBS USED TO PUNISH THE CHURCH IN THIS AGE OF PHYSICAL science has been the infamous and admittedly unfortunate 17th century Galileo case, the subject of song, story and dance since his time. It is said that the Church condemned as heretical Galileo’s belief that the earth moves around the sun. We are further told that Galileo was persecuted for pursuing that truth. Catholics have generally admitted the truth of these charges, but have resisted the next charge: that if the Church erred in declaring Galileo’s propositions heretical, it ought not to claim to be infallible. To this the traditional response has been two-fold, by those who believe the Magisterium of the Church pro- nounced against Galileo. On the one hand, it is argued that the Church has never claimed it made an infallible pronouncement in the Galileo case (the pope was not speaking infallibly). On the other, it is suggested that the Church has never claimed to be infallible in matters of science, but only in faith and morals. Both of these Catholic counter-arguments seem to me to be unsatisfactory. The latter argument fails because, in fact, if Galileo’s propositions were condemned, they were condemned precisely because they were hereti- cal or erroneous in faith. -
THE TRIAL of GALILEO-REVISITED Dr
THE TRIAL OF GALILEO-REVISITED Dr. George DeRise Professor Emeritus, Mathematics Thomas Nelson Community College FALL 2018 Mon 1:30 PM- 3:30 PM, 6 sessions 10/22/2018 - 12/3/2018 (Class skip date 11/19) Sadler Center, Commonwealth Auditorium Christopher Wren Association BOOKS: THE TRIAL OF GALILEO, 1612-1633: Thomas F. Mayer. (Required) THE CASE FOR GALILEO- A CLOSED QUESTION? Fantoli, Annibale. GALILEO; THE RISE AND FALL OF A TROUBLESOME GENIUS. Shea, William; Artigas, Mariano. BASIC ONLINE SOURCES: Just Google: “Galileo” and “Galileo Affair” (WIKI) “Galileo Project” and “Trial of Galileo-Famous Trials” YOUTUBE MOVIES: Just Google: “GALILEO'S BATTLE FOR THE HEAVENS – NOVA – YOUTUBE” “GREAT BOOKS, GALILEO’S DIALOGUE – YOUTUBE” HANDOUTS: GLOSSARY CAST OF CHARACTERS BLUE DOCUMENTS GALILEO GALILEI: b. 1564 in Pisa, Italy Astronomer, Physicist, Mathematician Professor of Mathematics, Universities of Pisa and Padua. In 1610 he observed the heavens with the newly invented telescope- mountains and craters of the moon, moons of Jupiter, many stars never seen before; later the phases of Venus; sunspots. These observations supported his belief that the Copernican (Heliocentric) system was correct, i.e. that the Sun was the center of the Universe; the planets including earth revolved around it. This was in direct contrast to the Ptolemaic-Aristotelian (Geocentric) System which was 1500 years old at the time. Galileo’s Copernican view was also in conflict with the Christian interpretation of Holy Scripture. Because of the Counter Reformation Catholic theologians took a literal interpretation of the Bible. Galileo was investigated by the Inquisition in 1615 and warned not to defend the Copernican view. -
Downloaded from Brill.Com09/27/2021 03:30:09PM Via Free Access 96 Chapter Two
chapter two MAFFEO BARBERINI—URBAN VIII, THE POET-POPE, OR: THE POWER OF POETIC PROPAGANDA Introduction In the early years of the pontificate of Paul V (1605–1621), an anony- mous avvisatore assembled a series of short biographies outlining the characters and characteristics of the various cardinals who would take part in the conclave if the Pope were to die. About Maffeo Barberini he wrote, after a brief sketch of his career: ‘he is a man of great talent, well versed in Italian letters, in Latin and in Greek; though more assiduous than brilliant, he is of an honourable nature, without any baseness’, which was praise indeed in view of the judgement he passed on some other eminent candidates. It also shows that, already as a cardinal, Bar- berini was known as a writer, a poet.1 Some twenty years later, when Maffeo had become Urban, the well- known literato Fulvio Testi described to a friend an evening he had spent with the Pope. Apologizing to Urban for not having written any poetry recently due to his increased work load, Testi was gently reprimanded when the Pope remarked: ‘We, too, have some business to attend to, but nevertheless for Our recreation sometimes We compose a poem’. Urban went on to tell that he had lately written some Latin poems and would like Testi to read them. ‘And hence, retreating into the next room where he sleeps, he fetched some sheets and started to read to me an ode written after the manner of Horace, which really was very beautiful. I have lauded it and praised it to the stars because certainly as to Latin compositions the Pope has few or none who equal him.’2 1 Biblioteca Apostolica Vaticana (BAV), Manoscritti Boncompagni-Ludovisi,Vol.C20,f.167v: “è signore d’ingegno grande, di belle lettere vulgari, latine e greche, e piutosto asseg- nato che splendido, ma honorato, senza sordidezza”. -
MASTERS of ART by Courtesy of the National Galleries 1680
Here, his most famous works are housed. Capra 11 Palazzo Montecitorio 14 Ponte Sant’Angelo 1 Chiesa di Santa Bibiana 4 Galleria Nazionale d’Arte Amaltea (1615) is one of Bernini first sculptures, 16 Monumento a Beata Ludovica followed by Aeneas, Anchises and Ascanius Piazza di Monte Citorio Lungotevere Vaticano Via Giovanni Giolitti, 154 Antica - Palazzo Barberini (1618-19), the Rape of Proserpina (1622), Apollo Albertoni Now the seat of the Chamber of Deputies, Palazzo Saint Angel bridge less famous second name is On the occasion of the jubilee in 1625 and just Via delle Quattro Fontane, 13 and Daphne (1622-25) and David (1623). They all Chiesa di San Francesco a Ripa Montecitorio (1653) was commissioned by pope Pons Hadriani, from the name of the emperor after Santa Bibiana’s remains were miraculously represent the best of Bernini’s virtuous skills to Piazza di San Francesco d’Assisi, 88 It was built in 1625. It was conceived as a real Innocent X Pamphilj as wedding present for his Hadrian that commissioned it. It is adorned found, Bernini was called to restore the facade express the pathos of human soul by twisting villa in the city centre to host the pope’s family. nephew Camillo Ludovisi. Bernini designed a by splendid statues of angels made by Bernini On the occasion of the beatification ceremony of Santa Bibiana’s church. It is considered his the bodies and giving an intense expressiveness It is the result of the cooperation between building with a convex polygonal front in order together with his students, who were believed of the nun Ludovica Albertoni, member of the first architecture work as well asSanta Bibiana’s to the faces. -
The Theater of Piety: Sacred Operas for the Barberini Family In
The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643) Virginia Christy Lamothe A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2009 Approved by: Tim Carter, chair Annegret Fauser Anne MacNeil John Nádas Jocelyn Neal © 2009 Virginia Christy Lamothe ALL RIGHTS RESERVED ii Abstract Virginia Christy Lamothe: “The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632-1643)” (Under the direction of Tim Carter) In a time of religious war, plague, and reformation, Pope Urban VIII and his cardinal- nephews Antonio and Francesco Barberini sought to establish the authority of the Catholic Church by inspiring audiences of Rome with visions of the heroic deeds of saints. One way in which they did this was by commissioning operas based on the lives of saints from the poet Giulio Rospigliosi (later Pope Clement IX), and papal musicians Stefano Landi and Virgilio Mazzocchi. Aside from the merit of providing an in-depth look at four of these little-known works, Sant’Alessio (1632, 1634), Santi Didimo e Teodora (1635), San Bonifatio (1638), and Sant’Eustachio (1643), this dissertation also discusses how these operas reveal changing ideas of faith, civic pride, death and salvation, education, and the role of women during the first half of the seventeenth century. The analysis of the music and the drama stems from studies of the surviving manuscript scores, libretti, payment records and letters about the first performances. -
Roman Missal
Roman Missal The Roman Missal is the book containing the prescribed prayers, chants, and instructions for the celebration of Mass in the Roman Catholic Church. Published first in Latin under the title Missale Romanum, the text is then translated and, once approved by a recognitio by the Vatican Congregation for Divine Worship and the Discipline of the Sacraments, is published in modern languages for use in local churches throughout the world. In 2002, Saint John Paul II introduced a new edition of the Missale Romanum (editio typica tertia, the "third typical edition" [since the Second Vatican Council]) for use in the Church. Soon after, the complex work of translating the text into English began. As the Church in the United States introduced the new edition of the Missal in late 2011, so too did much of the English-speaking world. In addition, the Missale Romanum, editio typica tertia is being translated into other languages for use by the the Church in other countries. The process of implementing a new edition of the prayers of the Mass is not new, but has occurred numerous times throughout the history of the Church as the Liturgy developed and was adapted to particular circumstances to meet the needs of the Church. In the earliest centuries of the Church, there were no books containing prescribed liturgical prayers, texts, or other instructions. Because the faith of the Church was (and still is) articulated in liturgical prayer, there was a need for consistency and authenticity in the words used in the celebration of the Liturgy. Collections of prayers developed gradually for use in particular locations and situations such as for a particular monastery, for the Pope, or for other local churches. -
THE BAROQUE PAPACY Ary Papal Court, the Roman Curia and the Papal State Were Constructed
is work leads the reader into one of the most exciting chapters of the history of the papacy. It delineates the behaviour and dilemmas of ❧ Rome in the ghts against the Turks, in the irty Years’ War, and in ) the struggles with the Protestants and the numerous con icts with the éter usor Catholic States. In addition, the book describes in detail the rst real example of globalisation, namely the worldwide spread of missions, in addition to providing accounts of the formation of new religious move- – ments, Galileo’s trial and the ordeals of the Institute of the Blessed Virgin ( Mary. Furthermore, the chapters o er insights into the nature of papal nepotism, how the Roman inquisition worked, and how the contempor- THE BAROQUE PAPACY ary papal court, the Roman Curia and the Papal State were constructed. (–) Péter Tusor, PhD, DSc, was born in 1967. He is currently an Associate Professor at the Institute of History at the Péter Pázmány Catholic Uni- versity and a Research Group Leader at the Hungarian Academy of Sci- ences. THE BAROQUE PAPACY THE BAROQUE ISBN 978-88-7853-715-6 éter usor 9 788878 537156 , Sette Città Barokk pápaság.indb 2 2016.05.24. 9:52:59 Péter Tusor THE BAROQUE PAPACY (1600–1700) Sette Città 2016 Barokk pápaság.indb 3 2016.05.24. 9:52:59 All rights reserved. Reproduction in any form, storage or transcription by any means (electronic, mechanical, photocopying, recording or in any other ways, including movie, radio, television or internet) is prohibited without the written permission of the publisher.