Saints Cosmas and Damian
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Rome: a Pilgrim’S Guide to the Eternal City James L
Rome: A Pilgrim’s Guide to the Eternal City James L. Papandrea, Ph.D. Checklist of Things to See at the Sites Capitoline Museums Building 1 Pieces of the Colossal Statue of Constantine Statue of Mars Bronze She-wolf with Twins Romulus and Remus Bernini’s Head of Medusa Statue of the Emperor Commodus dressed as Hercules Marcus Aurelius Equestrian Statue Statue of Hercules Foundation of the Temple of Jupiter Optimus Maximus In the Tunnel Grave Markers, Some with Christian Symbols Tabularium Balconies with View of the Forum Building 2 Hall of the Philosophers Hall of the Emperors National Museum @ Baths of Diocletian (Therme) Early Roman Empire Wall Paintings Roman Mosaic Floors Statue of Augustus as Pontifex Maximus (main floor atrium) Ancient Coins and Jewelry (in the basement) Vatican Museums Christian Sarcophagi (Early Christian Room) Painting of the Battle at the Milvian Bridge (Constantine Room) Painting of Pope Leo meeting Attila the Hun (Raphael Rooms) Raphael’s School of Athens (Raphael Rooms) The painting Fire in the Borgo, showing old St. Peter’s (Fire Room) Sistine Chapel San Clemente In the Current Church Seams in the schola cantorum Where it was Cut to Fit the Smaller Basilica The Bishop’s Chair is Made from the Tomb Marker of a Martyr Apse Mosaic with “Tree of Life” Cross In the Scavi Fourth Century Basilica with Ninth/Tenth Century Frescos Mithraeum Alleyway between Warehouse and Public Building/Roman House Santa Croce in Gerusalemme Find the Original Fourth Century Columns (look for the seams in the bases) Altar Tomb: St. Caesarius of Arles, Presider at the Council of Orange, 529 Titulus Crucis Brick, Found in 1492 In the St. -
Pestilence and Prayer: Saints and the Art of The
PESTILENCE AND PRAYER: SAINTS AND THE ART OF THE PLAGUE IN ITALY FROM 1370 - 1600 by JESSICA MARIE ORTEGA A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2012 Thesis Chair: Dr. Margaret Zaho ABSTRACT Stemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance periods. After analyzing the reasons why St. Sebastian and St. Roch became the primary plague saints I noticed that other “minor” saints fell directly in line with the particular plague associations of either Sebastian or Roch. I categorized these saints as “second-tier” saints. This categorization, however, did not cover all the saints that periodically reoccurred in plague-themed artwork, I grouped them into one more category: the “third-tier” plague saints. This tier encompasses the saints that were invoked against the plague but do not have a direct association to the arrow and healing patterns seen in Sts. Sebastian and Roch iconographies. This thesis is highly interdisciplinary; literature, art, and history accounts were all used to determine plague saint status and grouping, but art was my foundation. -
St Benedict's Parish, Narrabundah
16 DAYS ST BENEDICT’S PARISH, NARRABUNDAH COMMENCES MON 14TH SEPT 2020 • 16 DAYS / 12 NIGHTS Rome (3 Nights) • Vicocaro • Subiaco • Montecassino (2) • Pompeii • Cava Di Tireni • Pietrelcina • Monte Sant’Angelo • San Giovanni Rotondo (2) • Norcia • Assisi (2) • Ravenna • Padua (3) • Venice Accompanied by FR DANIEL BENEDETTI MGL PP St Peter’s Square, Rome SYMBOLS informative exploration. Our guided tour will soon found his rule so unpleasantly strict that (B) = Breakfast (L) = Lunch (D) = Dinner feature among other highlights Michelangelo’s they tried to poison him. Benedict returned to = Time Out - Planned site for extended stunning Pieta, the tomb of Pope St John Paul II, his cave, but by then had attracted so many opportunity for prayer & reflection the great Confessional and the Crypt containing followers that he could no longer pursue the the tombs of several Popes. solitary life. DAY 1: MONDAY 14TH SEPTEMBER – DEPART Journey this afternoon out to the majestic We journey south this afternoon to Cassino AUSTRALIA Basilica of St Paul Outside the Walls. and wind our way up the mountain, DAY 2: TUESDAY 15TH SEPTEMBER - ARRIVE Originally consecrated in 324, the saint’s tomb enjoying the view of the spectacular Abbey ROME is visible now under the Papal Altar. We will of Montecassino, founded in 529 by St Benedict, patron saint of Europe and the Welcome to Rome. Join with pilgrims this spend some time here as a special tribute to founder of Western Monasticism. The Abbey evening for a Welcome Dinner. the Church’s greatest evangelist. was carefully rebuilt after the epic battle of Rome overnight (D) Continue then to the ancient Catacombs for a memorable guided tour to marvel at these 1944 and still dominates the surrounding DAY 3: WEDNESDAY 16TH SEPTEMBER – underground burial tunnels for Christians and countryside from its mountaintop setting. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569. -
Cosmas and Damian: Their Medical Legends and Historical Legacy
The Linacre Quarterly Volume 38 | Number 4 Article 10 November 1971 Cosmas and Damian: Their edicM al Legends and Historical Legacy Ronald J. O'Reilly Follow this and additional works at: http://epublications.marquette.edu/lnq Recommended Citation O'Reilly, Ronald J. (1971) "Cosmas and Damian: Their eM dical Legends and Historical Legacy," The Linacre Quarterly: Vol. 38: No. 4, Article 10. Available at: http://epublications.marquette.edu/lnq/vol38/iss4/10 FIGURE 1 "Miracle of the Leg" (Uncertain artist. Has been attributed to School of Bellini. Ferrara and Mantegna) (Society of Antiguaries. London.) Example of a portrayal stressing religious and lacking scientific orientatiol/. Cosmas and Damian Their Medical Legends and Historical Legacy Ro nal d J. O'Re illy, M.D. Medicine of the Middle Ages was cians have heard of them, few know often oriented far more to religion much about Cosmas and Damian . An that to sc ience. Medical kn owledge extensive search through the volumi was primitive . Great prayerful reliance nous accounts of medicine's history was placed on medical saints. Cosmas provides little concerning these early and Damian were the most popular of physicians. This paper explores the all medical saints during the Medieva l legends of these medical saints, reviews and Renaissance periods. their role as medicine's patrons, examines th eir medical portrayal in With the emergence of sc ientific art, and summari zes the role of medicine , Cosmas and Damian became Cosmas and Damian in our early obscure . Today , although many physi- medical history. 254 Linacre Quarterly The Legends of Cosmas and Damian Cosmas and Damian became known as legendary healers during the early The most popular version of the life Christian ce nturies. -
Sacred Image, Civic Spectacle, and Ritual Space: Tivoli’S Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy
SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY by Rebekah Perry BA, Brigham Young University, 1996 MA, University of Massachusetts Amherst, 2006 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts & Sciences This dissertation was presented by Rebekah Perry It was defended on October 28, 2011 and approved by Franklin Toker, Professor, History of Art and Architecture Anne Weis, Professor, History of Art and Architecture Bruce Venarde, Professor, History Alison Stones, Professor, History of Art and Architecture ii Copyright © by Rebekah Perry 2011 iii SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY Rebekah Perry, PhD University of Pittsburgh, 2011 This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome’s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli’s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars. -
SYNAXARION, COPTO-ARABIC, List of Saints Used in the Coptic Church
(CE:2171b-2190a) SYNAXARION, COPTO-ARABIC, list of saints used in the Coptic church. [This entry consists of two articles, Editions of the Synaxarion and The List of Saints.] Editions of the Synaxarion This book, which has become a liturgical book, is very important for the history of the Coptic church. It appears in two forms: the recension from Lower Egypt, which is the quasi-official book of the Coptic church from Alexandria to Aswan, and the recension from Upper Egypt. Egypt has long preserved this separation into two Egypts, Upper and Lower, and this division was translated into daily life through different usages, and in particular through different religious books. This book is the result of various endeavors, of which the Synaxarion itself speaks, for it mentions different usages here or there. It poses several questions that we cannot answer with any certainty: Who compiled the Synaxarion, and who was the first to take the initiative? Who made the final revision, and where was it done? It seems evident that the intention was to compile this book for the Coptic church in imitation of the Greek list of saints, and that the author or authors drew their inspiration from that work, for several notices are obviously taken from the Synaxarion called that of Constantinople. The reader may have recourse to several editions or translations, each of which has its advantages and its disadvantages. Let us take them in chronological order. The oldest translation (German) is that of the great German Arabist F. Wüstenfeld, who produced the edition with a German translation of part of al-Maqrizi's Khitat, concerning the Coptic church, under the title Macrizi's Geschichte der Copten (Göttingen, 1845). -
2016 Le Icone Romane
J2e icone romane Con il Calendario 2016 il 3ondo [difici di Culto vuole valorillare una parte poco conosciuta del proprio patrimonio artistico: re icone romane. Delle icone medioevali dipinte o realillate a mosaico su tavola, custodite nelle Chiese di Roma e del C.a.2io, il 3ondo [difici di Culto è proprietario di una parte consistente. tra le più venerate e famose per la concessione di speciali gra.2ie,databili tra il V1 e il X1V secolo. Il termine "icona" deriva dal greco-bi.cantino e significa "immagine". ma la sua radice rimanda alla forma verbale "sembrare". "essere simile" e per questo, in senso cristiano. identifi('ò la "raffigura.2ione di un personaggio sacro" per eccelle11.2a: Cristo, la Sua Santa Madre, gli f\postoli e i Santi o episodi della Coro vita inseriti in un contesto liturgico o devozionale. Intesa esse11.2ialmente come pannello ligneo dipinto. la parola icona entrerà nel linguaggio storico-artistico moderno con l'accezione di pitturasacra su tavola di origine. tradi.cioneo ispira.2ione greco-bi.cantina. Roma custodisce alcune delle icone più antiche finora conosciute. al pari del Monastero di Santa Caterina d'Alessandria sul Sinai. 11 gruppo romano. però, non va contrapposto alle più antiche icone di 6isa11.2io ma neanche considerato una loro filia.2ione in quanto pone problemi interpretativi differenti e si inserisce, con una propria peculiarità. nel contesto della for mula.2ione artistica dell'Impero bi.cantino, trovando a volte paragoni e confronti anche con aree eterodosse a Costantinopoli e a volte imponendosi per specificità di stile e di significato. -
SOMMARIO L. Le Storie Di San Pietro E San Paolo Nell'oratorio Di Giovanni VII in San Pietro in Vaticano, K. Quezjo 2. Il Perduto
SOMMARIO INTRODUZIONE 13 ScHEDE l. Le Storie di san Pietro e san Paolo nell'oratorio di Giovanni VII in San Pietro in Vaticano, K. Quezjo 51 2. Il perduto medaglione Paparoni nel pavimento di Santa Maria Maggiore, K. Queijo 54 3. Gli affreschi staccati dall'abside di San Basilio ai Pantani. L'Ascensione, I. Quadri e K. Queijo 56 4. L'affresco con la Vergine, il Bambino e santi in San Bartolomeo all'Isola, I. Quadri 59 5. Il mosaico absidale di San Pietro in Vaticano, K. Queijo 62 6. La Leggenda di Ansedonia sull'Arco di Carlomagno all'abbazia delle T re Fontane, I. Quadri 67 7. Il mosaico con la Virgo lactam e le vergini sagge e folli sulla facciata di Santa Maria in T rastevere, K. Queijo 72 7a. Prima fase: gruppo centrale e vergini S2, Sl, D l e D2 73 7b. Seconda fase: vergini D3 e D4 75 8. Il mosaico absidale di San Paolo fuori le mura, K. Queijo 77 9. L'icona musiva con la Vergine e il Bambino in San Paolo fuori le Mura, K. Queijo 88 10. Il mosaico dell'ingresso monumentale di San Tommaso in Formis, K. Quezjo 90 11. Il fregio a mosaico sull'architrave del portico di San Lorenzo fuori le mura, K. Quezjo 92 12. La decorazione a finti mattoni nel portico di San Lorenzo fuori le mura, K. Quezjo 94 13. La perduta Croa/issione con Onorio III e Iacobus penitentiarius al Laterano (?), K. Queijo 95 14. Il volto duecentesco dell'icona di Santa Maria Nova, K. -
From the Shrine of Cosmidion to the Shrine of Eyiip Ensari Nuray Ozaslan
From the shrine of Cosmidion to the shrine of Eyup Ensari Ozaslan, Nuray Greek, Roman and Byzantine Studies; Winter 1999; 40, 4; ProQuest pg. 379 From the Shrine of Cosmidion to the Shrine of Eyiip Ensari Nuray Ozaslan HE URBAN HISTORY of Constantinople, with a particular emphasis on the historical peninsula, has been a Tsignificant agenda of Byzantine studies. Despite the settlements spread outside the walls, the triangle-shaped and fortified core, bounded on two sides by water (the Golden Horn and the Sea of Marmara) and on the third by the Theodosian land walls, has shaped the image of the city. There has been a remarkable effort to explore its past, and hence a repository of information available in various sources and studies. In contrast, there has been limited attempt to investigate the historical, social, political, or architectural characteristics of its environs such as Sycea (Galata), Hebdomon (Baklrkoy), St. Mamas (Be~ikta~) and Cosmidion (Eyup). The small number of sources available on these surroundings underlines the indispens able need for further research, as well as excavations. Cosmidion holds a particular importance not only because of its significance for the urban history of Constantinople but also for its transformation into a Muslim shrine after the conquest of the city by the Ottomans in 1453. After the conquest, a massive rebuilding effort began to reshape the city both physically and symbolically. Thereby the image of Constantinople as a sacred city of Christianity was converted to an Islamic one. This was not limited to the physical appearance of the city alone, but also involved the reshaping of its urban space. -
The History of Kidney Transplantation: Past, Present and Future (With Special References to the Belgian History)
1 The History of Kidney Transplantation: Past, Present and Future (With special references to the Belgian History) Squifflet Jean-Paul University of Liege Belgium 1. Introduction The history of kidney transplantation is thought to have originated at the early beginning of the previous century with several attempts of Xenografting, and experimental works on vascular sutures (Küss & Bourget, 1992)1. But it really started more than 60 years ago with first attempts of deceased donor transplantation (DCD) and the first successful kidney transplantation of homozygote twins in Boston (Toledo-Pereyra et al, 2008)2. Belgian surgeons contributed to that field of medicine by performing in the early sixties the first ever organ procurement on a brain dead heart beating donor (DBD) (June 1963) (Squifflet, 2003)3. Later on, in the eighties, they published a first series of living unrelated donor (LURD) transplantations, as well as ABO-Incompatible living donor (ABO-Inc LD) transplantations. With the advent of Cyclosporine A, and later other calcineurin inhibitors such as Tacrolimus, with the advent of more potent immunosuppressive drugs (IS), the gap between the number of renal transplant candidates and the number of transplanted recipients was and is continuously increasing in Belgium and most countries. It opened the search for other sources of organs such as donors after cardiac death (DCD) defined with the Maastricht conference and the extended criteria donors (ECD) compared to standard criteria donors (SCD). In Belgium another source of DCD was identified after the promulgation in 2002 of a law on euthanasia. The Belgian example and all its historical measures could help others to fight against organ shortage and its consequences, organ trafficking, commercialization and tourism. -
Liturgical Calendar for the Dioceses of the United States of America
LITURGICAL CALENDAR FOR THE DIOCESES OF THE UNITED STATES OF AMERICA 2020 Committee on Divine Worship LITURGICAL CALENDAR FOR THE DIOCESES OF THE UNITED STATES OF AMERICA 2020 United States Conference of Catholic Bishops Committee on Divine Worship Cover Photo: “The Holy Trinity,” detail, The Trinity dome mosaic, Great Upper Church, Basilica of the National Shrine. Copyright © 2017, Basilica of the National Shrine of the Immaculate Conception, Washington, D.C. Photographer: Geraldine M. Rohling (2017). Copyright © 2018, United States Conference of Catholic Bishops, Washington, DC. All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright holder. 2 INTRODUCTION Each year the Secretariat of Divine Worship of the United States Conference of Catholic Bishops publishes the Liturgical Calendar for the Dioceses of the United States of America. This calendar is used by authors of ordines and other liturgical aids published to foster the celebration of the liturgy in our country. The calendar is based upon the General Roman Calendar, promulgated by Pope Paul VI on February 14, 1969, subsequently amended by the Holy See, and the Proper Calendar for the Dioceses of the United States of America, approved by the United States Conference of Catholic Bishops.1 This calendar has been updated to reflect the names and titles of the various liturgical