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Madonna and Child on a Curved Throne C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Byzantine 13th Century Madonna and Child on a Curved Throne c. 1260/1280 tempera on linden panel painted surface: 82.4 x 50.1 cm (32 7/16 x 19 3/4 in.) overall: 84 x 53.5 cm (33 1/16 x 21 1/16 in.) framed: 90.8 x 58.3 x 7.6 cm (35 3/4 x 22 15/16 x 3 in.) Andrew W. Mellon Collection 1937.1.1 ENTRY The painting shows the Madonna seated frontally on an elaborate, curved, two-tier, wooden throne of circular plan.[1] She is supporting the blessing Christ child on her left arm according to the iconographic tradition of the Hodegetria.[2] Mary is wearing a red mantle over an azure dress. The child is dressed in a salmon-colored tunic and blue mantle; he holds a red scroll in his left hand, supporting it on his lap.[3] In the upper corners of the panel, at the height of the Virgin’s head, two medallions contain busts of two archangels [fig. 1] [fig. 2], with their garments surmounted by loroi and with scepters and spheres in their hands.[4] It was Bernard Berenson (1921) who recognized the common authorship of this work and Enthroned Madonna and Child and who concluded—though admitting he had no specialized knowledge of art of this cultural area—that they were probably works executed in Constantinople around 1200.[5] These conclusions retain their authority and continue to stir debate. -
Tema 7. La Pintura Italiana De Los Siglos Xiii Y Xiv: El Trecento Y Sus Principales Escuelas
TEMA 7. LA PINTURA ITALIANA DE LOS SIGLOS XIII Y XIV: EL TRECENTO Y SUS PRINCIPALES ESCUELAS 1. La pintura italiana del Duecento: la influencia bizantina Con el siglo XIII, tiene lugar la aparición de un nuevo espíritu religioso que supone un cambio trascendental en el pensamiento europeo y se produce de la mano de las órdenes religiosas mendicantes: franciscanos y dominicos. Su labor marca la renovación del pensamiento gótico dando lugar a una religiosidad basada en el acercamiento al hombre como camino hacia Dios. Ambas órdenes se instalan en las ciudades para predicar a un mayor número de fieles y luchar contra la herejía, poniendo en práctica las virtudes de la pobreza y la penitencia. Se generarán toda una serie de obras arquitectónicas, escultóricas y pictóricas con una nueva y rica iconografía que tendrá una importante repercusión en toda Europa a lo largo del siglo XIV. La Maiestas Domini, va a ser sustituidas progresivamente por la Maiestas Sanctorum, es decir, por la narración de las vidas de los santos, que ocupan la decoración de las capillas privadas en los templos. Del mismo modo, la Virgen deja de ser trono de Dios para convertirse en Madre y por tanto en la intermediaria entre Dios y los hombres. En esta tendencia a humanizar a los personajes sagrados aparece la imagen del Cristo doloroso, en la que el sufrimiento de Jesús alcanza un expresionismo impensable en el románico. No podemos dejar de referirnos al nacimiento de la Escolástica, que surge de forma paralela pero muy relacionada con estas órdenes mendicantes, con la creación de las universidades y la traducción de obras aristotélicas realizadas a partir del siglo XII. -
The Church and the Cinema: What Used to Be
The Church and the Cinema: What Used To Be By Joe Tremblay “A people who, in time of repose, give themselves to diversions which violate decency, honor, or morality, to recreations which, especially to the young, constitute occasions of sin, are in grave danger of losing their greatness and even their national power… …there does not exist today a means of influencing the masses more potent than the cinema…[it] teaches the majority of men more effectively than abstract reasoning…” Pope Pius XI, On the Cinema 1936 “But we may ask ourselves- do people go to the cinema or to church? Does not the cinema take the place that was formerly occupied by church and chapel? Has not Hollywood got a distinct ethic of its own which influences the minds of its audiences? Is this ethic in any sense Christian?” Christopher Dawson, Religion and Modern State 1935 Legion of Decency: The historic role the Catholic Church has played over the centuries in favor of freedom was that she mediated between the State and the citizen. By her moral influence, she restrained the overreaching power of civil authority from encroaching on the rights of citizens and those who could not defend themselves. With the same moral authority, the Church exercised a commanding influence on Hollywood during the twentieth century. The Legion of Decency, founded in 1933 by Archbishop of Cincinnati John T. McNicholas, was an organization behind this influence by opposing immoral or irreverent content. Pius XI: On the Cinema: In fact, Pope Pius XI in 1936, in his encyclical On the Cinema, commended the U.S. -
Maestà (Madonna and Child with Four Angels) C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Master of Città di Castello Italian, active c. 1290 - 1320 Maestà (Madonna and Child with Four Angels) c. 1290 tempera on panel painted surface: 230 × 141.5 cm (90 9/16 × 55 11/16 in.) overall: 240 × 150 × 2.4 cm (94 1/2 × 59 1/16 × 15/16 in.) framed: 252.4 x 159.4 x 13.3 cm (99 3/8 x 62 3/4 x 5 1/4 in.) Samuel H. Kress Collection 1961.9.77 ENTRY This panel, of large dimensions, bears the image of the Maestà represented according to the iconographic tradition of the Hodegetria. [1] This type of Madonna and Child was very popular among lay confraternities in central Italy; perhaps it was one of them that commissioned the painting. [2] The image is distinguished among the paintings of its time by the very peculiar construction of the marble throne, which seems to be formed of a semicircular external structure into which a circular seat is inserted. Similar thrones are sometimes found in Sienese paintings between the last decades of the thirteenth and the first two of the fourteenth century. [3] Much the same dating is suggested by the delicate chrysography of the mantles of the Madonna and Child. [4] Recorded for the first time by the Soprintendenza in Siena c. 1930 as “tavola preduccesca,” [5] the work was examined by Richard Offner in 1937. In his expertise, he classified it as “school of Duccio” and compared it with some roughly contemporary panels of the same stylistic circle. -
The Death of Christian Culture
Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church. -
Christ the King Catholic Church
Christ The King Catholic Church 405 N. 117th Street - Seattle, WA 98133 August 18, 2019 –20th Sunday in Ordinary Time Parish Office: 206-362-1545 Fax: 206 364 8325 www.ckseattle.org Priest Administrator: Parish Office Hours: Fr. Chris Hoiland 206-362-1545 Weekdays from 9am - 4pm, or by appointment Closed for Lunch Noon - 1pm Deacon: Deacon Joe Sifferman 206-859-5160 Daily Mass: Monday – Friday at 8:40am [email protected] Holy Days as announced. Reconciliation: Saturday 3:30pm – 4pm, Pastoral Assistant for Administration: or by appointment. Marga McChesney PAA [email protected] 206-859-5105 Weekend Masses: Saturday - 5:00pm Office Manager: Sunday - 9:00am Marti Lundberg 206-859-5105 Spanish - Sunday - 11:00am [email protected] Marriage: Administrative Assistant: Please contact the Parish Office at least one year before desired date. Date may not be set until you Teresa Banderas 206-362-1545 have met with someone from the parish office. [email protected] Infant Baptism: Administrative Assistant for Hispanic Ministry: Please contact parish office-206-362-1545 Mari Cáceres 206-859-5118 [email protected] Anointing of the Sick: Whenever a person is seriously ill, please contact the School Office: 206-364-6890 Parish Office. Joanne Cecchini, Principal Amy Hall, Advancement Director 206-226-5679 Catholic Cemeteries serving our Parish: Calvary 206-522-0996; Holyrood 206-363-8404 New Parishioner Registration: Please see parish website or contact parish office. MASS INTENTIONS FROM DEACON JOE PLEASE NOTE: indicates an intention for the deceased Dear Friends: As Jesus walked to Jerusalem, the disciples had to decide Mon. Aug 19 8:40 AM—Joel Rivera whether to go with him or not because to be with Jesus could Tues. -
The Holy See
The Holy See APOSTOLIC JOURNEY OF HIS HOLINESS JOHN PAUL II TO POLAND (MAY 31-JUNE 10, 1997) MESSAGE OF JOHN PAUL II TO THE POLISH BISHOPS Krakow, 10 June 1997 Dear Brothers in the Episcopal ministry! 1. I am pleased to avail myself of the opportunity offered by the great religious events taking place in Poland and involving the universal Church, to extend my fraternal greeting and convey a special word to you. In this way I wish to express my love for Christ's Church in our homeland, which the whole Polish Episcopal Conference, and each Bishop, cares for in a spirit of collegial responsibility. My pilgrimage began in Wrocław with my participation in the 46th International Eucharistic Congress. The meeting with Christ in his Mystery of infinite love and of unity, entrusted to the Church and to humanity in the Eucharistic Sacrifice, speaks to us with profound eloquence: it does so to Catholics as well as to all our Christian brothers and sisters, especially those present at the Congress. The whole Church in Poland had the opportunity to study and contemplate the mystery of the Eucharistic presence of Emmanuel - God with us (cf. Mt 1:23). For all of us it was a special experience of the truth about Christ who "is the same yesterday and today and for ever" (Heb 13:8). We can all draw from this life-giving source the strength and hope to continue to build on Polish soil a community of faith, a community of all who believe in Christ. Since this community is a unity in charity, it is always the fruit of sacrifice, of renouncing something for the sake of others, and the fruit of concern for the common good. -
The Church Militant- the Church Persecuted
THE CHURCH MILITANT- THE CHURCH PERSECUTED FRANCIS CONWAY, O.P. NE OF THE MANY THINGS about the Catholic Church that puzzle non-Catholics is the constant recurring suc cession of persecutions which seem to stalk its steps. li No sooner is the Catholic Church established in some new mission field than bold hostility, ranging in its efforts from discomforting annoyances to violent bloodshed, attempts to de stroy its life. In countries where it has been long established, even in so-called Catholic countries, a period of comparative peace for the Church is succeeded by a period of persecution, in a never ending cycle. Not long ago a Protestant clergyman in England, discussing the recent disorders in Spain, and seeing in these qisorders a symptom of the world-wide revolt against the Catholic Churc:h, even on the part of members of that Church, declared that the institution capable of arousing such bitter, fierce, and widespread hatred among men must indeed be a very wicked thing. The principle on which he based this judgment is the un founded assumption that what men hate must be evil. This would certainly be true if this thing which men hate were also hated by God. But is this the case? History will show that there have been persecutions of the Catholic Church in the past, violent and -bloody ones, and when their instigators were glutted with blood, and satisfied that they had destroyed the hateful thing, the Church has risen from the ruins so fresh and vigorous that it seemed as if persecution, far from annihilating it, had infused new life into it. -
Religious Imagery of the Italian Renaissance
Religious Imagery of the Italian Renaissance Structuring Concepts • The changing status of the artist • The shift from images and objects that are strictly religious to the idea of Art • Shift from highly iconic imagery (still) to narratives (more dynamic, a story unfolding) Characteristics of Italian Images • Links to Byzantine art through both style and materials • References to antiquity through Greco-Roman and Byzantine cultures • Simplicity and monumentality of forms– clearing away nonessential or symbolic elements • Emphasizing naturalism through perspective and anatomy • The impact of the emerging humanism in images/works of art. TIMELINE OF ITALIAN RENAISSANCE: QUATROCENTO, CINQUECENTO and early/late distinctions. The Era of Art In Elizabeth’s lecture crucifixex, she stressed the artistic representations of crucifixions as distinct from more devotional crucifixions, one of the main differences being an attention paid to the artfulness of the images as well as a break with more devotional presentations of the sacred. We are moving steadily toward the era which Hans Belting calls “the Era of Art” • Artists begin to sign their work, take credit for their work • Begin developing distinctive styles and innovate older forms (rather than copying) • A kind of ‘cult’ of artists originates with works such as Georgio Vasari one of the earliest art histories, The Lives of the Artists, which listed the great Italian artists, as well as inventing and developing the idea of the “Renaissance” Vasari’s writing serves as a kind of hagiography of -
The Fathers of Gothic Painting: Cimabue, Duccio, and Giotto
The Fathers of Gothic Painting: Cimabue, Duccio, and Giotto Art Year 2 Lesson 13 The Fathers of Gothic Painting ! Academic Concept: During the Gothic period, the style of art changed resulting in artwork that looked more realistic and natural. Though the change most likely was prompted by cultural shifts, we can see how realism had to be relearned. ! Gospel Principle: Through the Atonement of Jesus Christ we can change. Many of our strengths and faults may be due to our culture, so change requires the gift of discernment. Vocabulary ! Egg Tempera: Ground pigments mixed into a medium of egg yolk and one other ingredient (such as vinegar, white wine, or water). The paint dries very fast and is brittle so it must be on a rigid panel. ! Renaissance Humanism: describes a period of time beginning at the end of the 14th Century, when the cultural focus became less about God and more about classical literature, arts, and people (the subjects commonly referred to as “humanities”). Cimabue, Duccio, Giotto During the Gothic period, the style of art changed resulting in artwork that looked more realistic and natural. Though the change most likely was prompted by cultural shifts, we can see how the skill of realism had to be relearned. Why the Change: Culture or Skill? ! “Renaissance Humanism” (different then “humanism” today), is a term used to describe the cultural shifts that occured at the end of the 14th Century. There was a greater focus on the broader, cultural history of people themselves rather than a sole focus on Diety. ! The beginnings of this shift of emphasis shows up in the paintings of Cimabue, Duccio, and Giotto as they gradually begin to break with Byzantine style and show figures as real people. -
It Is Most Appropriate for the Feast of the Holy Family to Be Situated in the Context of the Great Season of Christmas. Familie
Holy Family Sunday December 28, 2014 A sign that will be contradicted Readings: Sirach 3: 2-6,12-14; Colossians 3:12-21; Luke 2: 22-40 It is most appropriate for the Feast of the Holy Family to be situated in the context of the great season of Christmas. Families spend more time together, as well they should. It is the task of the Church to promote and protect family life as the tremendous gift that it is for the Church and society. The truths of family life are not hidden amidst obscure medieval theological treatises, but are found in the depths of our own hearts. The truth of family life is discernable in the world around us, according to God’s Natural law inscribed on the human heart. Our Gospel this year centers on the person of Simeon, a righteous and devout man who prophesied that Jesus would be destined for the fall and rise of many in Israel, and that he would be a sign of contradiction. These prophetic words could not possibly have made the immediate impact upon Mary and Joseph that they have for us today, because we have been given the benefit of perspective and history. Indeed, Jesus has been a sign of contradiction, and so too the Church He founded while on earth. The teachings regarding marriage and family, despite being based in large part upon the natural law, are consistently being contradicted by agendas strongly put forward by those who are diametrically opposed to the truth of the Gospel. The Church calls the family the “domestic church.” This phrase was used by the Magisterium for perhaps the first time during the Second Vatican Council, in “The Constitution on the Church” (Lumen Gentium). -
Solemn Opening of the Second Vatican Council Address of His
12/13/2017 Speech on the occasion of the solemn opening of the Council (October 11, 1962) | John XXIII SOLEMN OPENING OF THE SECOND VATICAN COUNCIL ADDRESS OF HIS HOLINESS JOHN XXIII * Thursday, October 11, 1962 Venerable brothers: Today the Holy Mother Church is blessed because, thanks to a singular gift of Divine Providence, she has already dawned the day so desired when the Second Vatican Ecumenical Council is solemnly inaugurated here, next to the tomb of Saint Peter, under the protection of the Virgin Most Holy whose Divine Maternity is celebrated liturgically on this very day. Ecumenical Councils in the Church The succession of the various Councils so far celebrated - both the twenty Ecumenical Councils and the innumerable provincial and regional councils, also important - clearly proclaim the vitality of the Catholic Church and stand out as luminous milestones throughout its history. The gesture of the most recent and humble successor of San Pedro, who speaks to you, when convening this solemn assembly, has proposed to affirm, once again, the continuity of the Ecclesiastical Magisterium, to present it in exceptional form to all the men of our time, taking into account the deviations, demands and circumstances of contemporary age. It is very natural that, at the beginning of the universal Council, we are pleased to look at the past, as if to collect their voices, whose encouraging echo we want to hear again, together with the memory and merits of our oldest or most recent predecessors, the Roman Pontiffs : solemn and venerable voices, through the East and the West, from the 4th century to the Middle Ages and from here to the modern era, which have transmitted the testimony of those Councils; voices that proclaim with perennial fervor the triumph of the institution, divine and human: the Church of Christ, which takes from Him name, grace and power.