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AP Art History Chapter 24 Questions: the Baroque in Italy and Spain
AP Art History Chapter 24 Questions: The Baroque in Italy and Spain 1. Gianlorenzo Bernini was _____, _____, ______, _______, and stage designer. It was one of the most important and ______ artists of the _____ era in Italy. He had been the favorite sculpture of ____ who spent so much on art that he nearly bankrupted the Vatican treasury. (659) 2. Who were the patron and sculptor for the Fountain of Four Rivers? How did he win this commission?) (669) 3. What is typical of Baroque art? (670) 4. Describe how Santa Susanna stands as one of the earliest manifestation of Baroque artistic spirit? (670‐671) 5. Describe Bernini’s new design for Saint Peter’s (672) 6. How does Bernini’s baldacchino serve as function and symbolic purpose? It was created in the lost‐wax process. Define the lost wax process. (page 130) Define chasing. (673) 7. Compare Bernini’s David to Donatello’s, Michelangelo’s, and Verrocchio’s David. Discuss the similarities and differences. How is this typical of the Baroque style? (674) 8. How does Bernini incorporate architecture, sculpture, and painting in his Ecstasy of Saint Teresa in the Cornaro chapel? (675) 9. Describe Borromini innovative Baroque style in the façade of San Carol alle Quattro Fontane, Rome, Italy. (676) 10. Describe Borromini’s plan for the Chapel of Saint Ivo? (678) 11. What was the Bolognese academy and who established it? (679) 12. Describe how Carracci’s, Flight into Egypt, was an idealize landscape and idealize life? (679) 13. How were the patron and artist of the Loves of the Gods ceiling frescos? How does this compare to the ceiling of the Sistine Chapel by Michelangelo? (680) 14. -
Bernini Breaking Barriers – Sensuality Sculpted in Stone
Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this. -
1 the New Monasticon Hibernicum and Inquiry Into
THE NEW MONASTICON HIBERNICUM AND INQUIRY INTO THE EARLY CHRISTIAN AND MEDIEVAL CHURCH IN IRELAND Launched in October 2003 under the auspices of the Irish Research Council for the Humanities and Social Sciences, the ‘Monasticon Hibernicum’ project is based in the Department of Old and Middle Irish at the National University of Ireland, Maynooth, Co. Kildare. Central to the project is a database of the native Early Christian and Medieval (5th to 12th centuries AD) ecclesiastical foundations of Ireland - managed by research fellows Ailbhe MacShamhráin and Aidan Breen, under the general direction of Kim McCone, professor of Old and Middle Irish. A longer-term goal is to produce a dictionary of the Early Christian churches, cathedrals, monasteries, convents and hermitages of Ireland for which historical, archaeological or placename evidence survives. The title of the project pays tribute to Mervyn Archdall’s Monasticon Hibernicum; but what is envisaged here goes beyond revision of such antiquarian classics.1 The comprehensive character of this new Monasticon (the database already features a number of sites which are indicated solely by historical, or by archaeological, or placename evidence), along with its structure and referencing, will make for more than a general reference book. It is envisaged as a research-tool to further inquiry in the fields of history (helping to illuminate, for example, ecclesiastico-political relationships, pre-reform church organisation, the dissemination of saints’ cults and gender-politics in the Irish church) and settlement studies - as illustrated below with reference to some of the Leinster data. The first phase of the project, carried out during the academic year 2003-04, has focused on the ecclesiastical province of Dublin – which includes the dioceses of Dublin itself, Glendalough, Ferns, Kildare, Leighlin and Ossory. -
Wines Come Together in Perfect Harmony
Where we are How - exits from the A21, A26 and A7 motorways - railway stations at Acqui Terme, Alessandria, Casale www.alexala.it to find us Monferrato, Novi Ligure, Ovada, Tortona and Valenza www.provincia.alessandria.it Alessandria is at the crossroads between regions, cultures and culinary Distances: cities traditions that have different origins but the same prestige. We have taken all 95km from Milan the most precious elements of these different sources and have melded them 90km from Turin together in a cradle of tastes, aromas and sensations that is rare, even for Italy. 85km from Genoa We are in the south-east corner of Piedmont, at the centre of a triangle formed Distances: airports by the cities of Turin, Milan and Genoa, all three being easily reached by car, 150km from Bergamo Orio al Serio our district being criss-crossed by the A21 Turin-Piacenza, A26 Santhià-Genoa 120km from Milan Malpensa and A7 Milan-Genoa motorways. 110km from Milan Linate 105km from Turin Caselle 80km from Genoa Cristoforo Colombo 1 The region Alessandria - 3560km2 surface area, 435,000 inhabitants www.alexala.it and Province - Mediterranean climate www.provincia.alessandria.it The Province of Alessandria has a surface area of 3,560km2 and some Our district 435,000 inhabitants. Its Mediterranean climate and geographic make up of plain (35%), hill (53%) and mountain (12%), gives visitors an ample choice 12% when they come to experience the natural beauty of this special corner of Piedmont. The pleasant weather of spring and summer makes this the ideal spot for people who are keen on sporting activities, whilst the autumn and winter are for those who enjoy the pleasures of the table, where good food and splendid 35% wines come together in perfect harmony. -
Books Recommended for Ongoing Formation
BOOKS RECOMMENDED FOR ONGOING FORMATION **indicates that the book is available for purchase from the Lay Carmelite Office **A Pattern for Live, The Rule of St. Albert and the Carmelite Laity, by Patrick McMahon, O.Carm. In this book the author presents a powerful defense of the suitability of Albert’s Rule (pattern for life_ for all Carmelites — laity and religious alike. In both setting an historical context for the Rule and providing a practical commentary for the laity, Fr. Patrick demonstrates that it is adherence to the Rule that defines a Carmelite and gives each of us our Carmelite identity. The Ascent to Joy: John of the Cross, Selected Spiritual Writings, (Marc Foley, OCD, editor) New City Press, 2002 In this introduction and anthology, the author leads the reader step-by-step into the very heart of the spiritual way taught by John of the Cross. He provides substantial introductions and notes, but the core of the teaching is developed in carefully selected excerpts from John’s writings, presented in a systematic order, so the text functions both as a primer of John’s teaching and an introduction to the contemplative way. (The) Ascent of Mt. Carmel: Reflections, St. John of the Cross (Marc Foley, OCD) ICS Publications, 2013 The author weaves together insights from psychology, theology, and great literature to make The Ascent of Mt. Carmel both understandable and relevant to daily life. Through his explanations and examples, Fr. Foley “translates” spiritual issues of John’s day to fit the experience of 21st century pilgrims. **At the Fountain of Elijah, by Wilfrid McGreal, O.Carm., Orbis Press Overview of Carmelite Spirituality Awakening Your Soul to the Presence of God, by Kilian Healy, O.Carm., Sophia Institute Press (about living in God’s presence) **Book of the First Monks, by Felip Ribot, O.Carm. -
THE MIRACULOUS INFANT JESUS of PRAGUE Fr
THE MIRACULOUS INFANT JESUS OF PRAGUE Fr. Peter Davies, O.Carm. In 1945 came the end of the Second World War. As soon as the gates of a concentration camp near Prague were flung open, a certain holy priest walked out that day from the place which he had never expected to leave alive. A deep gratitude filled his heart as he directed his steps immediately towards the Church of Our Lady of Victories. There he celebrated his first Mass in freedom beneath the statue of the Holy Infant of Prague, so much revered by his people. A few months later this holy man was nominated and consecrated Archbishop of Prague, and a little later still his name was to become a household word throughout the world; for this was Archbishop Beran, the prelate who has suffered so much in his struggle with the communists. THE STORY OF THE STATUE What is the history of this image of the Child Jesus, beloved of the Czech people, to which devotion has spread among all the peoples of the world? It is a story intimately connected with the Order of Carmel, and shows the loving care of the Divine Child for the Order which has as its aim the glorification of His Mother. The image itself is beautifully moulded of wax, and is eighteen inches high. Copies of it may be seen in very many convents, churches and homes. The child‟s figure is crowned with a golden crown, the orb is carried in the left hand, and the right hand is extended in blessing. -
Architektura Włoskiego Baroku W Służbie Władzy I Kontrreformacji
ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI Joanna Arlet ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI TEKA ZACHODNIOPOMORSKA NR 4/2018 MONOGRAFIA Szczecin 2018 Wydanie publikacji zrealizowano przy udziale środków finansowych otrzymanych z budżetu Województwa Zachodniopomorskiego Recenzenci: Prof. dr hab. inż. arch. Zbigniew Paszkowski Prof. dr hab. inż. arch. Andrzej Białkiewicz Projekt okładki: Jakub Gołębiewski Redakcja: Wojciech Markowski Wydano za zgodą Rektora Zachodniopomorskiego Uniwersytetu Technologicznego w Szczecinie Publikacja finansowana z dotacji Województwa Zachodniopomorskiego Copyright © by Zachodniopomorski Uniwersytet Technologiczny w Szczecinie, Szczecin 2018 Copyright © by Joanna Arlet, Szczecin 2018 Wydanie II (uzupełnione) Wydawnictwo z serii: TEKA ZACHODNIOPOMORSKA Nr 4/2018 Redaktor serii: prof. dr hab. inż. arch. Zbigniew Paszkowski Komitet Redakcyjny: dr hab. inż. arch. Aleksandra Satkiewicz-Parczewska dr inż. arch. Joanna Arlet dr inż. arch. Ewa Augustyn-Lendzion dr inż. arch. Piotr Fiuk dr inż. arch. Izabela Kozłowska dr inż. arch. Maciej Płotkowiak dr inż. arch. Agnieszka Rek-Lipczyńska Adres do korespondencji: TEKA ZACHODNIOPOMORSKA Katedra Historii i Teorii Architektury Wydział Budownictwa i Architektury Zachodniopomorski Uniwersytet Technologiczny w Szczecinie ul. Żołnierska 50, 71-210 Szczecin email: [email protected] www.tekazachodniopomorska.pl Wydawnictwo hogben al. Papieża Jana Pawła II 7,8 U2B, 70-415 Szczecin ISBN 978-83-63868-94-9 Skład i druk: printshop.szczecin.pl SPIS TREŚCI WPROWADZENIE ZAŁOŻENIA I CEL PUBLIKACJI. 9 ZAKRES I METODA BADAŃ. 10 STAN BADAŃ ORAZ PRZEGLĄD ŹRÓDEŁ I LITERATURY . 10 POCZĄTKI BAROKU W RZYMIE PRZESŁANKI I TŁO HISTORYCZNE. 17 REFORMACJA I JEJ ODDZIAŁYWANIE NA SPOŁECZEŃSTWA EUROPY I PAŃSTWO KOŚCIELNE. 21 TWÓRCZOŚĆ GIACOMA BAROZZI DA VIGNOLI JAKO PREKURSORA BAROKU, MECENAT KARDYNAŁA ALESSANDRO FARNESE . -
Inter Cultural Studies of Architecture (ICSA) in Rome 2019
Intercultural Understanding, 2019, volume 9, pages 30-38 Inter Cultural Studies of Architecture (ICSA) in Rome 2019 A general exchange agreement between Mukogawa Women’s University (MWU) and Bahçeúehir㻌 University (BAU) was signed㻌 on December 8, 2008. According to this agreement, 11 Japanese second-year master’s degree students majoring in architecture visited Italy from February 19, 2019, to March 2, 2019. The purpose of “Intercultural Studies of Architecture (ICSA) in Rome” program is to gain a deeper understanding of western architecture and art. Italy is a country well known for its extensive cultural heritage and architecture. Many of the western world’s construction techniques are based, on Italy’s heritage and architecture. Therefore, Italy was selected as the most appropriate destination for this program. Based on Italy’s historic background, the students were able to investigate the structure, construction methods, spatial composition, architectural style, artistic desires based on social conditions, and design intentions of architects and artists for various buildings. This year’s program focused on “ancient Roman architecture and sculpture,” “early Christian architecture,” “Renaissance architecture, sculpture, and garden,” and “Baroque architecture and sculpture. ” Before the ICSA trip to Rome, the students attended seminars on studying historic places during their visit abroad and were asked to make a presentation about the stuff that they learned during these seminars. During their trip to Rome, the students had the opportunity to deepen their understanding of architecture and art, measure the height and span of architecture, and draw sketches and make presentations related to some sites that they have visited. A report describing the details of this program is given below. -
A Baroque Denouement: the Direct Influence of Theatre on Bernini's Artistic Work
A Baroque Denouement: The Direct Influence of Theatre on Bernini's Artistic Work Item Type text; Electronic Thesis Authors Francesco, Amelia Rose Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:08:30 Link to Item http://hdl.handle.net/10150/627776 A BAROQUE DENOUEMENT: THE DIRECT INFLUENCE OF THEATRE ON BERNINI’S ARTISTIC WORK By Amelia Francesco ____________________________________________________ Copyright © Amelia Francesco 2017 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College UNIVERSITY OF ARIZONA 2017 Francesco 2 STATEMENT BY AUTHOR This thesis titled A Baroque Denouement: The Direct Influence of Theatre on : Bernini’s Artistic Work prepared by Amelia Francesco has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. -
096-Santa Maria Della Vittoria
(096/11) Santa Maria della Vittoria Santa Maria della Vittoria is a 17th century baroque is titular and conventual church in Rome dedicated to the Blessed Virgin, under her title of Our Lady of Victory. For wealth, harmony and beauty, this church is one of the most representative monuments of the baroque style. History The present church is on the site of a very small but ancient chapel dedicated to St Paul, which had a hermitage attached for one hermit in the early 16th century. He justified his social existence by helping travelers caught out by darkness, bad weather and the threat of robbery. Back then, the area was entirely rural to the point where the Roman nobility used to go hunting and shooting birds hereabouts, especially in the deserted and overgrown ruins of the Baths of Diocletian nearby. (1) In the reign of Pope Paul V, however, the little chapel was demolished and replaced with a bigger edifice called San Paolo alla Fontana Felice (St Paul of the Happy Fountain), after a new acqueduct which had its terminus at the fountain across the road. (1) The present church was built by the Discalced Carmelite Friars, who purchased the church and some land adjacent in 1607. Initially they financed the work themselves, but when clearing the foundations discovered a superb pagan statue, called the Borghese Hermaphrodite, which is now in the Louvre. Cardinal Scipione Borghese made a deal with them, whereby he obtained the statue in exchange for paying for the work. Construction by the friars started in 1608, under the direction of Carlo Maderno, but the Cardinal's architect Giovanni Battista Soria was also involved after 1624 and it was he who designed the façade. -
Elder Sophrony
Saint Tikhon’s Orthodox Theological Seminary Elder Sophrony The Grace of Godforsakenness & The Dark Night of the Soul By Presbyter Mikel Hill A thesis in partial fulfillment of the requirement for the degree of Master of Divinity South Canaan, Pennsylvania 2017 Elder Sophrony: The Grace of Godforsakenness & The Dark Night of the Soul by Presbyter Mikel Hill A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF DIVINITY 2017 Approved by Date Faculty Mentor: Dr. Christopher Veniamin Approved by Date Second Reader: Very Rev. David Hester Approved by Date Academic Dean: Very Rev. Steven Voytovich Saint Tikhon’s Orthodox Theological Seminary Abstract By Presbyter Mikel Hill Faculty Mentor: Professor Christopher Veniamin, Department of Patristics The purpose of this thesis is to compare the experience of Godforsakenness, described by Elder Sophrony (+1993), and the Dark Night in the writings of the 16th century Carmelite monk, John of the Cross (1542-1591). Hieromonk Nicholas (Sakharov), in his study of Elder Sophrony I Love Therefore I Am, suggests such a comparison and this suggestion forms the impetus for the greater exploration conducted within the present thesis. Elder Sophrony represents one of the most articulate voices of the Orthodox Patristic tradition in our present times. Elder Sophrony speaks from his own experience of Godforsakenness with eyes transformed by his vision of Christ in Glory. Likewise, John of the Cross bases his teachings on the Dark Night largely on his own experience, but framed within a tradition quite different from Elder Sophrony. John of the Cross represents a long line of medieval Mystics, including Meister Eckhert and Francisco de Osuna, who were shaped largely by their late medieval interpretation of Aristotle, Augustine and Dionysius. -
Lectio Divina & Carmel's Attentiveness to the Bible
CHAPTER 11 Lectio Divina & Carmel’s Attentiveness to the Bible Summary: This chapter reminds us of the central importance of the Scriptures in the Jewish and Christian traditions, and then goes on to review the essentials of Lectio Divina meditation on the Bible. Whilst there is great flexibility in approaches to Lectio Divina, the basic dynamic is: reading or listening to the text; meditation, through which one seeks to understand and ponder the meaning; prayer, inspired by the fruits of meditation; leading to making space for God, so that God can give us the gift of contemplation. This chapter explores how Lectio has developed as an attitude of the heart rather than a strict methodology, how this attitude was present in a perfect way in Elijah and Mary, and how it enables our relationship with Jesus to grow. Carmelites: Proclaimers and Hearers of God’s Word. 254 Climbing the Mountain: The Carmelite Journey Get prepared: Having a Bible to hand ought to be second nature for Carmelites, and it would certainly be advisable whilst studying this chapter. Any translation will do; the New Revised Standard Version (NRSV) is widely acclaimed and available in a variety of study and popular editions (make sure you get an edition with the ‘Catholic’ books included, sometimes known as the Apocrypha). Get together any materials you might need to take notes or highlight points in the chapter. Begin your time of reflection with a prayer, perhaps inspired by Scripture; why not simply read the Gospel text of the day and spend some time in silent reflection.