MAGNIFICAT: The art essay of the month / The Intercession of Christ and the Virgin
The Intercession of Christ and the Virgin, attributed to Lorenzo Monaco (Piero di Giovanni) (c. 1370–1425) In a moment of rapturous love, Saint Francis of Assisi composed a hymn of praise to Our Lady …More
The Intercession of Christ and the Virgin,
attributed to Lorenzo Monaco (Piero di Giovanni)
(c. 1370–1425)
In a moment of rapturous love, Saint Francis of Assisi composed a hymn of praise to Our Lady, which begins with a striking list of her glories: “Hail, Lady, holy Queen, Mary, holy Mother of God, you who as a virgin have been made the Church!” The early-15th-century Camaldolese painter Lorenzo Monaco may not have been thinking of these exact words when he created his breathtaking Intercession of Christ and the Virgin, but his painting unveils their inner meaning with an unsurpassed richness. To think of Mary is to think of Christ—and of his Body, the Church.
The virgin intercessor
Mary kneels in the right-hand corner of the painting, draped somewhat unusually in a cream-white garment, which reveals in its folds a lining of regal yellow. Her golden halo calls attention to the reflecting glimmers of divine light that adorn her drapery, from the sunburst on her shoulder to the paradisical …More
attributed to Lorenzo Monaco (Piero di Giovanni)
(c. 1370–1425)
In a moment of rapturous love, Saint Francis of Assisi composed a hymn of praise to Our Lady, which begins with a striking list of her glories: “Hail, Lady, holy Queen, Mary, holy Mother of God, you who as a virgin have been made the Church!” The early-15th-century Camaldolese painter Lorenzo Monaco may not have been thinking of these exact words when he created his breathtaking Intercession of Christ and the Virgin, but his painting unveils their inner meaning with an unsurpassed richness. To think of Mary is to think of Christ—and of his Body, the Church.
The virgin intercessor
Mary kneels in the right-hand corner of the painting, draped somewhat unusually in a cream-white garment, which reveals in its folds a lining of regal yellow. Her golden halo calls attention to the reflecting glimmers of divine light that adorn her drapery, from the sunburst on her shoulder to the paradisical …More
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Thorn Tree Being a History of Thorn Worship of the Twelve Tribes of Israel Theta This work presents the history of thorn worship of the twelve tribes of Israel, but more especially of the lost tribes …More
Thorn Tree
Being a History of Thorn Worship of the Twelve Tribes of Israel
Theta
This work presents the history of thorn worship of the twelve tribes of Israel, but more especially of the lost tribes and the House of David. While writing this book, it revealed to the author the sublime truth in all the full magnificence of detail, that "God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life," and that He who came down to earth, and was crowned with thorns, nailed with thorns, and who died on a Thau, was the Lamb slain from the foundation of the world.
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high …More
Being a History of Thorn Worship of the Twelve Tribes of Israel
Theta
This work presents the history of thorn worship of the twelve tribes of Israel, but more especially of the lost tribes and the House of David. While writing this book, it revealed to the author the sublime truth in all the full magnificence of detail, that "God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life," and that He who came down to earth, and was crowned with thorns, nailed with thorns, and who died on a Thau, was the Lamb slain from the foundation of the world.
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high …More
291 pages
DESSINS ANIMÉS: _Saint_Louis-Marie_Grignion.pdfMore
DESSINS ANIMÉS: _Saint_Louis-Marie_Grignion.pdf
45 pages
I Curso Interdisciplinario: El Sudario de Oviedo y el Origen del Camino de Santiago
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Signs & Symbols in Christian Art - George FergusonMore
Signs & Symbols in Christian Art - George Ferguson
97 pages
AQUÍ SUFRIERON CAUTIVERIO DE AQUÍ SALIERON 50 Beatos San Elías, 22 Coliseo Barcelonés cardenaldonmarcelo.es/blog/checa_san_elias.pdfMore
AQUÍ SUFRIERON CAUTIVERIO DE AQUÍ SALIERON 50 Beatos San Elías, 22 Coliseo Barcelonés
cardenaldonmarcelo.es/blog/checa_san_elias.pdf
cardenaldonmarcelo.es/blog/checa_san_elias.pdf
98 pages
MAGNIFICAT April: The cover of the month / He Saw and Believed
Giovanni Francesco Romanelli (1610–1662), a pupil of Pietro da Cortona in Rome, quickly became one of his chief collaborators, in the service of Pope Urban VIII. From 1635 on, he declared his independence …More
Giovanni Francesco Romanelli (1610–1662), a pupil of Pietro da Cortona in Rome, quickly became one of his chief collaborators, in the service of Pope Urban VIII. From 1635 on, he declared his independence, both professionally and stylistically. While rediscovering the work of Raphael († 1520), he followed the progress of Guido Reni († 1642) toward a harmonious synthesis of the Renaissance, Baroque, and classical styles, above all seeking simplicity and favoring the sumptuous yet fresh colors that made his reputation. The work that adorns the cover of this April issue of Magnificat, painted in 1640, is a perfect illustration of this.
Clothed in a biblical blue tunic
On Easter morning, Peter and the disciple whom Jesus loved, informed by Mary Magdalene that the Lord’s body has been removed from the tomb, run to the tomb; they have just entered it (Jn 20:1-10). Peter, who arrived second but was the first to enter, is depicted with the fine head of a mature man. He is clothed in a luminous …More
Clothed in a biblical blue tunic
On Easter morning, Peter and the disciple whom Jesus loved, informed by Mary Magdalene that the Lord’s body has been removed from the tomb, run to the tomb; they have just entered it (Jn 20:1-10). Peter, who arrived second but was the first to enter, is depicted with the fine head of a mature man. He is clothed in a luminous …More
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MAGNIFICAT: The Supper at Emmaus (1606), Michelangelo Merisi da Caravaggio. The story of the road to Emmaus
The story of the road to Emmaus represents a key post-Resurrection appearance of our Lord. Two disciples are walking away from Jerusalem when an unknown man approaches them and explains the meaning of …More
The story of the road to Emmaus represents a key post-Resurrection appearance of our Lord. Two disciples are walking away from Jerusalem when an unknown man approaches them and explains the meaning of all that has recently happened, showing from the Scriptures why it was necessary that the Messiah should suffer these things and enter into his glory (Lk 24:26). The two disciples then beg the stranger to stay with them for supper, and it is during the meal that they recognize him as Jesus: And it happened that, while he was with them at table, he took bread, said the blessing, broke it, and gave it to them. With that their eyes were opened and they recognized him, but he vanished from their sight(Lk 24:30-31).
Why this moment?
The intimate and powerful moment of the Lord being known in the breaking of bread is the precise moment that Caravaggio (1571–1610) depicts in Supper at Emmaus, because it demonstrates to all believers where we are supposed to recognize our Lord today—in the …More
Why this moment?
The intimate and powerful moment of the Lord being known in the breaking of bread is the precise moment that Caravaggio (1571–1610) depicts in Supper at Emmaus, because it demonstrates to all believers where we are supposed to recognize our Lord today—in the …More
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MAGNIFICAT: The art essay of the month (Holy Week) / Isenheim Crucifixion Isenheim Crucifixion
Isenheim Crucifixion (central panel, c. 1512–1516), Matthias Grünewald (c. 1475–1528). In the summer of 1967, a young American painter traveling through Europe stood transfixed before a painting of …More
Isenheim Crucifixion (central panel, c. 1512–1516),
Matthias Grünewald (c. 1475–1528).
In the summer of 1967, a young American painter traveling through Europe stood transfixed before a painting of the Crucifixion in the Musée Unterlinden in Colmar, France. In a journal entry written on July 22, the feast of Saint Mary Magdalene, Thomas Gordon Smith describes the Isenheim Crucifixion by Matthias Grünewald in vivid detail: “Christ hangs to the right half of the painting…. His weight makes the horizontal bar bend so convincingly and the feet are nailed at the bottom…. The hollowed-out stomach and armpits, the presence of the rib cage, and all of the clearly delineated muscles of the shoulders, arms, and legs are barely held to the bone. The skin, an overall sickening yellow-green, is pocked and pricked, openings are red, of blood and muscle shown through, and are surrounded with purple, spike-driven hands which supplicate through the expressive fingers. No energy is left to support the …More
Matthias Grünewald (c. 1475–1528).
In the summer of 1967, a young American painter traveling through Europe stood transfixed before a painting of the Crucifixion in the Musée Unterlinden in Colmar, France. In a journal entry written on July 22, the feast of Saint Mary Magdalene, Thomas Gordon Smith describes the Isenheim Crucifixion by Matthias Grünewald in vivid detail: “Christ hangs to the right half of the painting…. His weight makes the horizontal bar bend so convincingly and the feet are nailed at the bottom…. The hollowed-out stomach and armpits, the presence of the rib cage, and all of the clearly delineated muscles of the shoulders, arms, and legs are barely held to the bone. The skin, an overall sickening yellow-green, is pocked and pricked, openings are red, of blood and muscle shown through, and are surrounded with purple, spike-driven hands which supplicate through the expressive fingers. No energy is left to support the …More
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Theresia Katharina Isenheim Crucifixion - Magnificat USAMore
Theresia Katharina Isenheim Crucifixion - Magnificat USA
St. John Vianney: Catechism on Suffering.
Catechism on Suffering. † Index Librorum † 8. St.Jean Vianney 
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Visions d'Anne-Catherine Emmerich sur la vie de Notre-Seigneur Jésus-Christ et de la très Sainte Vierge : la douloureuse Passion et l'établissement de l'Eglise par les Apôtres, coordonnées en un seul …More
Visions d'Anne-Catherine Emmerich sur la vie de Notre-Seigneur Jésus-Christ et de la très Sainte Vierge : la douloureuse Passion et l'établissement de l'Eglise par les Apôtres, coordonnées en un seul tout, selon l'ordre des faits
Visions d'Anne-Catherine Emmerich sur la vie de Notre-Seigneur Jésus-Christ et de la très Sainte Vierge : la douloureuse Passion et l'établissement de l'Eglise par les Apôtres, coordonnées en un seul tout, selon l'ordre des faits : Emmerich, Anna Katharina, 1774-1824 : Free Download, Borrow, and Streaming : Internet Archive
Emmerich, Anna Katharina, 1774-1824
Visions d'Anne-Catherine Emmerich sur la vie de Notre-Seigneur Jésus-Christ et de la très Sainte Vierge : la douloureuse Passion et l'établissement de l'Eglise par les Apôtres, coordonnées en un seul tout, selon l'ordre des faits : Emmerich, Anna Katharina, 1774-1824 : Free Download, Borrow, and Streaming : Internet Archive
Emmerich, Anna Katharina, 1774-1824
560 pages
MAGNIFICAT: THE ART ESSAY OF THE MONTH
The Temptation of Christ (c. 1500/1504) by Juan de Flandes (15th–16th century) Photo: Courtesy National Gallery of Art, Washington. United in the mystery As the season of Lent begins this month, the …More
The Temptation of Christ (c. 1500/1504) by Juan de Flandes (15th–16th century)
Photo: Courtesy National Gallery of Art, Washington.
United in the mystery
As the season of Lent begins this month, the Church invites us to be united to the mystery of Jesus in the desert (CCC 540). The concrete time and place of the forty days when the Spirit drove Jesus out into the desert (Mk 1:12) are far away, yet the event remains relevant, timely, and concrete for the faithful today and in every age and place. This small painting from the early 16th century, The Temptation of Christ, testifies to that. A work commissioned centuries ago by the pious Queen Isabella the Catholic of Spain, it now hangs in the National Gallery of Art in Washington, DC. Even in its current setting, and reproduced in these pages, it continues to offer a meditation on this episode in the life of Christ, bringing the faithful closer to the reality of the event and its meaning.
In this pictorial version of the story, we do …More
Photo: Courtesy National Gallery of Art, Washington.
United in the mystery
As the season of Lent begins this month, the Church invites us to be united to the mystery of Jesus in the desert (CCC 540). The concrete time and place of the forty days when the Spirit drove Jesus out into the desert (Mk 1:12) are far away, yet the event remains relevant, timely, and concrete for the faithful today and in every age and place. This small painting from the early 16th century, The Temptation of Christ, testifies to that. A work commissioned centuries ago by the pious Queen Isabella the Catholic of Spain, it now hangs in the National Gallery of Art in Washington, DC. Even in its current setting, and reproduced in these pages, it continues to offer a meditation on this episode in the life of Christ, bringing the faithful closer to the reality of the event and its meaning.
In this pictorial version of the story, we do …More
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Liber Gomorrhianus (The Book of Gomorrha) Written between 1049—1054More
Liber Gomorrhianus
(The Book of Gomorrha) Written between 1049—1054
(The Book of Gomorrha) Written between 1049—1054
95 pages
PURGATORY - ILLUSTRATED BY THE LIVES AND LEGENDS OF THE SAINTS REV. F. X. SCHOUPPE, S.J. - PDFMore
PURGATORY - ILLUSTRATED BY THE LIVES AND LEGENDS OF THE SAINTS REV. F. X. SCHOUPPE, S.J. - PDF
372 pages
saumiguel Live Mike Roberto 55More
saumiguel Live Mike Roberto 55
CONTENTS PAGE AUTHOR s PREFACE v TRANSLATOR S PREFACE , part 3E. PURGATORY, THE MYSTERY OF JUSTICE. CHAPTER I. Purgatory in the Divine Plan r CHAPTER …More
CONTENTS PAGE AUTHOR s PREFACE v TRANSLATOR S PREFACE , part 3E. PURGATORY, THE MYSTERY OF JUSTICE. CHAPTER I. Purgatory in the Divine Plan r CHAPTER II. Prayer for the Dead Fear and Confidence ...2 CHAPTER III. The Word Purgatory Catholic Doctrine Council of TrentControverted Questions .... CHAPTER IV. Location of Purgatory Doctrine of Theologians Catechism of the Council of Trent St. Thomas q CHAPTER V. Location of Purgatory Revelations of the Saints St. Teresa St. Louis Bertrand St. Mary Magdalen de Pazri 8 xx CONTENTS. CHAPTER VI. PAGELocation of Purgatory St. Frances of Rome St. Magdalen <le Pazzi . " CHAPTER VII. Location of Purgatory St. Lidwina of Schiedam . . . 16CHAPTER VIII. Location of Purgatory St. Gregory the Great The Deacon Paschasius and the Priest Blessed Stephen, the Fran ciscan, and the Religious in his Stall Theophilus Renaud and the Sick Woman of Dole 1 9CHAPTER IX. The Pains of Purgatory, their Nature, their Rigour Doctrine of Theologians Bellarmine St. Francis of …More
CÓDIGO DE DERECHO CANÓNICO
CÓDIGO DE DERECHO CANÓNICO Código de Derecho Canónico - Índice ÍNDICE LIBRO I: DE LAS NORMAS GENERALES (Cann. 1–203) TÍTULO I – DE LAS LEYES ECLESIÁSTICAS (Cann. 7–22) TÍTULO II – DE LA COSTUMBRE (…More
CÓDIGO DE DERECHO CANÓNICO
Código de Derecho Canónico - Índice
ÍNDICE
LIBRO I: DE LAS NORMAS GENERALES (Cann. 1–203)
TÍTULO I – DE LAS LEYES ECLESIÁSTICAS (Cann. 7–22)
TÍTULO II – DE LA COSTUMBRE (Cann. 23–28)
TÍTULO III – DE LOS DECRETOS GENERALES Y DE LAS INSTRUCCIONES (Cann. 29–34)
TÍTULO IV – DE LOS ACTOS ADMINISTRATIVOS SINGULARES (Cann. 35–93) CAPÍTULO I – NORMAS COMUNES (Cann. 35–47) CAPÍTULO II – DE LOS DECRETOS Y PRECEPTOS SINGULARES (Cann. 48–58) CAPÍTULO III – DE LOS RESCRIPTOS (Cann. 59-75) CAPÍTULO IV – DE LOS PRIVILEGIOS (Cann. 76-84) CAPÍTULO V – DE LAS DISPENSAS (Cann. 85-93) TÍTULO V – DE LOS ESTATUTOS Y REGLAMENTOS (Cann. 94–95) TÍTULO VI – DE LAS PERSONAS FÍSICAS Y JURÍDICAS (Cann. 96–123) CAPÍTULO I – DE LA CONDICIÓN CANÓNICA DE LAS PERSONAS FÍSICAS (Cann. 96-112) CAPÍTULO II – DE LAS PERSONAS JURÍDICAS (Cann. 113-123) TÍTULO VII – DE LOS ACTOS JURÍDICOS (Cann. 124–128) TÍTULO VIII – DE LA POTESTAD DE RÉGIMEN (Cann. 129–144) TÍTULO IX – DE LOS OFICIOS ECLESIÁTICOS (…More
Código de Derecho Canónico - Índice
ÍNDICE
LIBRO I: DE LAS NORMAS GENERALES (Cann. 1–203)
TÍTULO I – DE LAS LEYES ECLESIÁSTICAS (Cann. 7–22)
TÍTULO II – DE LA COSTUMBRE (Cann. 23–28)
TÍTULO III – DE LOS DECRETOS GENERALES Y DE LAS INSTRUCCIONES (Cann. 29–34)
TÍTULO IV – DE LOS ACTOS ADMINISTRATIVOS SINGULARES (Cann. 35–93) CAPÍTULO I – NORMAS COMUNES (Cann. 35–47) CAPÍTULO II – DE LOS DECRETOS Y PRECEPTOS SINGULARES (Cann. 48–58) CAPÍTULO III – DE LOS RESCRIPTOS (Cann. 59-75) CAPÍTULO IV – DE LOS PRIVILEGIOS (Cann. 76-84) CAPÍTULO V – DE LAS DISPENSAS (Cann. 85-93) TÍTULO V – DE LOS ESTATUTOS Y REGLAMENTOS (Cann. 94–95) TÍTULO VI – DE LAS PERSONAS FÍSICAS Y JURÍDICAS (Cann. 96–123) CAPÍTULO I – DE LA CONDICIÓN CANÓNICA DE LAS PERSONAS FÍSICAS (Cann. 96-112) CAPÍTULO II – DE LAS PERSONAS JURÍDICAS (Cann. 113-123) TÍTULO VII – DE LOS ACTOS JURÍDICOS (Cann. 124–128) TÍTULO VIII – DE LA POTESTAD DE RÉGIMEN (Cann. 129–144) TÍTULO IX – DE LOS OFICIOS ECLESIÁTICOS (…More
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“Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo
“Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo “Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo - Guatevision Fragmento del impactante …More
“Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo
“Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo - Guatevision
Fragmento del impactante relato de la flagelación y vejámenes cometidos contra Jesús, según las visiones de Santa Catalina Emmerich.
POR GUSTAVO MONTENEGRO 10 ABRIL, 2020 - 15:02 PM
Entre 1819 y 1825, la religiosa agustina Anna Catalina Emmerich relató a su confesor las visiones que tenía sobre la vida, pasión, muerte y resurrección de Jesús. Eran escenas llenas de detalles que despertaron dudas y escepticismo, pero también se convirtieron en uno de los grandes testimonios de la redención para los creyentes.
Aquellas revelaciones no eran la única señal prodigiosa presentada por Sor Catalina. También le aparecieron los estigmas de Jesús, en las manos, es decir llagas similares a las de un crucificado, las cuales fueron analizadas y no tenían una explicación natural.
En La amarga pasión de Nuestro Señor Jesucristo, se …More
“Su cuerpo era una llaga”: hace 200 años, una monja relató la Pasión de Cristo - Guatevision
Fragmento del impactante relato de la flagelación y vejámenes cometidos contra Jesús, según las visiones de Santa Catalina Emmerich.
POR GUSTAVO MONTENEGRO 10 ABRIL, 2020 - 15:02 PM
Entre 1819 y 1825, la religiosa agustina Anna Catalina Emmerich relató a su confesor las visiones que tenía sobre la vida, pasión, muerte y resurrección de Jesús. Eran escenas llenas de detalles que despertaron dudas y escepticismo, pero también se convirtieron en uno de los grandes testimonios de la redención para los creyentes.
Aquellas revelaciones no eran la única señal prodigiosa presentada por Sor Catalina. También le aparecieron los estigmas de Jesús, en las manos, es decir llagas similares a las de un crucificado, las cuales fueron analizadas y no tenían una explicación natural.
En La amarga pasión de Nuestro Señor Jesucristo, se …More
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CONCEPCIÓN CABRERA DE ARMIDA - A MIS SACERDOTESMore
CONCEPCIÓN CABRERA DE ARMIDA - A MIS SACERDOTES
140 pages
An meine Priester - Google Übersetzer I - XVI
Botschaften unseres Herrn Jesus Christus an seine Kinder, den Favoriten. („An meine Priester“) durch die selige Conchita Cabrera de Armida . KAPITEL I: PRIESTERLIEBE! „Oh!... Ich will Priesterseelen.…More
Botschaften unseres Herrn Jesus Christus an seine Kinder, den Favoriten.
(„An meine Priester“)
durch die selige Conchita Cabrera de Armida
.
KAPITEL I: PRIESTERLIEBE!
„Oh!... Ich will Priesterseelen... Zärtlichkeit... Trost! Ich will Liebe in den Priesterseelen, ich will die Gleichgültigkeit zerstören, die mich in ihnen erstarrt; ich will inneres Leben, Intimität mit Mir in den Geweihten Seelen; Ich möchte die Apathie aus ihren Herzen verbannen und sie mit dem Eifer meiner Herrlichkeit brennen lassen; Ich möchte das göttliche Leben in so vielen meiner ohnmächtigen Seelen aktivieren; Ich möchte die Gleichgültigkeit zerstören, die das Wirken Gottes lähmt distanziert meine Gnaden von den Priestern; ich möchte jede Brust zu einem Nest für den Heiligen Geist machen. Ich möchte aus meiner Kirche hinwegfegen und alles zerstören, was nicht rein ist! Wenn du sehen könntest, was ich sehe, was mir weh tut und weh tut Meine Kirche, bedeckt mit dem Mantel der Heuchelei, der Lüge, der Lügen und sogar …More
(„An meine Priester“)
durch die selige Conchita Cabrera de Armida
.
KAPITEL I: PRIESTERLIEBE!
„Oh!... Ich will Priesterseelen... Zärtlichkeit... Trost! Ich will Liebe in den Priesterseelen, ich will die Gleichgültigkeit zerstören, die mich in ihnen erstarrt; ich will inneres Leben, Intimität mit Mir in den Geweihten Seelen; Ich möchte die Apathie aus ihren Herzen verbannen und sie mit dem Eifer meiner Herrlichkeit brennen lassen; Ich möchte das göttliche Leben in so vielen meiner ohnmächtigen Seelen aktivieren; Ich möchte die Gleichgültigkeit zerstören, die das Wirken Gottes lähmt distanziert meine Gnaden von den Priestern; ich möchte jede Brust zu einem Nest für den Heiligen Geist machen. Ich möchte aus meiner Kirche hinwegfegen und alles zerstören, was nicht rein ist! Wenn du sehen könntest, was ich sehe, was mir weh tut und weh tut Meine Kirche, bedeckt mit dem Mantel der Heuchelei, der Lüge, der Lügen und sogar …More
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7 pages
Die Träume des Hl. Don Boscos - pdfMore
Die Träume des Hl. Don Boscos - pdf
80 pages