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Author : Paul Jerome Leonard (of Port Maurice.)
Publisher : Unknown
Page : 192 pages
File Size : 50,7 Mb
Release : 1870
Category : Electronic
ISBN : NLS:V000708263
Author : Louis Gaston A. de Ségur
Publisher : Unknown
Page : 190 pages
File Size : 43,8 Mb
Release : 1870
Category : Electronic
ISBN : OXFORD:590894107
Author : Jesus Christ
Publisher : Unknown
Page : 264 pages
File Size : 41,9 Mb
Release : 1870
Category : Electronic
ISBN : NLS:V000602202
Author : Iota (pseud.)
Publisher : Unknown
Page : 268 pages
File Size : 47,6 Mb
Release : 1870
Category : Electronic
ISBN : OXFORD:600071712
Author : Anonim
Publisher : Unknown
Page : 264 pages
File Size : 47,8 Mb
Release : 1870
Category : Electronic
ISBN : BL:A0021216006
Author : England. - Church of England. - Society of St. John the Evangelist
Publisher : Unknown
Page : 352 pages
File Size : 55,9 Mb
Release : 1870
Category : Electronic
ISBN : NLS:V000573456
Author : Anonim
Publisher : Unknown
Page : 352 pages
File Size : 46,5 Mb
Release : 1870
Category : Electronic
ISBN : BL:A0017429228
Author : Anonim
Publisher : Unknown
Page : 618 pages
File Size : 41,8 Mb
Release : 1869-10-20
Category : Great Britain
ISBN : OXFORD:590229802
Author : Avero Publications Limited
Publisher : Unknown
Page : 560 pages
File Size : 52,7 Mb
Release : 1991
Category : Early printed books
ISBN : 0907977413
Author : British Museum. Dept. of Printed Books
Publisher : Unknown
Page : 1292 pages
File Size : 41,7 Mb
Release : 1967
Category : English imprints
ISBN : PSU:000030000957
Author : Dominic Devas,Fr Dominic Devas Ofm
Publisher : Createspace Independent Pub
Page : 124 pages
File Size : 50,6 Mb
Release : 2013-01-05
Category : Biography & Autobiography
ISBN : 1481913123
“The erection of the Stations of the Cross in the Coliseum in December, 1750, was really Leonard's last great work at Rome. In April, 175 I, he prepared to go north to give a mission at Lucca. On the 14th of the month, the day before he was to leave, he went to see the Pope, to say good-bye and get his blessing. Benedict XIV, who, as we have said, thought a great deal of Leonard and valued highly his work, ordered him to travel in future in a carriage and no more on foot, and told him, moreover, that he would look for his return to Rome in November.” Speaking of the Coliseum in Rome in a sermon delivered there, Saint Leonard of Port Maurice said: “Nay, more, I hope that, thanks to the interest of Our Holy Father the Pope, who, in his great piety, has himself had these Stations set up, we shall see this amphitheatre, of old one of the wonders of the world, becoming in our own day one of Rome's greatest sanctuaries.” His whole sermon is reproduced as an appendix to this biography. “Till he was thirteen years old Paul Jerome Casanova remained at Port-Maurice. He was of the number of those who, like St. Bernard, seem from their earliest childhood to have been gifted with an extraordinary appreciation of divine things. The house of God was where he felt most at home; a pilgrimage to some outlying church of Our Lady was for him a relaxation and recreation more appreciated than games.” Of his sermons we read: “Whilst at Civita-Vecchia, Leonard wrote thus to Brother Stephen at Rome: Yesterday I preached in the jail: not many there, but the first sermon seems to have touched them, and all went to confession. ... We went afterwards to visit an English captain, who wanted to see me, on his vessel. We found three or four of them who had assisted at the sermons and seemed disposed to abandon their heresy. Poor fellows, they had been more moved by what they had seen than w hat they had heard, for they hardly understand the language at all, which only shows that grace is the prime mover in stirring the heart. . .. On the whole the harvest promises well. To-morrow we begin the course for the galley-slaves.” Indeed it is often the conformity to God's will more than the words of the preacher that move people to repentance. Saint Leonard comments on his observance of the Franciscan vow of poverty: “I shall have nothing for my own particular use (he writes), except the crucifix I wear on my breast, my little hand-bag, the case with my sermons in, my writings, my Breviary, my Rule, my hair-shirt, my little cross with sharp points, my spectacles, my rosary, the two disciplines, the one I use at the community exercise and the one I use at my secret penances at night, a little holy picture of the Immaculate Conception, the framed picture of St. Vincent Ferrer, with which I bless the sick: this is all I shall keep for my own particular use.”Saint Leonard is known for his book on the Mass, The Hidden Treasure, as well as for a sermon preached on the fewness of the elect. Let us read about the rule of solitude he lived for a time: “The purpose of the Solitude being tofacilitate contemplation and the life of union with Almighty God, nine hours of the day were allotted to spiritual exercises, including mental prayer and the Divine Office. Such is the general rule, but so great is the fervour of the solitaries that whatever time remains free is consecrated to God. Some prolong their meditation or devote themselves to spiritual reading; others withdraw to secluded parts of the garden, the more freely to give expression before God to the fervent aspirations of their hearts; so that for all, this sanctuary is as a paradise upon earth. Their food consists of salads, vegetables, and fruit. Meat, fish, eggs, and milk in any form are. forbidden them, except on the feasts of Christmas, Easter, Pentecost, and St. Francis, when eggs and milk are allowed. ...”
Author : Maria H. Loh
Publisher : Getty Publications
Page : 220 pages
File Size : 48,9 Mb
Release : 2007
Category : Imitation in art
ISBN : 089236873X
This insightful volumes the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonised master Titian and his artistic heir, the little-known Padovanino.
Author : Simone Luzzatto
Publisher : Walter de Gruyter GmbH & Co KG
Page : 488 pages
File Size : 53,6 Mb
Release : 2019-07-08
Category : History
ISBN : 9783110528237
In 1638, a small book of no more than 92 pages in octavo was published “appresso Gioanne Calleoni” under the title “Discourse on the State of the Jews and in particular those dwelling in the illustrious city of Venice.” It was dedicated to the Doge of Venice and his counsellors, who are labelled “lovers of Truth.” The author of the book was a certain Simone (Simḥa) Luzzatto, a native of Venice, where he lived and died, serving as rabbi for over fifty years during the course of the seventeenth century. Luzzatto’s political thesis is simple and, at the same time, temerarious, if not revolutionary: Venice can put an end to its political decline, he argues, by offering the Jews a monopoly on overseas commercial activity. This plan is highly recommendable because the Jews are “wellsuited for trade,” much more so than others (such as “foreigners,” for example). The rabbi opens his argument by recalling that trade and usury are the only occupations permitted to Jews. Within the confines of their historical situation, the Venetian Jews became particularly skilled at trade with partners from the Eastern Mediterranean countries. Luzzatto’s argument is that this talent could be put at the service of the Venetian government in order to maintain – or, more accurately, recover – its political importance as an intermediary between East and West. He was the first to define the role of the Jews on the basis of their economic and social functions, disregarding the classic categorisation of Judaism’s alleged privileged religious status in world history. Nonetheless, going beyond the socio-economic arguments of the book, it is essential to point out Luzzatto’s resort to sceptical strategies in order to plead in defence of the Venetian Jews. It is precisely his philosophical and political scepticism that makes Luzzatto’s texts so unique. This edition aims to grant access to his works and thought to English-speaking readers and scholars. By approaching his texts from this point of view, the editors hope to open a new path in research into Jewish culture and philosophy that will enable other scholars to develop new directions and new perspectives, stressing the interpenetration between Jews and the surrounding Christian and secular cultures.
Author : St. Alphonsus Liguori
Publisher : TAN Books
Page : 408 pages
File Size : 48,7 Mb
Release : 2012-06-09
Category : Religion
ISBN : 9781505103038
Author : Philip Steadman
Publisher : UCL Press
Page : 418 pages
File Size : 45,7 Mb
Release : 2021-04-13
Category : Art
ISBN : 9781787359154
Renaissance Fun is about the technology of Renaissance entertainments in stage machinery and theatrical special effects; in gardens and fountains; and in the automata and self-playing musical instruments that were installed in garden grottoes. How did the machines behind these shows work? How exactly were chariots filled with singers let down onto the stage? How were flaming dragons made to fly across the sky? How were seas created on stage? How did mechanical birds imitate real birdsong? What was ‘artificial music’, three centuries before Edison and the phonograph? How could pipe organs be driven and made to play themselves by waterpower alone? And who were the architects, engineers, and craftsmen who created these wonders? All these questions are answered. At the end of the book we visit the lost ‘garden of marvels’ at Pratolino with its many grottoes, automata and water jokes; and we attend the performance of Mercury and Mars in Parma in 1628, with its spectacular stage effects and its music by Claudio Monteverdi – one of the places where opera was born. Renaissance Fun is offered as an entertainment in itself. But behind the show is a more serious scholarly argument, centred on the enormous influence of two ancient writers on these subjects, Vitruvius and Hero. Vitruvius’s Ten Books on Architecture were widely studied by Renaissance theatre designers. Hero of Alexandria wrote the Pneumatics, a collection of designs for surprising and entertaining devices that were the models for sixteenth and seventeenth century automata. A second book by Hero On Automata-Making – much less well known, then and now – describes two miniature theatres that presented plays without human intervention. One of these, it is argued, provided the model for the type of proscenium theatre introduced from the mid-sixteenth century, the generic design which is still built today. As the influence of Vitruvius waned, the influence of Hero grew.