The Scriptures complain that the sins of the people come from the sins of the priest, and, therefore (as Chrysostom says), our Saviour, when He was about the cure the sickness of the city of Jerusalem, went to the temple to chastize first of all the sins of the priests, like a good physician, who cures disease by going to its root. We know that in this Holy See there have been many abominations these many years - abuses in spiritual things, excessive decrees, and everything perverted; nor is there any wonder if the disease has descended from the head to the members; from the supreme pontiffs to other prelates of lower rank. We all have gone aside everyone to his own ways, and there was none that did good, no, not one. Therefore it is necessary that we all give glory to God and humble our souls before Him, and each of us see whence he has fallen, and rather judge himself than await the judgment of God in the rod of His anger.
In this matter, so far as we are concerned, thou wilt promise that We shall spare no pains that this curia, from which, perchance, this whole evil has emanated, shall be reformed first of all, so that the health and reformation of all may also emanate from it. We feel ourselves the more bound to bring this about because We see that the whole world eagerly desires this kind of a reformation. We were never ambitious for this pontificate (as We believe We had told thee elsewhere), and so far as We were ourselves concerned We should have preferred to lead a private life and to serve God in retirement; indeed, We should have utterly refused the pontificate if the fear of God and the purity of our election and the danger that schisms might have arisen out of our refusal had not compelled us to accept it. Therefore We took upon us the yoke of the supreme dignity, not from lust of power, nor for the purpose of enriching our relatives, but with the intention of obeying God's will, of reforming the deformed Church, His bride, of succoring the oppressed, of promoting and honoring learned and virtuous men who have for a long time been neglected, and of doing everything else that a good Pope and legitimate successor of St. Peter ought to do.
No one should be surprised, however, if he sees that We do not immediately correct all the wrongs and abuses. The disease is too deep-seated; it is not simple but has many complications; its cure must proceed slowly and the most serious and dangerous symptoms must be combated first, lest in our desire to reform everything at once we turn everything upside down. Sudden changes are dangerous in a state, says Aristotle, and he who blows his nose too hard draws blood.
His chief prose work is a treatise, De Laude Virginitatis, preserved to us in a large number of manuscripts, some as early as the eighth century. This treatise, in imitation of Sedulius, Aldhelm afterwards versified. The metrical version is also still extant, and Ehwald has recently shown that it forms one piece with another poem, De Octo Principalibus Vitiis... Several other letters of Aldhelm are preserved. One of these, addressed to Acircius (Ealdfrith), King of Northumbria, is a work of importance on the laws of prosody. To illustrate the rules laid down, the writer incorporates in his treatise a large collection of metrical Latin riddles.Both the poem De Laude Virginitatis and the collection of riddles accompanying the epistle to Acircius have prrefaces in verse, each containing an ingenious double acrostic.
This painting has long been attributed to Stefano da Verona, who was active mostly in northern Italy and who was a proponent of the International Style. Popular throughout Europe toward the end of the fourteenth century, this style embodies a decorative elegance and an interest in minute detail that derive from northern European painting. Here the Virgin is portrayed as the Madonna of Humility: instead of being enthroned, she is seated on a cushion on the ground. In the sky above her appears God the Father with a scepter and the Holy Spirit in the form of a dove. The rose garden symbolizes the purity of the Virgin, while the music-making angels evoke the refined and grace-filled court life of the very end of the Middle Ages.
The Bell of Nanban-ji is designated as a National Important Cultural Property by the Japanese government. This Jesuit bell was made in Portugal in 1577 and used at Nanbanji Church.
Nanbanji Church was the first Christian church in Kyoto. In 1576, Jesuit Father Gnecchi-Soldo Organtino established this church with the support of Nobunaga Oda, who was one of the most powerful feudal lords who ruled Kyoto in the late 16th century. In the next eleven years, Nanbanji was the center of Catholic missionary activities in Japan. Also, this church became an important place for traders from Portugal and Spain.
In 1587, Regent Hideyoshi Toyotomi created a law against all Christians in Japan. Nanbanji was destroyed and was never rebuilt. Following the anti- Christian policy of Regent Hideyoshi, the Tokugawa shogunate banned Christianity and systematically eliminated all Christians. Thus, the Bell of Nanbanji vanished from the Japanese history until the bell came to Shunkōin about 200 years ago.
On the surface of the bell ... under an IHS Christogram, there are three nails of the seal of the Society of Jesus. Three nails symbolize the Crucifixion of Christ. Also the Arabic numerals 1577 were engraved on the surface.
Opaque creatures manifested the Nativity, for example by the destruction of the temple in Rome, as above described, and also by the collapse of other statues that fell in a great many other places. For instance, we read in the Scholastic History that the prophet Jeremiah, going down to Egypt after the death of Godolias, indicated to the Egyptian kings that their idols would fall to pieces when a virgin bore a son. For that reason the priests of the idols made a statue of a virgin holding a male child in her lap, set it up in a secret place in the temple, and there worshipped it. When King Ptolemy asked them the meaning of this, they told him that it was a mystery handed down by the fathers, who had received it from a holy man, a prophet, and they believed that what was foretold would really happen.The story of the statue's creation was inlcuded in the Speculum Humane Salvationis as a prefigurement of the Flight into Egypt, along with Moses breaking the Pharaoh's crown and Nebuchadnezzar's dream.
At Le Puy, it is not only the site that is enveloped in sacred mythology, but also the statue of the Virgin and Child. According to tradition, this too is a pre-Christian image prophetic of Christianity. The original statue is said to have been carved by the Hebrew prophet Jeremiah, while he remained in Egypt after fleeing there following the fall of Jerusalem. The statue is thus a visual prophecy of the Incarnation. One tradition recounts that King St. Louis IX of France, on his way to Palestine to join a crusade, was captured by the Sultan of Egypt. Whilst he was there awaiting his ransom, the sultan showed him many of the treasures of his country, amongst which, in the temple, was a black statue of a mother and child.The Black Virgin of Le Puy was guillotined and burned by the revolutionaries on 9 June 1794. As the statue burned, a secret door opened in its back, out of which a small parchment scroll fell. It was consumed by the fire before anyone could read what was written on it.
King Louis immediately recognized the image as a statue of the Virgin and Christ. When the king's ransom arrived, the sultan told him that he could choose a gift, from everything he had seen in Egypt, to take back with him to his native land, and the gift that Louis chose was the statue of the mother and child. The sultan was most reluctant to let it go, but, having given his word, he could not go back on it, and so the statue was taken by Louis to France, where it was given to the shrine of Le Puy.
Aldegrever's work shows more than any other artist since Schongauer the close association that persisted between the engravers' and goldsmiths' professions. About one hundred of his engravings are designs for ornament, of which his designs for goldsmiths' work fall into the period 1528-39. He produced seventeen designs for sheaths of swords, daggers or domestic knives, most of which show the sheaths alone. [These] display large-scale designs for the scabbard and hilt; they represent his most impressive achievement in this genre and are probably the most famous ornament prints of the period. Such objects would have been extremely costly to realise and were intended for ceremonial use by the nobility or wealthy patrician families. Daggers of this type are seen buckled to the men in Aldegrever's engravings of wedding dancers of 1538 and in drawings by Urs Graf and others.
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