scholarly journals Mary Ward's English Institute: The Apostolate As Self-Affirmation?

2006 ◽  
Vol 28 (2) ◽  
pp. 192-208 ◽  
Author(s):  
Laurence Lux-Sterritt
Keyword(s):  
Seventeenth Century ◽  
Religious Life ◽  
Virgin Mary ◽  
New Era ◽  
Blessed Virgin Mary ◽  
The Feminine ◽  
The World ◽  
Catholic Mission ◽  
The Church

Mary Ward (1585–1645) is known as the foundress of the Institute of the Blessed Virgin Mary, an Order of women which continues to educate thousands of girls around the world. During the first decades of the seventeenth century, her foundation was a religious venture which aimed to transform the Catholic mission of recovery into one that catered for women as well as men. It maintained clandestine satellites on English soil and opened colleges on the Continent, in towns such as St Omer (1611), Liège (1616), Cologne and Trier (1620–1), Rome (1622), Naples and Perugia (1623), Munich and Vienna (1627) and Pressburg and Prague (1628). There, it trained its own members and undertook the education of externs and boarders. The Institute's vocation was not only to maintain the faith where it was already present but also to propagate it; as such, it went far beyond the accepted sphere of the feminine apostolate and its members were often labelled as rebels who strove to shake off the shackles of post-Tridentine religious life. To some modern historians, Mary Ward was an ‘unattached, roving, adventurous feminist’; to others, she was a foundress whose initiative deliberately set out to lay tradition to rest and begin a new era for the women in the Church.

‘Wandering Nuns’: The Return of the Institute of the Blessed Virgin Mary to the South of England, 1862–1945

1999 ◽  
Vol 24 (3) ◽  
pp. 384-396
Author(s):  
M. Gregory Kirkus
Keyword(s):  
Young Woman ◽  
Catholic Church ◽  
Religious Life ◽  
Roman Catholic ◽  
Virgin Mary ◽  
The South ◽  
Blessed Virgin Mary ◽  
The World ◽  
The Catholic Church

‘Woods, M. Joseph died ye 20 April 1822, the last of ye Ladies of ye Establishment’So ends the register of the convent founded in Hammersmith in 1669, and with the death of Sister Joseph the Institute of Mary became extinct in the south of England. But in distant Belfast the story of its revival was already taking shape. On 1st April 1812 a little girl, Mary Petronilla, was born there to a Protestant Doctor Barratt and his wife. We know nothing of her childhood, but it is thought that as a young woman she taught singing in a Loreto convent. About the year 1835 she was received into the Catholic Church, and so embarked upon a career that was to have far-reaching effects. The presence of a Roman Catholic daughter may have been embarrassing to the doctor’s household, or perhaps it was just the desire to learn German and to see the world that prompted Mary Barratt to follow the advice of the Loreto Sisters and to accept a teaching post advertised in Augsburg. There she not only learned German in return for giving English lessons, but she observed religious life as lived in the oldest house of the Institute. Strict as the régime was (the nuns rose at 4.30 am. all the year round) she fell in love with it and asked to be received into the novitiate. On 10th September 1844 she was clothed in the habit and given the name Sister Petronilla, though this was later changed to Sister Ignatius.

Dreams Give Birth to Reality”. Engraving Austroseraphicum Coelum as an Attempt to Create a New Reality by the Spanish Habsburgs Dynastic Propaganda / Sny rodzą rzeczywistość…”. Grafika Austroseraphicum Coelum jako próba kreowania nowej rzeczywistości za pomocą propagandy dynastycznej Habsburgów hiszpańskich

2014 ◽  
Vol 39 (1) ◽  
Author(s):  
Jan Kurowiak
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
General Condition ◽  
Symbolic System ◽  
Political Situation ◽  
Mission Of God ◽  
Starting Point ◽  
The World ◽  
The Church

AbstractAs a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign

Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century

2019 ◽  
pp. 73-88
Author(s):  
Mariia Helytovych
Keyword(s):  
Virgin Mary ◽  
Xvii Century ◽  
Blessed Virgin Mary ◽  
History Of ◽  
First Time ◽  
The Church

The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century

The Root of all Evil? Money and the Scottish Catholic Mission in the Eighteenth Century

1987 ◽  
Vol 24 ◽  
pp. 267-282 ◽  
Author(s):  
J. F. McMillan
Keyword(s):  
Eighteenth Century ◽  
International Finance ◽  
Ancien Regime ◽  
Material Resources ◽  
The World ◽  
Catholic Mission ◽  
Ancien Régime ◽  
Joseph Ii ◽  
The Church

We are all familiar with the idea that the Church is in the world but not of it, and that too great a preoccupation with earthly things may compromise the Church’s other-worldly objectives. One thinks of the extravagance of a Renaissance pope such as Leo X, reputed to have said, ‘Let us enjoy the papacy, since God has given it to us’: or of an ancien régime prelate like the Archbishop of Mainz, who arrived for the coronation of the Emperor Joseph II with a retinue of fourteen sumptuous carriages: or, in our own time, the Vatican’s reported links with some of the shadier elements in the world of international finance. Yet, it is equally obvious that lack of adequate material resources can act as a serious impediment to the Church’s mission to go forth and teach all nations. Excessive poverty, like excessive wealth, brings its own problems. As the adage has it, not money itself but the desire for money is the root of all evil. Excessive poverty and the desire for money are the themes which I wish to pursue in this paper, in the context of the Scottish Catholic Mission in the eighteenth century, and more specifically as they relate to the so-called Jansenist quarrels which divided the Mission in the 1730s and 1740s.

The Rudeness and Reverence of Geoffrey Hill’s Mariology

2019 ◽  
Vol 34 (2) ◽  
pp. 150-165
Author(s):  
Jesse Russell
Keyword(s):  
Human Nature ◽  
Virgin Mary ◽  
Original Sin ◽  
British History ◽  
Blessed Virgin Mary ◽  
The World ◽  
Simone Weil ◽  
Geoffrey Hill

Abstract Due to his seemingly reactionary politics and theology, the recently deceased English lyricist Geoffrey Hill has courted controversy throughout his life. However, while Hill’s work is replete with qualified nostalgia for premodern British history, and he does treat a number of Christian themes in his work, the great British poet defies easy categorisation. Moreover, drawing from the theology of Simone Weil, Rowan Williams, and others, Hill’s work is saturated with a profound awareness of the fallen state of human nature. One of the most profound tropes Hill uses as a representative of what could be called Original Sin is the image of the Blessed Virgin Mary. As a tormented believer and a poet very aware of the fallenness of the world, Hill’s depiction of Mary reveals that Hill is a Christian poet who does not fall into ready categories.

Mary in the Hymnody of the East

2019 ◽  
pp. 105-121
Author(s):  
John Anthony McGuckin
Keyword(s):  
Literary Tradition ◽  
Virgin Mary ◽  
Eastern Orthodox ◽  
Christian Tradition ◽  
Orthodox Church ◽  
The World ◽  
The New Testament ◽  
Unbroken Line ◽  
The Church

Beginning with a notice of the major Marian hymnal elements in the New Testament text, this study goes on to consider how the most ancient Christian tradition of celebrating the role of the Virgin Mary in the salvific events the Church commemorates at prayer runs on in an unbroken line into the earliest liturgical examples from the Byzantine Greek liturgy. The study exegetes some of the chief liturgical troparia addressed to the Theotokos in the Eastern Orthodox Church ritual books. It analyses some of the more famous and renowned poetic acclamations of the Virgin in Byzantine literary tradition, such as the Sub Tuum Praesidium, the Akathist, and the Nativity Kontakion of Romanos the Melodist, but also goes on to show how the minor Theotokia (or ritual verses in honour of the Virgin), taken from the Divine Liturgy and from the Eastern Church’s Hours of Prayer, all consistently celebrate the Mother of God’s role in the salvific work of Christ in the world.

Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography

2016 ◽  
Vol 20 (1-2) ◽  
pp. 135-159 ◽  
Author(s):  
Naoko Frances Hioki
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Spiritual World ◽  
The World ◽  
Folding Screens ◽  
The Church

This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.

‘The Clergy who Affect to Call Themselves Orthodox’: Thomas Secker and the Defence of Anglican Orthodoxy, 1758–68

2007 ◽  
Vol 43 ◽  
pp. 342-353
Author(s):  
Robert G. Ingram
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Political Order ◽  
The World ◽  
Necessary Truths ◽  
Divine Wrath ◽  
The Church

The spectre of the seventeenth century loomed large in the eighteenth century. The Anglican orthodox were particularly aghast at the radical assault on the religio-political order during the previous century and feared a reprise during theirs. In 1734, for instance, Thomas Seeker (1693–1768) warned his audience at St James’s, Westminster, that Charles I’s execution was ‘a most peculiarly instructive example of divine judgments, brought down by a sinful people on their own heads’. In all his providential interventions in human affairs, God teaches ‘an awful regard to himself, as moral governor of the world; and a faithful practice of true religion’. And what drew his divine wrath upon Britain during the 1650s was the abandonment of’real religion’ for ‘hypocrisy, superstition, and enthusiasm’. Certainly Laud and his followers might have displayed ‘an over warm zeal, and very blameable stiffness and severity’, Seeker acknowledged. ‘But there was also, in the enemies of the church, a most provoking bitterness and perverseness; with a wild eagerness for innovation, founded on ignorant prejudices, which their heated fancies raised into necessary truths; and then, looking on them, as the cause of Christ, they thought themselves bound and commissioned to overturn whatever was contrary to them.’

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