The Revelations of St. Birgitta of Sweden: Volume I: Liber Caelestis, Books I-III
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On the Duties of the Bride. Birgitta Is to Take Revelations to the Archbishop and. About a Besieged Castle. On the Arming of Spiritual Knights. On Spiritual Clothing. About a King with Two Treasuries.
musique de Ste Brigitte de Suède / Birgitta of Sweden - Musicologie Médiévale
On a Proud and Greedy Person. Instructions about a House i e a New Monastery. On Peoples Ingratitude toward God. On the Chastity and Humility of the Bride. Reassurance for Birgitta about Her Concerns. A Plea for Mercy for the Daughter and Bride. Why Christ Tolerates the Wicked.
Book The Revelations Of St Birgitta Of Sweden Volume I Liber Caelestis Books I Iii 2006
God Is Angry with a Man in Judgment. John the Baptist Praises the Beauty and Virtues. Inbunden Engelska, Spara som favorit. Skickas inom vardagar. Birgitta of Sweden , canonized was one of the most charismatic and influential female visionaries of the later Middle Ages. Altogether, she received some revelations. They deal with a variety of subjects, from meditations on the human condition, domestic affairs in Sweden, and ecclesiastical matters in Rome, to revelations in praise of the Incarnation and devotion to the Virgin.
Her Revelations, collected and ordered by her confessors, circulated widely throughout Europe and long after her death. Many eminent individuals, including Cardinal Juan Torqemada and Martin Luther, read and commented on her writings, which influenced the spiritual lives of countless individuals. Birgitta was also the founder of a new contemplative order, which still exists.
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She is the patron saint of Sweden, and in was declared with Catherine of Siena and Edith Stein the first co-patroness of Europe. This new translation in four volumes, supported by the Tercentenary Foundation of the Swedish National Bank, is based on the newly available, definitive Latin edition.
I saw a light, but not the kind that glows in the world. I sensed a smell, not of herbs or anything like that, but indescribably sweet, which quite filled me up so that I felt like jumping for joy. Right then I heard a voice, but not from a human mouth. I was quite afraid when I heard it and wondered whether it was an illusion. Vidi namque sydus, sed non quale fulget de celo. Vidi lumen, sed non quale lucet in mundo. Sensi odorem, sed non qualis herbarum vel aliquid tale, sed suauissimum et vere ineffabilem, quo tota replebar et pre gaudio exultabam.
Inde statim audiui unam vocem, sed non de ore humano. Et ea audita satis timui, reputans, ne forte esset illusio. Such loans, overlaps and references are obvious in terms of lyrics, but the images have not been interpreted along the same lines. I mean that one both can and should analyse images in respect of visual codes and intervisuality in the culture in which they are used as communicative agents. It seems that the Annunciation image to a greater extent than other mo- tifs actually came to portray the courtly and humble ideals that character- ize the fourteenth century.
Annunciation, detail from altarpiece, tempera on wood, Hohenfurt mas- ter, c. There is a chivalrous genuflection, which is distinctly masculine, with the forward leg standing steady at 90 degrees. The knight stands with an upright torso, head held high and one hand raised, while the other rests on his knee.
Elizabeth Valdez del Alamo puts genuflection in connection with the medieval court culture and means that by using it in Annunciation scenes it gave a reference to the royal presence in churches and monaster- ies. The overall shape of a genuflecting man and an enthroned lady con- nects the two motifs. British Library MS Add. Figure 3. Figure 5.
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Figure 6. Altarfrontlet, c. Figure 7. Photo: SHM, Stockholm. It is mainly through the attrib- utes we can identify the content of the paintings. The coat of arms in the Codex Manesse mirrors the Father in the sky in the A. The haloes behind the angel and the Virgin signify the celestial sphere. One is an image of courtly, erotic desire, the other is not. The illumina- tion in the Codex Manesse shows a hurt and enamoured man by depicting a dramatic and fatal bodily injury. The sword goes through his chest, caus- ing a gaping wound and hits his heart. The man genuflects and shows his injury to his lady sitting on a raised throne.
The lady may be interpreted as woman whom the man is violently in love with, but she can also represent love itself: Frau Minne. The sword and the wound illustrate the power of love and what it has done to him. The meeting between the archangel Gabriel and Virgin Mary is a pic- ture of the encounter of the heavenly and earthly realms. One can well imagine an Annunciation staged in a perfectly courteous environment.
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