For his inaugural Mass and again on Palm Sunday, he opted for an open - air «popemobile,» foregoing the safety - glass - enclosed version that became the vehicle of choice
for public processions following an assassination attempt on Pope John Paul II.
Not exact matches
But this was not an abrupt stop
for Jesus, His entire life was strangely summarized by the one who mocked him: «He saved others; he can not save himself» (Mark 15:31) By not saving himself he «got rid of the Sovereignties and the Powers, and paraded them in
public, behind him in his triumphal
procession» (Col. 2:15) On the cross Jesus» self - identity was not discontinued but fulfilled.
He showed us how to work
for freedom in circumstances rather tougher than we are currently experiencing in Britain, and he showed us that the
public celebration of the Faith -
processions, open - air Masses, youth events - plays a central role in achieving or affirming the rights of Christians.
It is evident in his irresponsible treatment of affairs of state: his
public corvee of Israel's free men; his extravagant court supported at the expense of the nation; his administrative division of the land in disregard of traditional tribal bounds; and his whole ingrown life in a court that defied the realities of Israel's basic peasant economy and spent its days in the grand style, with feasting, royal
processions, and dilettante scholarship in a setting of magnificent architecture, erected by Israel's peasants, and with women enough
for all and to spare.
Ken Lovett: «Even
for New York, which has almost become numb to the
procession of
public officials in recent years who left office in handcuffs or shame, having two top legislative leaders given substantial prison time a little more than a week apart is a new low.»
Many of the works in «
Procession: The Art of Norman Lewis,» which runs through April 3, are on
public view
for the first time.
«Like gargoyles looking down from the sides of medieval cathedrals, funerary effigies in medieval churches or the cadaverous presences who inhabit the unredemptive darkness of Goya's black paintings or Ensor's carnivalesque
processions, these sculptures of the living dead are cautionary figures
for an unvirtuous age» (J. Lingwood, quoted in
Public / Political: Thomas Schütte, Germany 2012, p. 157).
At the ground floor of the Gallery, the sound / video installation «More Sweetly Play the Dance» (presented
for the first time in 2015 at the Eye Museum, Amsterdam) will receive and surround the
public: an animated frieze of life - sized moving images, based on the «
procession» theme, will be projected along more than 40 meters.