Sentences with phrase «sixteenth century work»

Not exact matches

Confessional Protestants — those whose churches explicitly hold to one of the great Protestant confessions of the sixteenth or seventeenth centuries and who value classical orthodox formulations as being faithful to scripture — should focus their ecumenical energy in dialoguing and working with those denominations which share their most basic commitments, especially to the Nicene Trinitarian identity of God.

Given the difficulties of really working through such an issue within the synod, the seminary faculty took refuge in a second answer to the authority question: What was binding upon the synod's pastors and theological professors was the collection of Lutheran Confessional writings from the sixteenth century (gathered in the Book of Concord).

Although Calvin never lost sight of these themes, he is perhaps best remembered for his detailed exposition of the leading themes of the Reformed faith in his Institutes of the Christian Religion» widely regarded as the most significant religious work of the sixteenth century» and his wrestling with issues concerning the identity of the church and its place in public life.

Bosch says that the word mission, in its modern sense, was first used in the sixteenth century by Jesuits in Northern Germany to refer to their work of reconverting Protestants to Catholicism.»

Joseph Cardinal Ratzinger and others were and are much taken with Cullman's argument that the confessional divisions of the sixteenth century are the work of God's «left hand,» and the resulting differences must somehow be given the opportunity to play themselves out rather than being «negotiated away» in ecumenical dialogue.

But the Ukrainian Catholic Church, the Eastern - rite church that has been under the authority of Rome since the late sixteenth century, and two nationally oriented, noncanonical Orthodox churches had also been working actively to remove Yanukovych from office.

To this end St Philip worked hard to invent diversions which would keep his charges occupied, especially at what he considered the most dangerous times — the long sultry Roman afternoons, and the period of the pre-Lenten carnival, when Renaissance society gave itself up to a distinctly un-Christian preparation for Lent (and if anyone doubts that Sixteenth Century Rome could be fully as immoral as our own times, let him read the Autobiography of Benvenuto Cellini, a great artist, but far from a good man).

While emphasizing that salvation takes place by grace, on the basis of the work of Christ rather than human effort or achievement, the Catechism seems reluctant to engage with the questions raised above and does little to reassure the anxieties of any readers familiar with the sixteenth - century debates.»

For the Creator who said in the fifth and ninth and sixteenth centuries «It is good» will not finish his work until we come to the final Sabbath, where everything will, once and for all, be very, very good.

Although they cite the Baptist theologian Timothy George in a way that shows his awareness of the ground - breaking work of the World Conference on Faith and Order at Montreal in 1963 on «Scripture, Tradition, and traditions,» Noll and Nystrom make no systematic use of his insights; they also neglect to note the phraseology of Pope John Paul II when he called for further study on «the relationship between Sacred Scripture as the highest authority in matters of faith and Sacred Tradition as indispensable to the interpretation of the Word of God» (Ut Unum Sint, 79)» a formulation that I think may hold the best promise of resolving the question since the sixteenth century.

For a few years in the early part of the sixteenth century Cyril Lucar (1572 - 1637), who became Patriarch of Constantinople in 1621, worked for the moral and spiritual improvement of the Orthodox Church.

Here excavations indicate that the city (earlier and under a different name, the capital of the Hyksos Dynasty) was destroyed in the sixteenth century when the Hyksos were expelled, that reoccupation probably began shortly before 1300 B.C., and that work went on there under the first two kings of the Nineteenth Dynasty, Seti I (about 1310 - 1290 B.C.) and his son Rameses II (about 1290 - 1224 B.C.), who gave his name to the city.

To suggest a comparison with the work of the psychologist, when a European dreams of leaves of maize, the important fact is not that maize was imported into Europe only after the sixteenth century and thus became a part of the history of Europe, but that as an oneiric symbol, the maize is only one of innumerable varieties of the green leaf.

By the sixteenth century there was already plenty for a scientific critique of received ecclesiastical positions on the matter of authority to go to work on.

That sixteenth - century Protestants themselves saw printing as a divine gift bestowed from above to spur on the work of Reformation is beyond doubt.

Social reconstructions of Europe, for example, did indeed work to limit Christian violence after the sixteenth and early seventeenth centuries.

His ideas became part of the background of physical thought in the renaissance of science in the sixteenth and seventeenth centuries through the works of Copernicus, Bruno, Galileo, and later, Newton.

The basic idea, he says, dates back to the sixteenth century and the work of the German artist Albrecht Dürer.

Tanah Lot is asserted to be the work of the sixteenth century Dang Hyang Nirartha.

«Bad Mannerism» references the sixteenth century Mannerist movement, showing contemporary artists working with similar ideas today.

A key work of the show is a sixteenth - century painting by Lavinia Fontana, who rendered a secular portrait of an infant in a cradle — supposedly the first of its kind in art history.

A following section will focus on artists — Domenico Tintoretto, Palma Giovane, and others working in Venice during the late sixteenth century — whose drawing style was influenced by Tintoretto's, while in a final section, visitors will be able to consider an interesting group of drawings, previously attributed to Tintoretto or to Palma Giovane, which have recently been proposed as the work of the young El Greco during his time in Italy.

In this work, the artist sings three slightly different versions of a sixteenth - century Scottish ballad titled Lowlands Away; a haunting lament about a man drowned at sea who returns to his lover to tell her of his death.

This exhibition explored the range and depth of African artistic sensibility through 75 works of sub-Saharan art dating from the sixteenth to early twentieth centuries.

Director of the Kanaal Art Foundation Catherine de Zegher makes a complex and provocative analysis of Recollection, a work she commissioned for a sixteenth - century beguinage.

Beginning with works from the sixteenth and seventeenth centuries, the exhibition will show that much British art from this period was made by artists from abroad, including Antwerp - born Anthony Van Dyck, the court painter whose famous portraits such as Charles I 1636 (The Chequers Trust) have come to shape our perceptions of the British aristocracy of this time.

The Museum's collection of drawings and prints includes works on paper from the sixteenth century to the present.

Alongside Uras's own work, the exhibition presents an original Iznik plate dating from the first half of the sixteenth century, on loan from the collection of The Metropolitan Museum of Art.

Private Treasures provided the public the rare opportunity to view works from the sixteenth through the twentieth centuries drawn entirely from an esteemed private collection.

8 Although their actual presence in a particular location necessarily makes their relationship to that site a «reciprocal» one (they are altered by the conditions of exposure in the world even as they alter the character of the site by their presence), such works are in a sense mere literalizations of the kind of thematic expressed already in the sixteenth century, for example, by Giorgione's magnificent Dresden Venus (c. 1508/10).9

Cornaro is an art historian specialized in sixteenth and seventeenth - century Western art, therefore her work is strongly associated with the forms and compositions from the past, ranging from the baroque or classicism to modernistic abstraction.

The Morgan Library & Museum presents an exhibition of drawings and related material, featuring work by masters such as Titian, Tintoretto, Veronese, and Carpaccio that brings to life the dynamic artistic and cultural milieu of fifteenth - and sixteenth - century Venice.

Organized by The Blanton, and comprising fifty - eight works drawn primarily from the museum's Suida - Manning Collection, the exhibition explores the expressive and technical range of French drawing through preliminary sketches, compositional studies, figure studies, and finished drawings from the sixteenth through nineteenth centuries.

She also worked with Forum Gallery and with Spencer A. Samuels & Company, which specialized in sixteenth to twentieth century master works.

In his new body of work, Pittman explores the tradition of vanitas painting, which came to fruition in Northern Europe, particularly the Dutch and Flemish regions, in the sixteenth and seventeenth centuries.

It has been conventionally defined as a period extending from the sixteenth to the nineteenth centuries, or alternatively, from about 1300 to about 1850, although climatologists and historians working with local records no longer expect to agree on either the start or end dates of this period, which varied according to local conditions.

«The sixteenth century boxwood miniatures currently exhibited at the Cloisters — thought to be in large part the work of a single individual in the Netherlands — are so breathtakingly intricate, the minuscule scenes in prayer beads and altarpieces rendered so exquisitely, that any viewer should be prepared to gasp, «How did they do it?