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Author: Confrérie de la bonne mort établie dans l'église Saint-Pierre (Alençon)
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Languages : fr
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Author: Confrérie de la bonne mort établie dans l'église Saint-Pierre (Alençon)
Publisher:
ISBN:
Category :
Languages : fr
Pages :
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Author: Confrérie de la bonne mort, établie dans l'église des religieuses de Notre-Dame (Toulouse)
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Languages : fr
Pages :
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Author:
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ISBN:
Category :
Languages : fr
Pages : 132
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Author: Confrérie de la bonne mort, établie dans l'Eglise des religieuses de Notre-Dame (Masseube, Gers)
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Languages : fr
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Author: Confrérie de la bonne mort établie dans l'église des religieuses de Notre-Dame (Isle-Jourdain)
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Languages : fr
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Author: Association de la confrérie de la bonne mort établie dans l'église paroissiale de N.-D. de Saint-Vincent-de-Paul (Blois)
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Languages : fr
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Author: Confrérie de la bonne mort, établie dans l'église des religieuses carmélites (Agen)
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Languages : fr
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Author: Confrérie de la bonne mort (Aubin)
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Languages : fr
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Author: Giuseppe Scavizzi
Publisher: Peter Lang Incorporated, International Academic Publishers
ISBN:
Category : Art
Languages : en
Pages : 354
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This book demonstrates how Calvin's uncompromising stance on sacred images gained favor throughout Europe and was increasingly seen in the years between 1550 and 1600 as the unavoidable culmination of the Sola Scriptura principle. It also documents in detail how Catholic doctrine evolved to counteract the radical positions of Calvinism and how this doctrine translated through pastoral action into the new artistic trends - in both architecture and painting - which dominated the Seventeenth century.
Author: Voltaire
Publisher: Simon and Schuster
ISBN: 1627933212
Category : Drama
Languages : en
Pages : 56
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Orestes was produced in 1750, an experiment which intensely interested the literary world and the public. In his Dedicatory Letters to the Duchess of Maine, Voltaire has the following passage on the Greek drama: "We should not, I acknowledge, endeavor to imitate what is weak and defective in the ancients: it is most probable that their faults were well known to their contemporaries. I am satisfied, Madam, that the wits of Athens condemned, as well as you, some of those repetitions, and some declamations with which Sophocles has loaded his Electra: they must have observed that he had not dived deep enough into the human heart. I will moreover fairly confess, that there are beauties peculiar not only to the Greek language, but to the climate, to manners and times, which it would be ridiculous to transplant hither. Therefore I have not copied exactly the Electra of Sophocles-much more I knew would be necessary; but I have taken, as well as I could, all the spirit and substance of it."
