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Amalia of Jesus Flagellated MJC (22 July 1901 – 18 April 1977), born Amalia Aguirre Queija, was a Catholic religious sister and mystic. She was co-founder of the institute of the Missionary Sisters of Jesus Crucified, best known for receiving, in the 1930s, the apparitions of Our Lady of Tears in Campinas , Brazil.
The Congregation of the Missionary Sisters of Jesus Crucified was founded in 1928 by Bishop Francis of Campos Barreto, Bishop of Campinas, and Mother Maria Villac, who lived with Sister Amalia de Jesus Flagelado, a Spanish Galician nun. Sister Amalia (born Amália Aguirre) was co-founder of the Congregation and part of the group of first sisters.
Amalia Aguirre Queija [Amalia of Jesus Flagellated] (1901–1977), Professed Religious of Missionary Sisters of Jesus Crucified; Marian Seer (Galicia, Spain – São Paulo, Brazil) Alderigi Maria Torriani (1895–1977), Professed Monsegnior of the Archdiocese of Pouso Alegre (Minas Gerais, Brazil)
Amalia of Jesus Flagellated: July 22, 1901 April 18, 1977 Brazil: Campinas: Heroic Virtues Professed religious of Missionaries of Crucified Jesus; Marian seer [17] [18] Niña Ruiz Abad: October 31, 1979 August 16, 1993 Philippines: Laoag: Heroic Virtues Young Layperson [19] [20] Vivian Uchechi Ogu April 1, 1995 November 15, 2009 Nigeria: Benin City
Since taking up residence in Florence, [Leonardo da Vinci] has produced only one cartoon project, depicting the Infant Jesus, aged about one year, who has almost escaped from his mother's arms. He turns to a lamb and seems to wrap his arms around it.
Da Vinci's painting depicts the moment when Jesus Christ declared that an apostle would betray him. The scene during Friday's ceremony featured DJ and producer Barbara Butch — an LGBTQ+ icon ...
A parody of Leonardo Da Vinci's famous fresco "The Last Supper" featuring drag queens in the Olympic opening ceremony in Paris has sparked fury among the Catholic Church and far-right politicians ...
Researchers agree that the two panels originated in Leonardo da Vinci's studio: [8] indeed, they resemble the style used by the master in the London version of the central panel of the retable (the Virgin of the Rocks); [8] moreover, the three panels of the altarpiece demonstrate similar technical processes - the use of fingers, for example, to finish the contours of the figures - which, in ...