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"Chapter 7. The Prayer of St. Francis". Ten Prayers That Changed the World: Extraordinary Stories of Faith That Shaped the Course of History. National Geographic. ISBN 978-1-4262-1644-2. Nerburn, Kent (1999). Make Me an Instrument of Your Peace: Living in the Spirit of the Prayer of Saint Francis. Harper Collins. ISBN 978-0-06-251581-0
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Anthony of Padua, OFM, (Portuguese: António/Antônio de Pádua; Italian: Antonio di/da Padova; Latin: Antonius Patavinus) or Anthony of Lisbon (Portuguese: António/Antônio de Lisboa; Italian: Antonio da/di Lisbona; Latin: Antonius Olisiponensis; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) [1] [2] was a Portuguese Catholic priest and member of the Order of Friars Minor.
From the rose garden, one enters the Rose Chapel. This was the cell where St. Francis rested and spent the rest of the night in prayer and penance. Here St. Francis also met Saint Anthony of Padua. After his death a chapel was built in the 13th century and enlarged in the 15th century by St. Bernardine of Siena.
"Spiritual Considerations on the Life of Saint Antony the Great" is a manuscript, from 1864, in Arabic, that is a translation of a Latin work about the life of Saint Anthony "Saint Anthony Abbot" at the Christian Iconography website "Of the Life of Saint Anthony" from Caxton's translation of the Golden Legend; Colonnade Statue in St Peter's Square
The Baroque church was built on a plan of the sign of the Latin cross. The facade of the church is two storied. Inside the church there are many valuable elements: main altar (Baroque) of St. Anthony of Padua, chapel of blessed Raphael Chyliński with his coffin, side altars (renovated), Baroque wooden ambo with St. Francis of Assisi painting, etc.
Quatre petites prières de saint François d'Assise, FP 142 (Four small prayers of Saint Francis of Assisi) [1] is a sacred choral work by Francis Poulenc for a cappella men's chorus, composed in 1948. Written on a request by Poulenc's relative who was a Franciscan friar, the work was premiered by the monks of Champfleury.
The top third is mostly blue sky with white clouds, though the figure of Saint Anthony also extends into this area. The bottom two-thirds depict the sea, shoreline, and crowd of bystanders. Veronese places Saint Anthony atop a rock, raising him above the bystanders and focusing attention on his figure.