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April 18 2010

Mixa und der feine Unterschied: Gewatscht, nicht geprügelt

Nachdem er mögliche Ohrfeigen zugebenen hat, wehrt sich Bischof Mixa gegen den Vorwurf, die Öffentlichkeit belogen zu haben. Sein Argument: Ein paar "Watschn" sind keine Prügel. mehr...
Reposted fromZaphod Zaphod

April 06 2010

St Augustine's works to be auctioned

Annotated 10-volume edition offering new insights into Henry VIII's break with Roman Catholic church to go on sale

A meticulously annotated 10-volume edition of the works of St Augustine, offering new insights into one of the most turbulent times in English religious history – Henry VIII's break with Rome – is to be auctioned.

Sotheby's has announced it is to sell an extremely rare and perfectly conditioned first edition of St Augustine's complete works as edited by Erasmus. What makes the set of books even more special is the thousands of tiny red-ink corrections, amendments and commentaries, the majority of which have not been studied academically.

For many theological scholars Augustine, the fourth century philosopher born in Roman-controlled Africa – now Algeria – was one of the most important figures in the development of western Christianity, and his teachings had a profound influence on Martin Luther, the Protestant reformer.

Frédérique Parent, Sotheby's Paris-based specialist in the books and manuscripts department, called the works "the most fantastic book" she had ever been involved with. She added: "It is of monumental historical importance. It reflects all the theological conflict going on in the 1530s."

The identity of the annotator is unknown, but some things are clear: he must have been close to Luther and his inner circle, because he has impressively close knowledge of everything going on in Wittenberg in the 1530s, as well as access to unpublished manuscripts.

"It is the hand of an incredible theologian who seems to know everything," said Parent. "He is correcting Augustine, he is correcting Erasmus and adding doctrinal commentaries by men such as Luther."

Such audacity suggests the writer had incredible confidence in himself. Parent said: "His writing is rather old-fashioned, as well as being incredibly knowledgable and erudite."

The collected works were printed in Basle, Switzerland, between 1527 and 1529 and the annotator began work on the editions in 1532, two years after Henry's break with the Roman Catholic church. The king, clearly feeling vulnerable and isolated, had sent a delegation to Wittenberg to plead his case with Luther.

As things turned out, the eight months of talks came to nothing. But the annotations cast light on what was going on and how much manoeuvring was taking place.

For example, when Henry executed Thomas More and Cardinal Fisher in 1535 for failing to sign the Act of Supremacy, the king's negotiators say it was about his pursuit of a good cause or "Henry's quest for evangelism".

The annotations offer, says Sotheby's, a fascinating insight into that century's intellectual revolution. They also show how important and influential Augustine was to Luther as well as shining a light on the evolution of his doctrinal thinking in his latter years.

Only 40% of the annotations, written in both Latin and German, have so far been deciphered and further study would, in all likelihood, reveal the name of the writer. Parent said the volumes offered "an invaluable window to the political tensions of the time". She added: "Who knows what hidden treasures there are? And we would love an institution to buy the book because it needs to be studied."

In total, more than 8,000 pages have been annotated with remarks including more than 400 important doctrinal commentaries – from 50 to 3,000 words – by Luther and his fellow reformers, such as Philipp Melanchthon, Wenzeslaus Linck and George Spalatin.

For a 16th century theological scholar, the edition would appear to be a treasure trove. One annotation explains for the first time a rather enigmatic woodcut found in Luther's 1534 Bible showing the Two Witnesses in front of a fire-breathing monster of the apocalypse. The two men are Luther and his reforming colleague Melanchthon, while the monster is the pope.

According to the annotator, the two men represent Paul, writer of the Epistles, and John, writer of the Apocalypse – the foundations of the new faith.

The volumes are estimated to fetch between €200,000 and €300,000 (£177,000-£266,000) and will go on sale in Paris on 18 May. © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

April 03 2010

Check out these divine pictures of Holy Week 2010, curated by the incomparable site called “The Big Picture.”

See the pictures at

More on Christianity.

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Reposted fromSigalonalltop Sigalonalltop viaSigalon02 Sigalon02

Missbrauchsskandal: Anglikaner-Oberhaupt attackiert katholische Kirche - SPIEGEL ONLINE - Nachrichten - Panorama

Ermittlungen der irischen Behörden haben ergeben, dass die Kirche jahrzehntelang Missbrauchsfälle vertuscht hat. Dabei geht es um Vergewaltigungen und Misshandlungen von Minderjährigen durch Geistliche, insgesamt ist von 14.500 Opfern die Rede. Der Missbrauchsskandal, der von den dreißiger Jahren bis in die neunziger Jahre dauerte, wurde von der weltlichen Justiz aufgearbeitet, nachdem die Opfer geklagt hatten.
Reposted fromkellerabteil kellerabteil

March 31 2010

March 21 2010

Der Regensburger Bischof Gerhard Ludwig Müller hat den Medien in Zusammenhang mit den Missbrauchsfällen eine Kampagne gegen die Kirche vorgeworfen. Der Bischof rückte die laufende Berichterstattung in die Nähe der kirchenfeindlichen Haltung der Nationalsozialisten. "Jetzt erleben wir wieder eine Kampagne gegen die Kirche", sagte Müller am Samstagabend nach Informationen des Bayerischen Rundfunks in einer Predigt im Regensburger Dom.
Missbrauchsfälle in der katholischen Kirche - Regensburger Bischof hetzt gegen Medien - Politik -
Reposted fromkellerabteil kellerabteil

March 20 2010



„Die Presse“: Pater Sporschill, fragen Sie sich nicht angesichts der Flut an Missbrauchsvorwürfen gegen Priester der katholischen Kirche, in welcher Gesellschaft Sie sich befinden?

Georg Sporschill:
Meine Pfarrei ist die Straße, da bin ich mit Missbrauch und Prostitution konfrontiert. Das ist bei Straßenkinder das tägliche Brot.

Aber doch nicht durch Priester.

Das ist der grenzenlose Skandal: Dass in der Institution, deren Gründungsurkunde sagt, das Kind ist in die Mitte zu stellen, Derartiges passiert. Das rüttelt an den Grundfesten der Kirche.

Auch an den Grundfesten Ihres Glaubens?

Sporschill: Nein. Es kommt jetzt eine größere Ehrlichkeit: Schluss mit frommen Sprüchen, Schluss mit Betulichkeit, Schluss mit Vortäuschung von Machtstrukturen, die keine mehr sind. Wir müssen die Orte in der Welt entdecken, wo das Heil passiert, und nicht glauben, wir produzieren es. Das ist die Lehre Jesu. Sehr viel wird jetzt zurückgestutzt auf die Realität, die es vorher auch schon gab. Dass das über die schrecklichen Fälle passieren musste . . .

Welche Realität meinen Sie?

Sporschill: Die Schwäche in der Erziehung, die Mutlosigkeit, die Fantasielosigkeit, Neues anzufangen die Ängstlichkeit, über etwas zu sprechen. Diese Feigheit, über Probleme zu reden, die fällt uns auf den Kopf. ...

— vollständiges Interview mit Pater Sporschill, SJ: „Schluss mit den frommen Sprüchen“ 20100319 (

February 25 2010

Ich würde nicht einmal sagen 'Bigotterie', was sicherlich in Teilen ebenso zutrifft, viel entscheidender erscheint mir die Kritik an der institutionalsierten Unaufrichtigkeit, am Glauben, alles im Vertrauen auf die Trägheit des Kurzzeitgedächtnisses der öffentlichen Meinung unter den Teppich kehren zu dürfen, den die katholische Kirche ohne jeglichen Skrupel unter Inanspruchnahme des Bußsakramentes einsetzt.

oanth - muc - 20100225

December 07 2009

Art's debt to faith

That religion is the wellspring of European art is undoubted – but there are other reasons I keep going back to holy pictures

The question: Does God have all the best art?

Germaine Greer has often made the point that she developed her "eye" for paintings through the holy pictures provided by the Irish nuns at her convent school in Australia.

I remember similar holy pictures, profusely distributed at my own convent school in Dublin. We had Raphaels, several Leonardo da Vincis, Murillos, and representations of Bernini sculptures. There was a special interest in Fra Angelico and his work on perspective, as we were reminded that the annunciation is one of the most frequently painted subjects in European art. Our holy pictures were cheap, pocket-sized Italian reproductions of the great masterpieces, but they were, as I recall, immensely pretty and vivid with colour. And when I visited the Uffizi in Florence I recognised so many of such images, often centering on the virgin and child and the tenderness of motherhood.

Indeed, when I came to visit the great art galleries of Ireland, Britain and continental Europe I saw where the provenence of European art lay: in holy pictures. Our nuns were keen on the mother and child, and linked nativity themes – Catholics were notoriously weak on the Old Testament – but there were so many rich Biblical narratives which had fed the imagination of European artists. I progressed from holy pictures myself – sometimes they can be didactic, and sometimes, especially with crucifixion scenes, somewhat lugubrious – and found that I liked the Dutch genre pictures of domestic stories best (followed by a sentimental beguilement with 19th century narrative art). But it is so evident that it all began with holy pictures.

It is sometimes claimed that Catholic – and certainly Latin – culture is picture-orientated, while Protestant – and Nordic – cultures are text-orientated. Even into our times, Latin cultures have tended to favour magazines – no coincidence that Hello! was launched in Spain – while northern Europeans like the text element of newspapers; just as Protestants preferred the text of the Bible to the holy pictures of Catholicism (and, we should add, Orthodoxy: the Russian cathedrals are filled with the most stunning paintings on Biblical themes, as well as the much-cherished icons).

This analysis may be changing, as modern media has become more image-focused, with pictures, branded logos and airports awash with signs and signals to be internationally understood. In any case, it is oversimplified, for many mainly Protestant cultures, like the Netherlands, produced religious painting of great power.

So it is the very source and seedbed of our artistic heritage. You cannot understand European art without a knowledge of Christian (and Jewish) traditions. Biblical themes clearly served so many great artists from the early Christian period onwards, animated their imagination, gave them themes on which to work – and, of course, provided them with patronage, especially once the Medici popes came along (the more corrupt the popes, it is said, the more they patronised the arts).

But I would say there was something else to the great flowering of European art in Christendom, as Europe once called itself. The artists themselves were not necessarily perfectly pious Christians, but they shared in a general idea that there is something higher than ourselves. Man is not the measure of all things. He must aspire to something better, loftier, more extraordinary and miraculous. That idea helped to build the great cathedrals of Europe, just as it prompted the development of music. Not all religious art is to everyone's taste, but it was the fountainhead of the staggering achievement that is European art.

I don't disparage the modern movements: if someone sees inspiration in Rothko, so be it. If anyone sees inspiration in a pile of bricks, that's fine by me (so long as the feeling is sincerely held, and not just fashionable conformity). I thought Tracey Emin's unmade bed was a brilliant concept, and indeed, in its own way, a moral fable. But the holy pictures which got my eye in left me with three legacies: I respond best to the pleasure of beauty in art. That is what thrills. I am gratified by an element of narrative, whether that be in Lavery or Lowry. And it is thrilling to feel that sense of being uplifted to something beyond oneself. Germaine Greer is right: we all owe quite an artistic debt to those holy pictures. © Guardian News & Media Limited 2009 | Use of this content is subject to our Terms & Conditions | More Feeds

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