Adoration Chapel Quotes

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For two days we explored Rome, a city that is both a living organism and a fossil. Bleached structures from antiquity lay like dried bones, embedded in pulsating cables and thrumming traffic, the arteries of modern life. We visited the Pantheon, the Roman Forum, the Sistine Chapel. My instinct was to worship, to venerate. That was how I felt toward the whole city: that it should be behind glass, adored from a distance, never touched, never altered. My companions moved through the city differently, aware of its significance but not subdued by it. They were not hushed by the Trevi Fountain; they were not silenced by the Colosseum. Instead, as we moved from one relic to the next, they debated philosophy—Hobbes and Descartes, Aquinas and Machiavelli. There was a kind of symbiosis in their relationship to these grand places: they gave life to the ancient architecture by making it the backdrop of their discourse, by refusing to worship at its altar as if it were a dead thing.
Tara Westover (Educated)
In the eleventh century, a French archdeacon challenged the Church’s faith that the Blessed Sacrament was in fact the Body and Blood of Christ. Pope Gregory VII (reigned 1073–85) responded with a definitive statement of what the Church had always believed. After the controversy was resolved, Eucharistic adoration began to flourish. The Church soon instituted processions of the Blessed Sacrament, prescribed rules for Eucharistic adoration, and encouraged the faithful to visit Our Lord reserved in the churches. The martyr St. Thomas à Becket (1118–70), for example, once wrote to a friend that he often prayed for him in the church before “the Majesty of the Body of Christ.” In 1226, after King Louis VII of France (1120–80) won a victory over the Albigensian heretics who had taken up arms against him, he asked the Bishop of Avignon to have the Blessed Sacrament exposed for adoration in the Chapel of the Holy Cross. The faithful who came to adore were so numerous that the bishop allowed the adoration to continue indefinitely, day and night. This decision was later ratified by the pope, and adoration at Avignon continued uninterrupted until 1792, when the French Revolution halted the devotion. It was resumed, however, in 1829. Also in the thirteenth century, Pope Urban the IV (reigned 1261–64) instituted the Feast of Corpus Christi (the Body of Christ), commissioning St. Thomas Aquinas to write hymns for the feast. The lyrics for these compositions reflect a profound awareness of Christ’s abiding Presence with us in the Blessed Sacrament and of the reverence, adoration, and gratitude we owe Him for that surpassing Gift. In
Paul Thigpen (Manual for Eucharistic Adoration)
He was but three-and-twenty, and had only just learned what it is to love—­to love with that adoration which a young man gives to a woman whom he feels to be greater and better than himself. Love of this sort is hardly distinguishable from religious feeling. What deep and worthy love is so, whether of woman or child, or art or music. Our caresses, our tender words, our still rapture under the influence of autumn sunsets, or pillared vistas, or calm majestic statues, or Beethoven symphonies all bring with them the consciousness that they are mere waves and ripples in an unfathomable ocean of love and beauty; our emotion in its keenest moment passes from expression into silence, our love at its highest flood rushes beyond its object and loses itself in the sense of divine mystery. And this blessed gift of venerating love has been given to too many humble craftsmen since the world began for us to feel any surprise that it should have existed in the soul of a Methodist carpenter half a century ago, while there was yet a lingering after-glow from the time when Wesley and his fellow-labourer fed on the hips and haws of the Cornwall hedges, after exhausting limbs and lungs in carrying a divine message to the poor. That afterglow has long faded away; and the picture we are apt to make of Methodism in our imagination is not an amphitheatre of green hills, or the deep shade of broad-leaved sycamores, where a crowd of rough men and weary-hearted women drank in a faith which was a rudimentary culture, which linked their thoughts with the past, lifted their imagination above the sordid details of their own narrow lives, and suffused their souls with the sense of a pitying, loving, infinite Presence, sweet as summer to the houseless needy. It is too possible that to some of my readers Methodism may mean nothing more than low-pitched gables up dingy streets, sleek grocers, sponging preachers, and hypocritical jargon—­elements which are regarded as an exhaustive analysis of Methodism in many fashionable quarters. That would be a pity; for I cannot pretend that Seth and Dinah were anything else than Methodists—­not indeed of that modern type which reads quarterly reviews and attends in chapels with pillared porticoes, but of a very old-fashioned kind. They believed in present miracles, in instantaneous conversions, in revelations by dreams and visions; they drew lots, and sought for Divine guidance by opening the Bible at hazard; having a literal way of interpreting the Scriptures, which is not at all sanctioned by approved commentators; and it is impossible for me to represent their diction as correct, or their instruction as liberal. Still—­if I have read religious history aright—­faith, hope, and charity have not always been found in a direct ratio with a sensibility to the three concords, and it is possible—­thank Heaven!—­to have very erroneous theories and very sublime feelings. The raw bacon which clumsy Molly spares from her own scanty store that she may carry it to her neighbour’s child to “stop the fits,” may be a piteously inefficacious remedy; but the generous stirring of neighbourly kindness that prompted the deed has a beneficent radiation that is not lost. Considering these things, we can hardly think Dinah and Seth beneath our sympathy, accustomed as we may be to weep over the loftier sorrows of heroines in satin boots and crinoline, and of heroes riding fiery horses, themselves ridden by still more fiery passions.
George Eliot
Caravaggio to another. I’m sure that’s crossed Ariosto’s mind, Coffin considered. Wonder if he’s more focused on retrieving this one, or if he thinks it’s gone forever, like the Palermo Adoration. Coffin scanned the interior as he took his first step inside. Three officers, one detective, one frantic priest, one missing altarpiece. Three flanking chapels on either side of the nave, each with a piece of art or relic as the focal point, chairs aligned in each, and empty prayer candles, one confessional booth, made of dark, oiled wood, much younger than the church itself, curtain in the front right corner must lead to offices, no holy water in the font, telephone beside the entrance, alarm keypad, motion sensors two feet off the ground along the periphery and across the altar, no locks on the ground-floor windows, not good,
Noah Charney (The Art Thief: A Novel)
Every morning, after Mass and meditation, you will make your way to work in a store or shipyard. And when you get back in the evening, tired, like all poor men forced to earn their living, you will enter the little chapel of the brotherhood and remain for a long time in adoration; bringing to your prayer all that world of suffering, of darkness, and often of sin, in the midst of which you have lived for eight hours taking your share of pain and toil.
Carlo Carretto (Letters from the Desert)
The Period of Inquiry: This time allows prospective converts to learn about the Catholic Church by attending Mass, spending time with the Lord in an adoration chapel, meeting with a priest or knowledgeable Catholic, or even by listening to Catholic radio or television. Above all else, the catechumen should pray for guidance through the RCIA process in order to develop a personal relationship with God through his son, Jesus Christ. The Order of Catechumens: An inquirer who wishes to become Catholic enters the order of catechumens. In order to do this, he is required to select a sponsor, a practicing Catholic who will guide and support him through the process and will be present when he receives the sacraments of initiation. Catechesis: The catechumen is formally taught the doctrines of the Faith and instructed in how to live the Christian life. This period culminates in
Trent Horn (Why We're Catholic: Our Reasons for Faith, Hope, and Love)
She refuses to look at La Conquistadora, the wooden statue of the Blessed Mother tucked high and snug in an opulent niche in her chapel to the left of the altar. The conquistadors brought her from Spain, hauled her around with them like a lucky charm as they invaded the peoples of the New World, and she served as a placid, unmoved witness to the violence they wrought. No wonder the Spaniards loved her so: O Conquistadora, Our Lady of the Rosary, Blessed Mother, Adoring Mother, Our Mother of Excuses and Turning a Blind Eye, Our Lady of Willful Ignorance and Boys Will Be Boys, Our Lady of Endless, Long-Suffering Hope.
Kirstin Valdez Quade (The Five Wounds)
never did he adore anyone quite so purely as he adored the Candidate, or hate so fiercely as he hated the Other Candidate. And never afterwards did he tell such a downright thumping lie, nor was there a time ever again when right and wrong seemed to him so simply on this side and on that. A little boy then, and a man now if he had lived; he was killed on July 1st, 1916. When Chips read out his name in Brookfield Chapel that week, his voice broke and he could not go on.
James Hilton (To You, Mr. Chips: More Stories of Mr. Chips and the True Story Behind the World's Most Beloved Schoolmaster)
The man who loves the rising sun must equally adore the darkest night. How else will the sun rise if not through the darkness? Who would enjoy the calm if they could not also embrace the storm? All greatness is born in the harshest conditions. It’s struggle, not having everything handed to you on a plate, which makes you great. If you’re afraid of struggle, you’re afraid of greatness. The Superman wants to march through hell. The Last Man wants to see only heaven. That’s why the Last Man does nothing of note, while everything done by the Superman is noteworthy. Are the masses taking a note of your life, or is there nothing to note? Most people vanish from their own lives. At the end, they realized they never lived at all. Most people impersonate being alive. It’s not a good impression. They don’t even convince themselves. But you always know when you have encountered one of the congregation of the Chapel of the Serpent. They always leave their mark … their bite.
David Sinclair (The Church of the Serpent: The Philosophy of the Snake and Attaining Transcendent Knowledge)
He gazes up at the ceiling of the chapel through half-closed eyes and thanks God for having sent him what is obviously a German spy and an angel of mercy rolled into one adorable package.
Neal Stephenson (Cryptonomicon)
A great festival was at hand, on the occasion of which the people of Metz were in the habit of making a pilgrimage some miles out from the city to a chapel celebrated for its images of the Virgin and the saints. His mind filled with Old Testament denunciations of idolatry, Leclerc, informing nobody of his intention, crept out of Metz the night before the pilgrimage and destroyed the images in the chapel. When, the next day, the worshippers arrived and found the shattered fragments of their images strewn over the chapel floor, they were filled with fury. Leclerc made no secret of what he had done. He exhorted the people to worship God only and declared that Jesus Christ, who is God manifest in the flesh, is alone to be adored.
E.H. Broadbent (The Pilgrim Church: Being Some Account of the Continuance Through Succeeding Centuries of Churches Practising the Principles Taught and Exemplified in The New Testament)
The first is Gentile da Fabriano’s Adoration of the Magi (Fig. 5), also known as the Strozzi Altarpiece. The painting is now in the Uffizi Gallery in Florence, but originally it was an altarpiece in the Strozzi family chapel in Santa Trinità, Florence.
Dana Arnold (Art History: A Very Short Introduction (Very Short Introductions Book 102))