Chapel Of The Holy Cross Quotes

Why do religions have edges?” asked Teresa. Sophie felt those edges now. She went into the Mission chapel. It was a small whitewashed room with deal pews, a strip of blue carpet, a carved lectern, and an altar; on the altar were brass vases filled with holly, and, between them, a brass cross. It was a little refuge of holiness and quiet in the press and hurry and alarms of the hospital. “God is here,” said the printed text on the wall. “Yes,” said Sophie. “But,” she asked, “isn’t He everywhere? Then why do they make Him little?” And she thought of those edges, pressing against each other, hurting, jarring, offending, barring one human being from another, shutting away their understanding and their souls. Yet if you have no edges, thought Sophie, how lonely, how drifting, you must consent to be.

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

A year before Bramante’s death, in 1513, Pope Julius II commissioned Raphael to decorate the Vatican apartments and Michaelangelo to paint the Sistine chapel.    In 1527 Rome was sacked by the army of the holy Roman empire led by the Holy Roman Emperor Charles V and the work once again ground to a halt. Over the next twenty years very little was done and then in 1546 Pope Paul II persuaded an elderly Michaelangelo to complete the building. Michaelangelo reverted back to the original plan of Bramante’s to create a church of Greek style cross plan.

room was brightly lit, the floor and walls white marble. At the far end were four black marble, square coloumns supporting a large roof, atop of which was a simple gold cross. Behind this, at the far end of the room was a glass case surrounded by brown marble.   “It’s beautiful,” Natalie said.   “This is the chapel of the holy relics,

The simple yet holy atmosphere of the Chapel of the Holy Cross moves many to pray. Light a candle inside the chapel and offer the sincerest prayer in your heart. No matter where you choose to pray, the following will help you. Presence: Peace: Alighment: Sincerity: Constancy: Gratitude:

Faith in the love that paid the penalty for our sin also provides powerful motivation to flee temptation. Were God merely a frowning tyrant—if all I feel when I face him is guilt and defeat—then I will never have the joy of my salvation that is spiritual strength. Yet because he has provided a way of escape from my guilt, I have reason to go to him in prayer to ask his forgiveness and to seek his aid. Gazing upon the cross, not fearing or fleeing from “the ogre in the sky,” destroys the power of temptation. Its allures lose their power over me when I am resting in the arms of a Savior who makes me eternally secure in his love.

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,

Guilt should drive us to the cross, but grace must lead us from it.

Although it is designed as a cathedral and most call it a cathedral, it is not actually one as far as the Church is concerned since it is not the seat of a bishop. That honor belongs to Barcelona’s Cathedral of the Holy Cross. “The basilica was consecrated in 2010 by Pope Benedict before a congregation of 6,500, including the king and queen of Spain. That allowed it to be used to conduct religious services, which continue to this day principally in the Chapel of the Assumption of Mary within the crypt.