Podcasts about Girolamo

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/8099LA MALATTIA DEL PAPA E LA DEVOZIONE AL PAPATO di Roberto de Mattei Il 22 febbraio, dopo qualche giorno di degenza al Policlinico Gemelli, Papa Francesco ha avuto un aggravamento delle condizioni di salute. Era il giorno della festa della Cattedra di San Pietro una tradizione molto antica, attestata a Roma fin dal secolo IV, con la quale si rende grazie a Dio per la missione affidata da Cristo all'apostolo Pietro e ai suoi successori di pascere, guidare e reggere il suo gregge universale.Nell'abside della Basilica di San Pietro, Gian Lorenzo Bernini, ha realizzato un monumento alla Cattedra dell'Apostolo in forma di grande trono bronzeo, sorretto dalle statue di quattro Dottori della Chiesa, due d'occidente, sant'Agostino e sant'Ambrogio, e due d'oriente, san Giovanni Crisostomo e sant'Atanasio.Un altro grande Dottore della Chiesa, san Girolamo, scrive: "Ho deciso di consultare la cattedra di Pietro, dove si trova quella fede che la bocca di un Apostolo ha esaltato; vengo ora a chiedere un nutrimento per la mia anima lì, dove un tempo ricevetti il vestito di Cristo. Io non seguo altro primato se non quello di Cristo; per questo mi metto in comunione con la tua beatitudine, cioè con la cattedra di Pietro. So che su questa pietra è edificata la Chiesa" (Le Lettere I, 15, 1-2).In questo passo, che risale alla fine del IV secolo, san Girolamo non solo proclama la dottrina del Primato di Pietro, che sarà definita come regola di fede dal Concilio di Firenze, dal Concilio di Trento e soprattutto dal Concilio Vaticano I, con la costituzione Pastor aternus, ma afferma anche la necessità della devozione al Papa, come elemento fondamentale della spiritualità cattolica. La devozione al Papa, come quella alla Madonna è un pilastro della spiritualità cattolica. Questa devozione non si rivolge a un principio astratto, ma a un uomo che incarna un principio e che, nella sua precarietà umana, è anche il Vicario di Cristo.Il Papa come uomo è debole e fallibile. La sua fragilità è fisica, psicologica, morale. Come persona privata il Papa può essere immorale, ambizioso, perfino eretico o sacrilego. Come persona pubblica il Papa, pur non essendo infallibile nel governare la Chiesa, può essere infallibile nel suo insegnamento. Per esserlo, deve rispettare determinate condizioni, che sono state chiarite dalla costituzione Pastor aeternus del 18 luglio 1870. Il Papa deve parlare come persona pubblica, ex cathedra, con l'intenzione di definire una verità di fede e di morale e di imporla come obbligatoria a credere a tutti i fedeli. Ciò purtroppo è avvenuto ben raramente nell'ultimo secolo.LA MORTE DEL PAPALa malattia del Papa, la morte del Papa, di ogni Papa ci ricorda l'esistenza di questo contrasto tra la persona privata del Papa, che può essere debole e vacillante, e quella pubblica, che esprime l'infallibilità della Chiesa.C'è una differenza tra la morte di un Papa e la morte di un sovrano temporale. Il Re deriva la sua legittimità, dal sangue, ovvero dal legame biologico che lo lega ai suoi antenati. Quando muore egli sopravvive nel suo erede, a cui lo lega lo stesso sangue. Il Papa invece è completamente estraneo a questa fisicità biologica. Il Papa non sopravvive in altri uomini, perché il Papa non ha eredi biologici. E' morto il Re, viva il Re, si dice nel momento in cui il monarca esala l'ultimo respiro. Ciò non avviene per il Papa, perché l'elezione del suo successore non avviene un attimo dopo la sua morte, ma solo dopo un conclave, che può anche essere lungo e contrastato. Si potrà dire semmai, è morto il Papa, viva la Chiesa, perché prima del Papa c'è la Chiesa, che lo precede e che gli sopravvive, sempre viva e sempre vittoriosa.Le monarchie e gli imperi terreni, come gli organismi umani, nascono e muoiono. Le civiltà sono mortali. La Chiesa, nata dal sangue del Calvario è invece immortale e indefettibile: durerà fino alla fine del mondo.Il contrasto tra la caducità fisica della persona e l'immortalità della istituzione. era espresso un tempo da un rito che è stato celebrato fino al 1963. Il Papa, dopo la sua elezione, appariva nella basilica di San Pietro, in tutta la sua maestà, sulla sedia gestatoria, circondato dalle guardie svizzere, e dalle guardie nobili, mentre due camerieri segreti, in cappa rossa con ermellino bianco, reggevano i flabelli. A un certo punto del percorso un cerimoniere, genuflettendosi tre volte dinnanzi al Pontefice, accendeva dei batuffoli di stoppa infilati su un'asta di argento, e mentre la fiamma ardeva, cantava lentamente: "Pater Sancte, sic transit gloria mundi!" "Padre Santo, così passa la gloria umana".SIC TRANSIT GLORIA MUNDIAll'uomo che quel giorno riceveva la corona destinata all'autorità più alta sulla terra, le parole Sic transit gloria mundi ammonivano: non ti vantare per la gloria che oggi ti avvolge, ricordati di essere un uomo fragile, destinato ad ammalarti e a morire.Questa cerimonia avvenne per l'ultima volta sul sagrato di San Pietro il 30 giugno 1963 in occasione dell'incoronazione di Paolo VI. Quando il Papa, dopo la Messa Pontificale, depose la mitra e assunse la tiara, risuonò, per l'ultima volta dopo molti secoli, la formula solenne: "Ricevi la tiara adorna di tre corone, e sappi di essere il padre dei principi e dei re, il reggitore del mondo, il Vicario in terra del Salvatore Nostro Gesù Cristo, al quale sia onore e gloria nei secoli dei secoli".Tra le prime decisioni del nuovo Pontefice fu proprio quella di abolire la cerimonia dell'incoronazione Pontificia, che era anteriore al IX secolo, come risulta dall'Ordo Romanus IX dell'epoca di Leone III.A partire dal gesto di Paolo VI iniziava quella confusione tra l'uomo e l'istituzione, che era destinata a dissolvere l'autentica devozione al Papato: una devozione che non è il culto dell'uomo che occupa la Cattedra di Pietro, ma è l'amore e la venerazione per la missione pubblica che Gesù Cristo ha affidato a Pietro e ai suoi successori. Questa missione può essere svolta da un uomo debole, inadeguato al suo compito, che resta però il legittimo successore di Pietro e che va amato e seguito anche nella sua fragilità, nella sua sofferenza e nella sua morte.Per questo il prof. Plinio Corrêa de Oliveira ha scritto, molti anni fa, con parole straordinariamente attuali: "Nella gloriosa catena costituita dalla Santissima Trinità, dalla Madonna e dal Papato, quest'ultimo costituisce l'anello meno forte: perché più terreno, più umano e, in un certo senso, avvolto da aspetti che lo possono screditare. Si usa dire che il valore di una catena si misura esattamente dal suo anello più fragile. Così, il modo più eccellente di amare questa straordinaria catena è baciare il suo anello meno forte: il Papato. È consacrare alla Cattedra di Pietro, verso la quale vengono meno tante fedeltà, la nostra fedeltà intera!".

"Colpo Gobbo" con Luigi Schiffo. Ospiti: Avv. Massimo Durante (Presidemte Jdentità Bianconera), Aldo De Girolamo, Domenico Marchese (La Repubblica),

"Colpo Gobbo" con Luigi Schiffo. Ospiti: Avv. Massimo Durante (Presidemte Jdentità Bianconera), Aldo De Girolamo, Domenico Marchese (La Repubblica),

Paypal: https://www.paypal.com/paypalme/editorialtpv El día de hoy hablaremos sobre el reformador Girolamo Zanchi (1516-1590); de acuerdo al ensayo de Christopher J. Burchill, Girolamo Zanchi: Portrait of a Reformed Theologian and His Work. Ver aquí: https://www.jstor.org/stable/2541437 . El programa de hoy se trata de un estudio biográfico y bibliográfico detallado de Girolamo Zanchi, un importante teólogo reformado. Explora la vida de Zanchi, centrándose en su carrera académica y sus controversias teológicas, en particular sus disputas con los teólogos luteranos de Estrasburgo. El programa también examina la historia de la publicación de las numerosas obras de Zanchi, destacando los retos a los que se enfrentó para difundir sus ideas y el éxito final de sus principales tratados teológicos. Se analizan sus contribuciones a la escolástica reformada y la influencia duradera de sus escritos.  Siguenos: - Web: https://teologiaparavivir.com/ - Blog: https://semperreformandaperu.org/ - Facebook: https://www.facebook.com/teologiaparavivir/ - Instagram: https://www.instagram.com/teologiaparavivir/ - Youtube: https://www.instagram.com/teologiaparavivir/

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=8024OMELIA EPIFANIA DEL SIGNORE - ANNO C (Mt 2,1-12) La solennità di oggi è un prolungamento della celebrazione del Natale del Signore. Più specificamente, ha lo scopo di celebrare il mistero della manifestazione della gloria infinita del Figlio unigenito del Padre al mondo intero. Già san Girolamo così spiegava ai suoi ascoltatori nell'Omelia sul giorno dell'Epifania: «Per designare questo giorno si usa il termine greco epifania. Ciò che noi, latini, indichiamo col termine apparizione oppure manifestazione, i greci lo chiamano epifania. A questo giorno si è dato questo nome proprio perché il nostro Signore e salvatore si è manifestato al pubblico». Per questo oggi ciascuno di noi è in festa ed è pieno di gioia, perché è sicuro di non essere escluso dalla salvezza che Gesù è venuto a portare a tutti.Le Letture di oggi mostrano molto bene questo grande mistero. La salvezza non è più offerta soltanto ai giudei, ma anche i pagani sono chiamati ad entrare nel Regno di Dio. È interessante notare come san Matteo, all'inizio del suo Vangelo, riferisca questo accenno alla misericordia di Dio rivolta a tutti i popoli, e concluda il suo Vangelo con la frase di Gesù: «Andate e fate discepoli tutti i popoli [...] io sono con voi [...]» (28,19s). Gesù vuole aprirsi a tutti gli uomini. A tutti vuole portare più pace, più amore, più gioia. Vuole diffondere ovunque il Suo lieto annuncio, la Buona Novella. Nessuno può più restare nelle tenebre. E per questo oggi vuole servirsi di noi.Nella prima Lettura vediamo la processione dei popoli verso la luce di Gerusalemme: «Cammineranno i popoli alla tua luce, i re allo splendore del tuo sorgere. Alza gli occhi intorno e guarda: tutti costoro si sono radunati, vengono a te. I tuoi figli vengono da lontano» (Is 60,3s). In passato, solo la città di Gerusalemme, cioè il popolo eletto, aveva la gioia di conoscere Dio. Ora, Dio in Cristo si è donato interamente all'umanità, per la salvezza di tutti. La Chiesa, istituita da Cristo, ha il compito di annunciare questa Buona Novella a tutti i popoli della terra.La salvezza è offerta a tutti, ma per averla in dono bisogna aderire a Cristo e fare la sua Volontà. Dopo aver conosciuto Cristo, non è possibile continuare a vivere come prima. Questo vale anche per noi cristiani. Se non ci convertiamo e non cambiamo stile di vita, finiremo anche noi per seguire il tragico cammino del popolo eletto, il quale non seppe riconoscere il suo giorno e la sua luce. Non riconobbe il suo Re e il suo Salvatore nel Bambino di Betlemme.L'episodio evangelico della visita dei Magi a Gesù Bambino è la manifestazione di questa grande verità: oggi viene rivelato quel mistero – come lo chiama san Paolo – che era rimasto nascosto precedentemente sia agli Ebrei che agli altri popoli, cioè che Cristo è l'unico Salvatore di tutti gli uomini, e non solo del popolo ebraico. È vero che Gesù è «il re dei Giudei», il Messia, discendente di Davide, nato a Betlemme. Però, Egli è pure destinato ad essere la «salvezza preparata da Dio davanti a tutti i popoli» (Lc 2,30s), e la «luce per illuminare le genti» (2,32).L'Epifania è perciò per eccellenza la festa missionaria, la festa in cui tutti i popoli sono chiamati alla fede. E poiché anche noi eravamo tra quei popoli pagani, oggi è anche la festa della nostra chiamata alla fede. Pure noi siamo stati chiamati ad entrare in quel disegno di salvezza, che Dio ha voluto per tutti gli uomini. Questo grande dono non possiamo però tenerlo per noi. Anche noi dobbiamo essere luce e salvezza per gli altri con la testimonianza delle nostre opere buone, scaturite dalla nostra fede, secondo quanto scriveva san Paolo agli Efesini, e secondo quanto la Liturgia ora rivolge a noi: «Se un tempo eravate tenebra, ora siete luce nel Signore. Comportatevi perciò come i figli della luce; il frutto della luce consiste in ogni bontà, giustizia e verità. Cercate ciò che è gradito al Signore, e non partecipate alle opere infruttuose delle tenebre, ma piuttosto condannatele apertamente» (Ef 5,8-11). Gli altri vedendo le buone opere nostre glorificheranno il Padre e si sentiranno attirati al Vangelo di Gesù, che dona la salvezza.La preghiera di Colletta della Santa Messa ci fa chiedere con fiducia: «O Dio, che in questo giorno, con la guida della stella, hai rivelato alle genti il tuo unico Figlio, conduci benigno anche noi, che già ti abbiamo conosciuto per la fede, a contemplare la grandezza della tua gloria» (dal Messale Romano). Rivolgiamoci con fiducia alla Madonna: come ha presentato Gesù Bambino all'adorazione dei pastori nella Notte di Natale, come lo ha presentato all'adorazione dei Magi, così lo presenti ogni giorno anche a noi, come nostro Salvatore.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7955SAN TOMMASO, IL DOTTORE ANGELICO, IN CINQUE PUNTINel 1567 Papa san Pio V proclamò san Tommaso dottore della Chiesa (a quel tempo i dottori della Chiesa erano solo i 4 più grandi Padri della Chiesa: Ambrogio, Girolamo, Agostino e Gregorio Magno)di Padre Giorgio CarboneNel 1317, cioè 43 anni dopo la morte e 6 anni prima della canonizzazione, Tommaso d'Aquino era abitualmente chiamato "communis doctor" presso l'Università di Parigi, all'epoca il più importante centro di studi di Filosofia e di Teologia. 250 anni dopo, esattamente il 15 aprile 1567, il papa san Pio V proclamò san Tommaso dottore della Chiesa. Oggi i dottori della Chiesa sono 37, ma allora erano solo 4: Ambrogio, Girolamo, Agostino e Gregorio Magno. Pertanto sia il titolo in sé sia il numero esiguo dei santi proclamati tali ci segnalano una dote singolare e rara. (...)In altri termini la Chiesa segnala in Tommaso un eccellente maestro della fede cristiana e del pensiero umano, esemplare per gli scritti e per la fedeltà a Cristo Signore vissuta nella sua esistenza. (...) Se consideriamo che il Concilio Vaticano II indica solo Tommaso d'Aquino come maestro cui ispirarsi, e non altri teologi o dottori, allora questi due brani del magistero conciliare acquistano un significato peculiare per il nostro discorso. Questa presa di posizione ufficiale con grande probabilità fu ispirata da papa Paolo VI, il quale un anno prima, il 12 marzo 1964, rivolgendosi agli insegnanti e agli studenti dell'Università Gregoriana di Roma aveva detto: «I professori ascoltino con riverenza la voce dei dottori della Chiesa, tra i quali san Tommaso d'Aquino occupa un posto speciale. Infatti, la forza dell'ingegno del Dottore Angelico, il suo sincero amore per la verità e la sua sapienza nel ricercare le altissime verità, illustrarle e unirle in un nesso appropriatissimo sono talmente grandi che la sua stessa dottrina è uno strumento efficacissimo non solo per dare alla fede un solido fondamento, ma anche per sperimentare utilmente e con sicurezza i frutti di un suo sano sviluppo».RAPPORTO TRA FEDE E RAGIONEGiovanni Paolo II nell'enciclica Fides et Ratio dedicata al rapporto tra fede e ragione cita ripetutamente san Tommaso e dedica un intero paragrafo alla «novità perenne» del suo pensiero (nn. 43-44). (...): «(...) Pur sottolineando con forza il carattere soprannaturale della fede, il Dottore Angelico non ha dimenticato il valore della sua ragionevolezza; ha saputo, anzi, scendere in profondità e precisare il senso di tale ragionevolezza. La fede, infatti, è in qualche modo "esercizio del pensiero"; la ragione dell'uomo non si annulla né si avvilisce dando l'assenso ai contenuti di fede; questi sono in ogni caso raggiunti con scelta libera e consapevole. E per questo motivo che, giustamente, san Tommaso è sempre stato proposto dalla Chiesa come maestro di pensiero e modello del retto modo di fare teologia. (...) Tra le grandi intuizioni di san Tommaso vi è anche quella relativa al ruolo che lo Spirito Santo svolge nel far maturare in sapienza la scienza umana. Fin dalle prime pagine della sua Summa Theologiae l'Aquinate volle mostrare il primato di quella sapienza che è dono dello Spirito Santo ed introduce alla conoscenza delle realtà divine. La sua teologia permette di comprendere la peculiarità della sapienza nel suo stretto legame con la fede e la conoscenza divina. Essa conosce per connaturalità, presuppone la fede e arriva a formulare il suo retto giudizio a partire dalla verità della fede stessa: "La sapienza elencata tra i doni dello Spirito Santo è distinta da quella che è posta tra le virtù intellettuali. Infatti quest'ultima si acquista con lo studio: quella invece viene dall'alto, come si esprime san Giacomo. Così pure è distinta dalla fede. Poiché la fede accetta la verità divina così com'è, invece è proprio del dono di sapienza giudicare secondo la verità divina". La priorità riconosciuta a questa sapienza, tuttavia, non fa dimenticare al Dottore Angelico la presenza di altre due complementari forme di sapienza: quella filosofica, che si fonda sulla capacità che l'intelletto ha, entro i limiti che gli sono connaturali, di indagare la realtà; e quella teologica, che si fonda sulla Rivelazione ed esamina i contenuti della fede, raggiungendo il mistero stesso di Dio. Intimamente convinto che "omne verum a quocumque dicatur a Spiritu Sancto est", san Tommaso amò in maniera disinteressata la verità. Egli la cercò dovunque essa si potesse manifestare, evidenziando al massimo la sua universalità. In lui, il Magistero della Chiesa ha visto ed apprezzato la passione per la verità; il suo pensiero, proprio perché si mantenne sempre nell'orizzonte della verità universale, oggettiva e trascendente, raggiunse "vette che l'intelligenza umana non avrebbe mai potuto pensare». Con ragione, quindi, egli può essere definito "apostolo della verità". Proprio perché alla verità mirava senza riserve, nel suo realismo egli seppe riconoscerne l'oggettività. La sua è veramente la filosofia dell'essere e non del semplice apparire».SAN TOMMASO, MAESTRO PERENNE, IN CINQUE PUNTIPossiamo così riassumere gli aspetti per cui san Tommaso è presentato come maestro perenne:- l'amore sincero per la verità che induce a dialogare con l'altro per conoscere le sue opinioni e a cercare sempre, non il rispetto umano o il concordismo, ma l'adesione anche spregiudicata dell'intelligenza alla realtà;- la fiducia nella ragione umana: questa è capace di conoscere la realtà, e quindi di approdare al vero;- l'armonia e la collaborazione tra la ragione e la fede: sono due modi diversi e complementari di conoscere il reale;- la capacità di esercitarsi nella speculazione delle cose conosciute per cogliere il nesso che le unisce (altrimenti il sapere è ridotto ad un'accozzaglia di nozioni) e per proporre un sistema coerente di idee;- il primato dato a Dio, che creandoci ci dà oggi la vita e la capacità di agire, e quindi il primato dato alla comunione con Dio nella preghiera, nella Messa e nell'Eucaristia offerta e adorata. Tommaso era solito dire ai suoi confratelli e ai suoi studenti che aveva imparato di più pregando che studiando.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7932SAN GIROLAMO E LA CADUTA DELL'IMPERO ROMANO di Roberto de MatteiIl 30 settembre si celebra la memoria di san Girolamo (347-420) uno dei più grandi Dottori della Chiesa, che, come sant'Agostino, si trovò a vivere il dramma della caduta dell'Impero romano.Girolamo nacque a Stridone, in Dalmazia, nel 347, studiò a Roma, dove ricevette il battesimo. Si recò quindi in Oriente, soggiornando soprattutto ad Antiochia. Tornato a Roma nel 382, divenne segretario di papa Damaso e indirizzò all'ideale ascetico vari nobili romani. Un gruppo di donne dell'aristocrazia si riunirono sotto la guida di Girolamo per condurre una vita più perfetta, seguendo il suo appello a una nuova nobiltà cristiana, basata sulla preghiera e sulla verginità. Tra queste ricordiamo Marcella che fece del suo palazzo sull'Aventino una sorta di convento femminile, Fabiola, Proba, Paola. Dopo la morte di san Damaso però, Girolamo fu fortemente combattuto dalla Curia romana, e venne perfino accusato della morte di una sua discepola per i suoi digiuni eccessivi. Nel 386 lasciò allora Roma e si trasferì in Palestina. Alcune discepole, tra cui Paola e la figlia Giulia Eustochio, che saranno entrambe canonizzate, per non perdere i suoi insegnamenti, lo seguirono e decisero di rimanere con lui in Terra Santa fino alla fine dei loro giorni. "Onore a queste valorose! - scrive dom Guéranger - La loro fedeltà, la loro sete di sapere, le loro pie importunità procureranno al mondo un tesoro che non ha prezzo: la traduzione autentica dei Libri santi (Conc. Trid. Sess. IV)". Infatti fu grazie alla loro collaborazione che Girolamo realizzò quella che fu la principale opera della sua vita: la traduzione della Bibbia dal greco e dall'ebraico al latino, la celebre Vulgata, che è ancora oggi il testo biblico ufficiale a cui fa riferimento la Chiesa.Girolamo subì durante la sua vita attacchi e diffamazioni, anche all'interno della Chiesa. A Gerusalemme entrò in contrasto con il vescovo Giovanni, che appoggiava l'eretico Pelagio. "Forti dell'appoggio del vescovo di Gerusalemme, - scrive Dom Guéranger - i Pelagiani si armarono una notte di torcia e di spada e si gettarono all'assassinio e all'incendio sul monastero di Girolamo e sulle vergini, che dopo la morte di Paola riconoscevano per madre Eustochio. Virilmente affiancata dalla nipote, Paola la giovane, la santa raccolse le sue figliuole e riuscì ad aprirsi un passaggio in mezzo alle fiamme. Ma l'ansietà della terribile notte aveva consumate le sue forze e Girolamo la seppellì presso la mangiatoia del Dio Bambino, come la madre e, lasciando incompiuto il suo commento a Geremia, si dispose egli pure a morire".LA MORTE DI SAN GIROLAMOSan Girolamo morì poco dopo, il 30 settembre 420. Prima di morire fu testimone nelle sue lettere degli eventi terribili che aprirono il IV secolo. Il 31 dicembre dell'anno 406 i barbari attraversarono il Reno su una spessa lastra di ghiaccio, irrompendo all'interno dei confini dell'impero. Erano Vandali, Alani, Svevi, tribù intere, con donne e bambini, carri, bestie e greggi, quelli che travolsero ogni resistenza e dilagarono in Gallia. Nulla poté più fermarli.Una lettera che san Girolamo scrisse da Betlemme nel 409 ci offre un'immagine impressionante della situazione in cui allora versava l'Impero: "Se fino a questo momento alcuni di noi, per quanto rari, stiamo ancora a casa nostra, non è merito nostro ma lo dobbiamo alla misericordia di Dio. Popolazioni senza numero e ferocissime hanno occupato tutte quante le Gallie. Tutto ciò che è compreso tra le Alpi e i Pirenei, tra l'Oceano e il Reno, i Quadi, i Vandali, i Sarmati, gli Alani, i Gepidi, gli Eruli, i Sassoni, i Burgundi, gli Alemanni e - oh, Stato disgraziato! - i Pannoni, nostri nemici, tutto quanto hanno saccheggiato. Magonza, quell'illustre città d'un tempo, è stata presa e rasa al suolo; nella sua chiesa è stata fatta una carneficina di migliaia e migliaia di persone. (...). Le province dell'Aquitania, di Novempopulonia, di Lione e di Narbona sono state completamente rase al suolo (...). Non mi riesce di ricordare Tolosa senza uno scroscio di lacrime. Se finora non è stata demolita lo si deve ai meriti del suo santo vescovo Esuperio. Anche le Spagne sono lì per lì per ricevere il colpo di grazia (...). Da tempo le regioni comprese tra il Ponto Eusino e le Alpi Giulie e che appartenevano a noi, non sono più nostre; e sono ormai trent'anni che, violato il confine del Danubio, si sta combattendo in pieno territorio dell'impero romano. A forza di versar lacrime, le abbiamo perse tutte invecchiando" (Lettera 123, 15-16).IL SACCO DI ROMAIl peggio non era ancora venuto. San Girolamo e le sue discepole si trovavano a Betlemme quando nell'agosto del 410 un immenso esercito di Visigoti, Unni, Alani e Sciti, guidati da Alarico, giunse, senza incontrare resistenza alle porte di Roma e la invase. Rapine, incendi, stragi, desolarono una città che, da ottocento anni, non era mai stata invasa dal nemico.La notizia del sacco di Roma produsse in tutto il mondo un senso di stupore e di profonda costernazione. La città sovrana, la città eterna, Roma, era stata esposta all'oltraggio dei barbari che essa aveva mille volte debellati.Sono commoventi le espressioni di dolore nelle quali proruppe san Girolamo alle successive e sempre più tristi notizie della caduta della città eterna. "Stavo per tradurre Ezechiele - egli racconta - quando mi giunse in Palestina la notizia della presa di Roma per mano di Alarico e della barbarica devastazione dell'Occidente; rimasi istupidito, e nulla più feci se non piangere". "Il più risplendente lume - egli esclama - si è spento; il capo del mondo è tronco e nella rovina di una sola città è perito tutto l'impero". "La città - così egli continua - che aveva soggiogato tutti i popoli, è stata espugnata; quella che aveva raccolto e accumulato tutti i tesori della terra, è ora spoglia e ridotta ad un mucchio di rovine".Eppure mentre l'astro di Roma si spegneva una nuova luce si accendeva: era la Roma cristiana, la Roma degli Apostoli Pietro e Paolo, la Roma che a differenza di quella pagana, avrebbe sfidato i secoli e i millenni.La luce di questa Roma che non tramonta continua a illuminare il mondo anche quando esso, come oggi accade, sembra immerso nelle tenebre. Il mondo moderno sembra seguire il percorso autodistruttivo dell'Impero romano; la Chiesa di Roma è destinata ad affermarsi sulle rovine del mondo moderno, come già accadde dopo il V secolo.

In quel tempo, nacque una discussione tra i discepoli, chi di loro fosse più grande. Allora Gesù, conoscendo il pensiero del loro cuore, prese un bambino, se lo mise vicino e disse loro: «Chi accoglierà questo bambino nel mio nome, accoglie me; e chi accoglie me, accoglie colui che mi ha mandato. Chi infatti è il più piccolo fra tutti voi, questi è grande». Giovanni prese la parola dicendo: «Maestro, abbiamo visto uno che scacciava demòni nel tuo nome e glielo abbiamo impedito, perché non ti segue insieme con noi». Ma Gesù gli rispose: «Non lo impedite, perché chi non è contro di voi, è per voi».

Il 30 settembre si celebra la memoria di san Girolamo (347–420) uno dei più grandi Dottori della Chiesa, che, come sant'Agostino, si trovò a vivere il dramma della caduta dell'Impero romano.Girolamo nacque a Stridone, in Dalmazia, nel 347, studiò a Roma, dove ricevette il battesimo. Si recò quindi in Oriente, soggiornando soprattutto ad Antiochia. Tornato a Roma nel 382, divenne segretario di papa Damaso e indirizzò all'ideale ascetico vari nobili romani. Un gruppo di donne dell'aristocrazia si riunirono sotto la guida di Girolamo per condurre una vita più perfetta, seguendo il suo appello a una nuova nobiltà cristiana, basata sulla preghiera e sulla verginità. Tra queste ricordiamo Marcella che fece del suo palazzo sull'Aventino una sorta di convento femminile, Fabiola, Proba, Paola. Dopo la morte di san Damaso però, Girolamo fu fortemente combattuto dalla Curia romana, e venne perfino accusato della morte di una sua discepola per i suoi digiuni eccessivi. Nel 386 lasciò allora Roma e si trasferì in Palestina. Alcune discepole, tra cui Paola e la figlia Giulia Eustochio, che saranno entrambe canonizzate, per non perdere i suoi insegnamenti, lo seguirono e decisero di rimanere con lui in Terra Santa fino alla fine dei loro giorni. “Onore a queste valorose! – scrive dom Guéranger - La loro fedeltà, la loro sete di sapere, le loro pie importunità procureranno al mondo un tesoro che non ha prezzo: la traduzione autentica dei Libri santi (Conc. Trid. Sess. IV)”. Infatti fu grazie alla loro collaborazione che Girolamo realizzò quella che fu la principale opera della sua vita: la traduzione della Bibbia dal greco e dall'ebraico al latino, la celebre Vulgata, che è ancora oggi il testo biblico ufficiale a cui fa riferimento la Chiesa.  

No episódio #92 apresentado pelas petianas Alice Dias e Maria Eduarda Veras, recebemos o ex-petiano Frederico Schornbaum para mais um tradicional episódio de monografia. Nessa conversa o Fred contou um pouco sobre sua longa e sinuosa trajetória até seu tema da monografia: “O OUTRO EM ESCALA: A Conquista e a Alteridade nas Crônicas de Girolamo Benzoni e Anthony Knivet”. Trazendo, também, reflexões sobre alteridade, escalas, o cristianismo na conquista, as relações entre os homens e o espaço, e muito mais. Roteiro e apresentação: Alice Dias e Maria Eduarda Veras/ Edição: Rafael Valero/ Revisão: Geysa Gomes Nossas redes

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Un corpulento e sempre affamato avventuriero e il suo compare pellerossa, in fuga dalla legge e dalla terribile tribù dei Mescaleros, arrivano a Yucca, una cittadina in rovina dove spadroneggia lo spietato Colorado Slim e la sua banda. Scambiato per un dottore e assunto il nome Doc, l'avventuriero riporterà la serenità nel paese, a suon di sganassoni. Ogni tanto, le Recensioni CaRfatiche devono rendere omaggio a quello splendido eroe di tutti che è stato Bus Spencer, al secolo Carlo Pedersoli. Questo film, sicuramente più leggero di Trinità e decisamente più parodistico rispetto a Dio perdona io no, regala comunque un mucchio di sorrisi e momenti memorabili, nei quali spicca immensa la colonna sonora di Morricone. Bravissimo anche Amidou, nel ruolo della spalla Girolamo. Non manca una "piccola" critica anche verso coloro che reputano questo film stupido. Sicuri che gli stupidi non siate voi?

Con questo giro di giostra consegneremo alla storia un documento di rara raffinatezza intellettuale. Le cose più simili sono i “Dialoghi platonici“, l'intervista di Truffaut a Hitchcock e il confronto televisivo fra Moretti e Monicelli. Un viaggio nel tempo, una profonda riflessione sull'amore, una dissertazione filosofica sull'arte che convivono - inevitabilmente - con una goliardia da infima taverna. Sono particolarmente fiero di questo contenuto, e pure se so fin da subito che non sarà mai mainstream, ci tengo a farvi presente che se assisterete a questo lungo miracolo transmediale su EGOriferiti, la vostra vita cambierà per sempre. Grazie, Girolamo. #EGOriferiti #podcast #vodcast #arte #pittura #quadri #dipinto #artista #Palermo #GirolamoDiCara #amore #bellezza #EsterPantano #attrice #Makari #Palomar --- Send in a voice message: https://podcasters.spotify.com/pod/show/giuseppe-cardinale/message

“This day shall be a memorial feast for you, which all your generations shall celebrate with pilgrimage to the LORD, as a perpetual institution.” Exodus 12:11The holy Triduum begins. Today we fulfill this Old Testament passage, revealing that the Passover would become “a perpetual institution.” This passage concludes our First Reading instruction from the LORD given to Moses and Aaron on how to prepare for the Israelites' liberation from Egypt. Plague after plague had been inflicted upon the Egyptians, and none of them resulted in the Israelites being set free. Therefore, the LORD instructed the Israelites to celebrate the first Passover by killing a year-old lamb, sprinkling its blood on their doorposts, and feasting on the flesh in preparation for the journey to the Promised Land. Today, we continue this Passover celebration as we share in the Sacrifice of the Lamb of God, Whose Blood has been shed, Whose flesh we consume, and Who leads us through the desert of life to the new and eternal Promised Land of Heaven.Just as the first Passover was a prefiguration of the Sacrifice of the Lamb of God, so also the plagues that led up to the Passover present us with much meaning. At first, all the water in Egypt turned to blood. Then frogs, gnats, flies and pestilence covered the land. Boils covered the skin of humans and animals. Hail rained down, locusts covered the land, and finally darkness covered the land for three days. None of these plagues was ultimately successful in convincing Pharaoh to let God's people go; therefore, the final plague to be inflicted was the death of the firstborn. It was the blood of the paschal lamb, sprinkled on the doorposts of the Israelites' houses that signaled to the angels to pass over their homes.The plagues inflicted on Pharaoh and the Egyptians were severe. But because of their obstinacy, God continued until they changed. Recall, also, that even after the Israelites were set free, Pharaoh changed his mind and pursued them into the Red Sea where his army perished.Though these prefiguring events might not be that pleasant to consider, they must be reflected upon. We must see in them God's tireless and relentless efforts to set us free from sin. The obstinacy and oppression of Pharaoh are clear signs of the oppressive evil within our world today, and within our own souls. When we seek to embrace the freedom to which we are called, we will be met with much temptation and oppression from the evil one, as well as from our own fallen human nature. But if we trust in God, as Moses did, then we will be given all we need to begin the journey to freedom. Most specifically, the Flesh and Blood of the Son of Man is our Paschal Lamb. The Eucharist, which was instituted on Holy Thursday, protects us from the final death. Consuming the Body of Christ also strengthens us for our spiritual journeys. Without it, we have no protection from the evil one and lack the strength we need to be faithful on our journey.Reflect, today, upon God's incredible commitment to set you free. He came to earth, took on human form, offered His life in sacrifice, and now feeds you with His sacred flesh. Without the Eucharist as your spiritual food and His Sacred Blood covering you, you will not survive. We all need the Eucharist. We need the Bread of Heaven. We need the Body and Blood, Soul and Divinity of the Savior of the World. God went to the greatest length to save you. Accept His Gift that we especially commemorate and participate in today.My Sacrificial Lamb, You came to earth to set us free from the oppression of the evil one and from the disorders of our fallen human nature. Please feed me today and always with Your Sacred Body and Precious Blood. By the strength of this Food from Heaven, continue to lead me to the Promised Land of Heaven. Jesus, I trust in You. Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured images above: Venice - Last supper of Christ by Girolamo da Santacroce By Renáta Sedmáková, via Adobe

The following episode is also available on YouTube: https://youtu.be/U4rQb2ug058 This week we take ideas and insights from Roberta De Girolamo, Director of Sales at Dropbox about change management.   Change is going to happen, that's inevitable. But it's critically important to set your expectations along the way.  We take a look at the role of the change champion, the value of pilots and hypotheses in implementing change, as well as the need to understand individual motivations and team culture. What you'll learn: Why the majority of people do not like change. Why intentional communication about a change's positives and negatives will benefit your team. What are the different groups of people, and how do they each react differently to change. How a pilot failure might not be a failure at all.   -=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=- AI is here.  Is your sales team ready? Technology is changing the way buyers and sellers interact. Clear, concise communication is more important than ever and personalizing that communication will be the difference between winning and losing deals. Download this guide to learn how to use technology as a weapon. Not only the words and topics of conversations, but the nuance of how to tailor communications, both written and spoken to match the desires of the buyer. This guide will discuss: Using AI to Profile the buyer Identify Behavioral Data Target Buyers and Influencers Get your free whitepaper at Fullfunnelfreedom.com/ai -=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=--=+=- Resources: Radical Candor: Be a Kick-Ass Boss Without Losing Your Humanity - by Kim Scott Let's Get Real or Let's Not Play: Transforming the Buyer/Seller Relationship - by Mahan Khalsa, Randy Illig, Stephen R. Covey, et all. The Dip - By Seth Godin Change: The Sandler Way - By Hamish Knox Roberta De Girolamo on LinkedIn Full Funnel Freedom https://fullfunnelfreedom.com Sandler on Instagram https://www.instagram.com/sandler_yyc/  Sandler in Calgary - www.hamish.sandler.com/howtosandler Connect with Hamish Knox on LinkedIn https://www.linkedin.com/in/hamishknox/ Sponsorship or guest inquiries - podcast@fullfunnelfreedom.com

Im zweiten Teil zum Thema ADHS haben sich Sinja und Boris eine Expertin mit ins Boot geholt. Christiane Altemöller ist ADHS-Coach für Erwachsene und lebt selbst mit der Diagnose ADHS. Sie berichtet von ihren Erfahrungen aus ihrem eigenen Leben und aus ihrem Coaching. Außerdem ergründen die drei, wie ADHS behandelt werden kann und welche Rolle Achtsamkeit dabei spielen kann. Wie gefällt dir Verstehen, fühlen, glücklich sein? Erzähle es uns hier.Hintergründe und Studien:Mehr zu Christiane AltemöllerZur Website Coaching – ADHS ADULT im DIALOGZu Christiane: Linkedin, InstagramCrescenzo, F., Cortese, S., Adamo, N., & Janiri, L. (2016). Pharmacological and non-pharmacological treatment of adults with ADHD: a meta-review. Evidence-Based Mental Health, 20, 11 - 4. Link zur StudieSonuga-Barke, E., Brandeis, D., Cortese, S., Daley, D., Ferrín, M., Holtmann, M., Stevenson, J., Danckaerts, M., Oord, S., Döpfner, M., Dittmann, R., Simonoff, E., Zuddas, A., Banaschewski, T., Buitelaar, J., Coghill, D., Hollis, C., Konofal, E., Lecendreux, M., Wong, I., & Sergeant, J. (2013). Nonpharmacological interventions for ADHD: systematic review and meta-analyses of randomized controlled trials of dietary and psychological treatments.. The American journal of psychiatry, 170 3, 275-89 . Link zur StudieLambez, B., Harwood-Gross, A., Golumbic, E., & Rassovsky, Y. (2020). Non-pharmacological interventions for cognitive difficulties in ADHD: A systematic review and meta-analysis.. Journal of psychiatric research, 120, 40-55. Link zur StudieXie, Y., Gao, X., Song, Y., Zhu, X., Chen, M., Yang, L., & Ren, Y. (2021). Effectiveness of physical activity intervention on ADHD symptoms: a systematic review and meta-analysis. Frontiers in psychiatry, 12, 706625. Link zur StudieTürk, S., Korfmacher, A. K., Gerger, H., Van der Oord, S., & Christiansen, H. (2023). Interventions for ADHD in childhood and adolescence: A systematic umbrella review and meta-meta-analysis. Clinical Psychology Review, 102271. Link zur StudieChimiklis, A. L., Dahl, V., Spears, A. P., Goss, K., Fogarty, K., & Chacko, A. (2018). Yoga, mindfulness, and meditation interventions for youth with ADHD: Systematic review and meta-analysis. Journal of Child and Family Studies, 27, 3155-3168. Link zur StudieXue, J., Zhang, Y., & Huang, Y. (2019). A meta-analytic investigation of the impact of mindfulness-based interventions on ADHD symptoms. Medicine, 98(23). Link zur StudieOliva, F., Malandrone, F., di Girolamo, G., Mirabella, S., Colombi, N., Carletto, S., & Ostacoli, L. (2021). The efficacy of mindfulness-based interventions in attention-deficit/hyperactivity disorder beyond core symptoms: A systematic review, meta-analysis, and meta-regression. Journal of affective disorders, 292, 475-486. Link zur StudieUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Anna Maria Riccomini, Claudia Magna"Girolamo da Carpi, disegnatore"Il taccuino romano della Biblioteca Reale di TorinoOfficina Librariawww.officinalibraria.netUn disegnatore sensibile e attento, non uno di quei nomi noti oggi al grande pubblico, ma un artista capace di lasciare il segno e di incuriosire anche l'osservatore moderno. Girolamo Sellari detto da Carpi (1501-1556), ferrarese di nascita, riuscì a ritagliarsi uno spazio tutto suo nella Roma di metà Cinquecento, acquistando presto fama di intenditore di statuaria classica e, soprattutto, di abile architetto di giardini di antichità: un'attività in cui – come scrive il Vasari – «si portò tanto bene che ne restò ognuno stupefatto». Entrato al servizio di papa Giulio III e del cardinale Ippolito II d'Este, che lo impiegò nelle sue residenze di Roma e nel cantiere, all'epoca appena aperto, della Villa di Tivoli, negli anni del suo ultimo soggiorno romano (tra il 1549 e il 1553) Girolamo sembra trascurare un po' la pittura a vantaggio, si direbbe, del disegno. Il taccuino romano, di cui restano duecento fogli, oggi suddivisi tra i novanta della Biblioteca Reale di Torino, gli ottantacinque del Rosenbach Museum & Library di Philadelphia e i cinque del British Museum, ci svelano un artista affascinato dai marmi antichi ma che non trascura di rendere omaggio alle opere dei grandi: di Raffaello e della sua cerchia, in primis, di Michelangelo, di Parmigianino. Gli studi recenti, che hanno dato nuova visibilità all'attività di Girolamo da Carpi, si sono occupati solo marginalmente del taccuino: questo catalogo intende ora aggiornare, per quanto riguarda la sezione torinese, l'edizione fatta nel 1976 da Norman W. Canedy, dando più spazio ai disegni dall'antico, in cui Girolamo, per usare le parole di Frederick Antal, «made the stones come to life».Anna Maria Riccominiinsegna Storia dell'Arte Classica al Dipartimento di Musicologia e Beni Culturali dell'Università di Pavia. Si è laureata a Pisa, con una tesi sul taccuino romano di Girolamo da Carpi e, da allora, l'artista ferrarese si è riaffacciato, di tanto in tanto, nei suoi studi sul collezionismo di antichità e sui disegni dall'antico. Ha partecipato, di recente, agli Atti del Convegno Internazionale di Studi Disegnare l'antico, riproporre l'antico nel Cinquecento. Taccuino, copie e studi intorno a Girolamo da Carpi, a cura di A. Pattanaro e S. Ferrari, con un contributo dal titolo Alla ricerca dei modelli. Girolamo da Carpi “fedele” disegnatore dall'antico (Padova University Press, 2019). Claudia Magnasi è laureata in Storia dell'Arte Classica presso il Dipartimento di Musicologia e Beni Culturali dell'Università di Pavia, con Anna Maria Riccomini, discutendo una tesi sui disegni dall'antico dello scultore francese Antoine - Léonard Dupasquier (1748–1832). Per oltre un anno ha collaborato con la Biblioteca Reale di Torino, dove si è occupata dello studio della collezione di disegni di scuola italiana del XVI secolo: ha catalogato l'intero nucleo torinese del taccuino romano di Girolamo da Carpi e parte della raccolta dei disegni, in alcuni casi ancora inediti, acquistati dal re Carlo Alberto di Savoia.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it 

En esta edición escucharemos y comentaremos la "Cantata de los derechos humanos" con textos del sacerdote Esteban Gumucio y música de Alejandro Guarello para una obra que marcó una época. La Cantata Caín y Abel por los Derechos Humanos fue elaborada en el marco de un Simposio sobre Derechos Humanos organizado por la Vicaría de la Solidaridad, que se llevó a cabo entre el 22 y 25 de noviembre de 1978 en Santiago, en plena dictadura. La obra fue encargada directamente por el Cardenal Raúl Silva Henríquez a Gumucio, y fue estrenada el 25 de noviembre de 1978 en la Catedral Metropolitana de Santiago. La interpretación musical estuvo a cargo del Grupo Ortiga, la narración fue realizada por el actor Roberto Parada. Participaron además un conjunto coral dirigido por Waldo Aránguiz. El diseño de la portada del disco pertenece a Claudio di Girolamo. En esta obra, Gumucio hace una comparación entre el episodio bíblico donde Caín mata a su hermano Abel, para simbolizar la muerte entre hermanos de una misma tierra. Esperamos sus comentarios. --- Support this podcast: https://podcasters.spotify.com/pod/show/libreriaradio/support

Girolamo Savonarola was a late 15th century Dominican friar who rose to become a preacher, prophet, and politician. He took on the corruption of the Roman Catholic Church and despotic rulers including the powerful Medicis. He was both progressive - helping to lay the foundations of the Reformation and the Enlightenment - but also fundamentalist and deeply unsettling. In this episode, Professor Suzannah Lipscomb talks to award-winning author Denise Mina, whose novel Three Fires tells the story of Savonarola and his role in the bonfire of the vanities - the burning of objects considered sinful, such as cosmetics, mirrors, books, and art.This episode was produced by Rob Weinberg.Discover the past with exclusive history documentaries and ad-free podcasts presented by world-renowned historians from History Hit. Watch them on your smart TV or on the go with your mobile device. Get 50% off your first 3 months with code TUDORS. Sign up now for your 14-day free trial here >You can take part in our listener survey here >

Savonarola and his companions are brought before a tribunal and sentenced to death. Despite being formally condemned as a heretic, the friar's legacy would continue to cast a long shadow over Florentine politics in the years to come. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Shannon is an American professional boxer, wrestler, bodybuilder, martial artist and actress. She was the first ever ToughWoman Champion. She was a professional boxer in the IFBA. She has competed on ESPN, starred in 2 pay per views and was featured in Sports Illustrated,Muscle & Fitness and USA Today. She was also a fitness competitor, ... Shannon Hall-Girolamo – American Gladiators – Ep139

As Savonarola languishes in his prison cell, his faith is tested. Reckoning with his inner battle between hope and despair, Savonarola would then write a series of religious tracts that have since taken on great theological significance. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Girolamo II Amati was the last of the Amati family of violin makers in Cremona. He worked along side Antonio Stradivari and the Guarneri family in an intense moment of violin making and musical discovery at the time. Listen to how he fits into the story of the violin and turns out to be more that what he is (or not) remembered for.

Political tensions in Florence reach a climax, and Savonarola is challenged to undergo a trial by fire. When the results of the trial turn public opinion decisively against him, he and his fellow monks are forced to make a desperate last stand in the monastery of San Marco. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Savonarola creates a spectacular demonstration of public virtue in the hopes of turning Florence's fortunes around. Meanwhile, Pope Alexander VI has the monk excommunicated- a decision Savonarola was determined to fight against to his last breath. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Jim Hooker, an 83-year-old retired Navy Vietnam veteran, joins HBOT News Network to share his journey from serving in the military to becoming the Chief Operating Officer of the Wounded In Action Family Foundation. The foundation aimed to support injured veterans by helping them transition home after discharge from hospitals.Jim recounts his early experiences with the foundation, particularly a case involving a triple amputee veteran who suffered severe brain damage from an explosion. Despite extensive efforts and financial investment, the veteran's condition did not improve significantly, leaving Jim frustrated.His life took a turn when he came across Dr. Paul Harch discussing Hyperbaric Oxygen Therapy (HBOT) on television. Intrigued, Jim visited the Harch Institute in New Orleans to learn more about HBOT's potential for veterans with PTSD and Traumatic Brain Injury (TBI).Jim was introduced to Major Ben Richards, a severely injured Army veteran who had experienced significant TBI and was initially told to accept his "new normal." Ben became suicidal but discovered HBOT, leading to a remarkable recovery after a series of treatments. This encounter with Ben inspired Jim to advocate for HBOT as a life-changing therapy for veterans with brain injuries.Jim collaborated with State Legislators and Congress members in North Carolina, lobbying for funding to provide HBOT treatment for veterans. Senate Bill 442 was passed, allocating $150,000 for veterans to receive 40 or more HBOT sessions. Jim played a pivotal role in educating decision-makers about the effectiveness of HBOT for veterans.The HBOT for Vets website was launched, and Jim coordinated the distribution of funds to approved veterans for HBOT sessions at Extivita-RTP. He encourages veterans suffering from brain injuries to consider HBOT, emphasizing that progress can be slow but ultimately transformative.Jim's journey is a testament to his unwavering faith and determination to help veterans through HBOT. He expresses gratitude for meeting Ed di Girolamo, who shares his passion for advocating HBOT's potential to improve the lives of veterans.This interview is part one of a two-part series, with part two scheduled for release next week.

In this episode of HBOT News Network Conversations, Dr. Peter Canaday, who has over 40 years of experience in medicine and Hyperbaric Oxygen Therapy (HBOT), shares insights into his medical background and history with HBOT.Dr. Canaday discusses his early involvement with HBOT in the 1980s and provides listeners with a detailed overview of his medical journey and experiences. He also mentions the importance of recent research by Dr. Paul G. Harch, specifically referencing two articles related to HBOT's efficacy in treating mild traumatic brain injury and the epigenetic effects of oxygen and pressure.The conversation then shifts to the topic of COVID-19. The host, Edward di Girolamo, discusses the challenges faced by long-hauler COVID patients and the increasing number of vaccine injuries associated with COVID-19 vaccines. Dr. Canaday acknowledges the suppression of scientific inquiry and information related to COVID-19 and its vaccines. He emphasizes that even data from peer-reviewed literature has been ignored or sidelined without discussion.Dr. Canaday provides viewers with direct links to resources where they can learn more about the data and information he has shared regarding the COVID-19 vaccine rollouts. The conversation concludes with the announcement of a two-part series, with Part 2 scheduled to air later.This HBOT News Conversation was filmed on October 4, 2022.

In this continuation of the discussion with Dr. Hemal V. Mehta, M.D., the Medical Director of Vibrant Health of North Carolina, the focus remains on the benefits of fasting and its integration with Hyperbaric Oxygen Therapy (HBOT) as a holistic and alternative approach to cancer treatment. Additionally, the conversation explores the role of Vitamin C IV therapy in combating cancer and the potential synergistic effects of combining Vitamin C IV therapy, fasting, and HBOT for cancer patients.Key Points:Holistic Cancer Treatment: Dr. Mehta underscores the value of holistic and natural approaches to cancer treatment. While conventional chemotherapy is often the primary choice for cancer therapy, alternative methods can offer promising outcomes, including tumor shrinkage, cancer spread inhibition, and enhanced longevity. He highlights HBOT as a potential game-changer when incorporated into cancer treatment protocols.Role of Vitamin C IV Therapy: The conversation delves into the significance of Vitamin C IV therapy for cancer patients. Dr. Mehta and di Girolamo discuss the potential of Vitamin C IV therapy, fasting, and HBOT, especially when combined, to lead to remission and complete elimination of serious cancers. This combined approach is recognized for its effectiveness in addressing cancer.Holistic Dietary Approaches: Dietary interventions, such as fasting and ketogenic organic diets, are explored as alternative methods for cancer treatment and pain relief. Dr. Mehta emphasizes that diet plays a crucial role in overall health and can complement holistic therapies for cancerPersonal Experience: Dr. Mehta shares a personal story involving his father's diagnosis of papillary thyroid cancer. He recounts how holistic and natural methods, including Vitamin C therapy, daily consumption of organic wheatgrass, and daily deep breathing techniques to enhance oxygen levels, contributed to extending his father's life by three years. However, a decision to undergo chemotherapy, influenced by an oncologist's recommendation, led to cardio toxicity and, sadly, his father's passing.Research Rundown Episode 16: Dr. Mehta recommends viewers watch Research Rundown Episode 16, in which host Ed di Girolamo analyzes a study led by researcher Dominic D'Agostino. This study explores the potential benefits of combining a ketogenic diet and HBOT for the treatment of metastatic cancer. The research suggests that this combined approach may hold promise for eliminating or even curing cancer, offering exciting possibilities in the fields of HBOT, cancer research, and fasting.The conversation emphasizes the growing interest in holistic and natural methods to complement conventional cancer treatments. Fasting, Vitamin C IV therapy, and HBOT emerge as potential therapies that can play a significant role in cancer management, offering patients new avenues for treatment and improved well-being. However, it is essential for individuals to consult with their healthcare providers before considering fasting or alternative cancer treatments, as these approaches may not be suitable for everyone.

Dr. James "Jay" Stevens, M.D., a sports medicine specialist and team physician for the NHL's Carolina Hurricanes, returns to HBOT News Network to discuss the benefits of Hyperbaric Oxygen Therapy (HBOT) for sports-related injuries and performance enhancement.Dr. Stevens, with 25 years of experience, emphasizes the importance of sports activity and exercise in promoting well-being. He highlights his own involvement in triathlons and half Ironman events, emphasizing that he not only talks about the value of sports but also actively participates.Having been immersed in HBOT for 14 years, Dr. Stevens explains that the science behind HBOT aligns perfectly with cellular injury repair. He believes that virtually every injury can benefit from HBOT, citing the example of a sports sprain. While compression plays a role in healing sprains, adding HBOT can accelerate the process by delivering 300 times more oxygen to injured cells, significantly reducing healing time.HBOT is particularly effective for healing ligaments and tendons, which typically have limited blood supply compared to muscles. The therapy's unique combination of oxygen and pressure diffuses oxygen into plasma, independent of blood supply, enhancing healing in areas that typically receive minimal oxygen.Dr. Stevens shares a success story of a friend who underwent two HBOT sessions a day for five consecutive days to treat a severe ankle sprain. Remarkably, the inflammation completely dissipated in just five days, and she transitioned from a hard boot to a soft cast, surprising her doctor with the speed of her recovery.He explains the "hermetic effect" observed in patients undergoing multiple HBOT sessions in a day. Cells exposed to high concentrations of oxygen undergo rapid repair and response, alternating between hyperoxia and relative hypoxia. This process stimulates cellular repair and contributes to the therapy's effectiveness.Regarding long-term use of HBOT for sports injuries and general health and wellness, Dr. Stevens sees no concerns. He believes that chronic use of HBOT optimizes cellular energy production without detrimental effects.Dr. Stevens emphasizes the safety of HBOT and encourages athletes to consider incorporating it into their recovery routines. He suggests taking breaks to avoid oxygen toxicity, perhaps doing treatments five times a week and taking weekends off.In conclusion, Dr. Stevens and host di Girolamo stress the importance of educating athletes about HBOT and providing them with the choice to use this noninvasive therapy for quicker and more effective healing. They highlight the proven benefits of HBOT, emphasizing that FDA approval is not required to experience the healing benefits of oxygen and pressure combined. Athletes are encouraged to explore the potential of HBOT chambers for injury recovery and performance enhancement.

In Part 2 of the HBOT News Network Conversations with Dr. Peter Canaday, the discussion on COVID-19 vaccines and the suppression of medical data continues. Dr. Canaday, who has a rich history in medicine and Hyperbaric Oxygen Therapy (HBOT), delves into the potential benefits of HBOT for individuals negatively affected by COVID-19, including those with long-COVID symptoms and vaccine injuries.Host Edward di Girolamo raises the question of "where do we go from here?" in light of the challenges posed by COVID-19 and vaccine-related issues. Dr. Canaday expresses his enthusiasm for HBOT, emphasizing that it is a natural therapy involving oxygen and pressure that has shown promise in regulating genes associated with inflammation. However, he highlights the threat that therapies like HBOT pose to pharmaceutical companies' profits, leading to the suppression of scientific data and the publication of fake studies that discredit HBOT's effectiveness.Dr. Canaday urges viewers to visit www.nzdsos.com, which stands for "New Zealand Doctors Speaking Out with Science," a resource similar to America's Frontline Doctors. This website provides a wealth of educational information about the COVID-19 pandemic and ongoing developments. He encourages individuals to remain open-minded and critical as they evaluate the available information, especially when doctors are silenced or censored.Both Dr. Canaday and di Girolamo stress the importance of exploring the potential benefits of Hyperbaric Oxygen Therapy, which they describe as a "God-given miracle." They advise viewers to seek out treatment centers offering HBOT if they are experiencing long-COVID symptoms or vaccine-related injuries.This HBOT News Conversation took place on October 4, 2022.

Dr. Jay Stevens, Medical Director of Extivita, returns to discuss the critical importance of treating head injuries, including concussions, with Hyperbaric Oxygen Therapy (HBOT). Dr. Stevens emphasizes that we are currently facing an epidemic of head trauma, encompassing various conditions such as concussion, Traumatic Brain Injury (TBI), minimal or mild TBI (mTBI), Post-Concussion Syndrome (PCS), and Persistent Post-Concussion Syndrome (PPCS).He elaborates on the subtle differences in terminology and definitions for these conditions but underscores that they all fall under the category of head trauma. Dr. Stevens highlights that even Post-Traumatic Stress Disorder (PTSD) can be seen as a form of PPCS because it represents persistent brain injury, though not initially labeled as a concussion.Dr. Stevens explains the significance of distinguishing between acute, sub-acute, chronic, and persistent head trauma in terms of diagnosis and treatment. Regardless of the type or severity of the head injury, he advocates for immediate HBOT treatment, as it provides benefits for all head trauma cases.Beyond professional athletes and military personnel, Dr. Stevens emphasizes the importance of recognizing the benefits of HBOT for adolescent athletes. In Wake County, North Carolina, where his practice is located, there are thousands of reported concussions each year. Dr. Stevens shares stories of high school students who have suffered from lingering effects after concussions and believes that access to HBOT facilities like Extivita-RTP would have significantly improved their outcomes.The discussion also touches on the connection between the gut (often referred to as the second brain) and the brain. Dr. Stevens and the host, Ed di Girolamo, highlight the interplay between gut health and mental well-being, stressing that the health of both is integral to overall quality of life.Dr. Stevens and di Girolamo firmly assert that HBOT is one of the most effective treatments for head trauma relief. They emphasize that HBOT is a natural and transformative therapy that can help individuals, including adolescents, recover from head injuries, potentially preventing the onset of post-concussion syndrome. Immediate HBOT treatment in the acute concussion stage provides the brain with the necessary oxygen for healing and can significantly improve the individual's quality of life.

Savonarola engages in a new campaign to combat vice in the city of Florence. Meanwhile, Pope Alexander VI continues to utilize every possible strategy to silence the renegade friar. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

For more than 100 years, the brick power plant at Zuni Street and West 14th Avenue generated electricity for Denver using steam. But now that the plant has been retired, it presents a conundrum: Should the crusty old building and its two smokestacks be demolished? Or somehow redeveloped into an asset for the Sun Valley neighborhood? Host Bree Davies and producer Paul Karolyi visit the defunct Zuni Generating Station with Denver's first-ever chief urban designer Eugenia di Girolamo to talk about how the building known to some as “The Devil's Castle” could become Denver's next iconic landmark.  The Denver Post has more on the old Xcel Generating Station, and the Colorado Encyclopedia has more on the Denver Tramway Powerhouse (Aka, the REI building). Bree talked about the latest development in DPS's “seclusion room” controversy and flu season.  What non-residential building would you most want to live in? Residential conversions are all the rage, but is everyone thinking way too small! Of all the non-residential buildings in Denver, which would you most want to move into? Text or leave us a voicemail with your name and neighborhood, and you might hear your pick on the show: (720) 500-5418‬ For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Learn more about the sponsors of this episode: Denver Center for the Performing Arts Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

En este episodio, se habla del encuentro con el cine a través de la actuación. Mariana Di Girolamo es una de las actrices chilenas más reconocidas hoy en día. Tras una exitosa trayectoria en televisión, debutó en el cine en 2019 como protagonista del octavo largometraje de Pablo Larraín, Ema, estrenado en la Competencia Oficial de Venecia. Sus interpretaciones se han caracterizado por un singular acercamiento dramático al trabajo físico y corporal, y por representar personajes femeninos complejos e impredecibles. También ha colaborado en películas del director Leonardo Medel, con quien ha explorado formatos narrativos poco usuales, como la videodanza y la realidad virtual, y originales puestas en escena como en La Verónica, estrenada en San Sebastián. Por otro lado, Peter Lanzani es un actor argentino que desde muy pequeño participó en producciones televisivas muy populares tanto en su país como en América Latina. En 2015, debutó en el cine como protagonista de El clan, noveno largometraje de Pablo Trapero estrenado en la Competencia Oficial de Venecia. Desde entonces ha interpretado alternadamente papeles luminosos y de una oscuridad abrumadora en series y películas dirigidas por Marcelo Piñeyro, Bruno Stagnaro, Luis Ortega y Mario Cohn. Recientemente, regresó a la Competencia Oficial de Venecia por su importante rol en Argentina 1985, de Santiago Mitre, película nominada al Óscar como Mejor Película Extranjera en 2023. Además de sus primeras experiencias en el cine como protagonistas, Peter y Mariana hablan de la exigencia de los roles que han interpretado y de un significativo intercambio con generaciones anteriores de realizadores y actores. Hosted on Acast. See acast.com/privacy for more information.

Voces destacadas del cine y la cultura en Latinoamérica se reúnen en este espacio para pensar sus propios métodos y procesos para abordar el oficio, hablar sobre sus experiencias personales e íntimas y reflexionar sobre películas y cineastas que han influenciado o inspirado su trabajo.La cuarta temporada de Encuentros se compone de diálogos informales en episodios de aproximadamente 1 hora de duración; conversaciones profundas entre colegas en un espacio donde se habla con total libertad. En esta temporada podrás escuchar a Ilse Salas, Guillermo Calderón, Julieta Zylberberg, Rodrigo Sepúlveda, Celina Murga, Marina de Tavira, Mariana di Girolamo, Peter Lanzani, Michelle Garza Cervera, Mónica Ojeda, Catalina Saavedra y Sebastián Silva.El podcast es la invitación a ser parte de un encuentro entre dos personas que comparten su amor por el cine. Hosted on Acast. See acast.com/privacy for more information.

Francesco De Girolamo"Luci segrete"Il ramo e la foglia edizionihttps://ilramoelafogliaedizioni.itAttraverso la forma poetica dell'haiku, Luci segrete illumina oggetti e azioni del reale concedendo uno sguardo che penetra e attraversa l'evidenza per mostrare altro. La lingua, essenziale ma intensa, riverbera tra i risvolti del quotidiano, arrivando ad accendere pensieri nitidi, schietti e liberatori. Sono frammenti di voci accorate che polverizzano l'afasia dei nostri tempi e mostrano l'aura del mondo. Spetta all'accorto “destinatario” dell'opera, lacerato il velo di una inerzia emotiva assuefatta, smascherare il volto umano dietro questa tessitura di laicale sudario e riconoscersi in esso suo “simile e fratello”.Ombra e luce coesistono e si avvicendano in rapidi passaggi «[…] è quanto il libro Luci segrete annuncia, haiku dopo haiku. Sarà ogni lettore a leggervi un tema privilegiato o anche un topos tradizionale, o a cogliervi quella più radicale questione propria al compito essenziale della poesia. Come nelle bellissime immagini di Laura Medei che affiancano i testi: a una prima percezione estremamente eleganti e decorative, ma misteriose e “segrete” anch'esse.» dalla postfazione di Carla De BellisFrancesco De Girolamo è nato a Taranto, ma vive da molti anni a Roma, dove, oltre che di poesia, si è occupato di teatro, avendo curato la regia di diversi spettacoli, tra cui: “Testa di Medusa” di Boris Vian (1991); “Le sette maschere” ispirato a Kahlil Gibran (1992) e “Il piacere di dirsi addio” di Jules Renard (1996).Ha pubblicato le raccolte poetiche: “Piccolo libro da guanciale” (Dalia Editrice, 1990), con introduzione di Gabriella Sobrino; “Bambocciate” (Edizioni del Leone, 1995); “La lingua degli angeli” (Edizioni del Leone, 1997); “Nel nome dell'ombra” (Ibiskos Editrice, 1998), con una nota critica di Gino Scartaghiande; “La radice e l'ala” (Edizioni del Leone, 2000), con prefazione di Elio Pecora; “Fruscio d'assenza” - Haiku della quinta stagione - (Gazebo verde, 2009); e “Paradigma” (LietoColle, 2010), con introduzione di Giorgio Linguaglossa.È presente nelle antologie: “Poesia dell'esilio” (Arlem Edizioni, 1998), “Poesia degli anni 90” (Edizioni Scettro del Re, 2000), “Haiku negli anni” (Empiria, 2005), “Calpestare l'oblio” (Cento poeti italiani contro la minaccia incostituzionale, per la resistenza della memoria repubblicana, Argo, 2010) e “Quanti di poesia” - Nelle forme la cifra nascosta di una scrittura straordinaria - a cura di Roberto Maggiani (Edizioni L'Arca Felice, 2011).Suoi articoli letterari e recensioni sono stati pubblicati su: “Tempi Moderni”, “Le reti di Dedalus”, “La Mosca di Milano”, “Polimnia” e su diversi blog e siti specializzati di poesia e critica.Nel 1999 è stato scelto tra i rappresentanti della poesia italiana alla Fiera del libro di Gerusalemme.Ha collaborato dal 1994 al 2000 con l'organizzazione di “Invito alla lettura a Castel Sant'Angelo” e nel 2006 con il “RomaPoesia” - Festival della Parola. Nel 2007 è stato Responsabile per il Lazio del Sindacato Nazionale Scrittori - European Writers' Congress.Si sono occupate criticamente della sua opera, tra le altre, le riviste: Poesia, Folium, Poiesis, La Recherche e Atelier.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

A couple weeks ago, author John Girolamo spoke with us about dangers from online predators. Today, we have the second segment of that interview.    Mr. Girolamo gave suggestions for protecting our children from his new book It's All About the Predator. For instance, he warned us about passing out personal information online, and he suggested we give our kids dumb phones that only do calls. We should also examine our children's phones from time to time to see what apps they might have added. He said parents need to active and involved with their childrent to protect them.

Arrivata in Australia quasi per caso subito dopo la laurea, la musicista Giorgia Di Girolamo ha visto il suo talento riconosciuto in Australia e all'estero, riuscendo ad ottenere il Global Talent Visa che l'ha portata direttamente alla residenza permanente.

When Savonarola's influence prevents Florence from joining an anti-French coalition made up of the other Italian states, he raises the ire of Pope Alexander VI, sparking a deadly rivalry that would last for the next three years.   Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Bibliography: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on Savonarola, we follow events in Florence following the flight of the Medici and the French occupation of the city. As the citizens of Florence begin the process of forming a new republican government, they seek guidance from Savonarola, who aspired to turn the city into a "New Jerusalem." Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on the life and times of Savonarola, we observe the fallout from the French invasion of Italy in 1494. As the power of the Medici reaches its breaking point and King Charles VIII of France threatens the city with destruction, the people of Florence turn to Savonarola to deliver them from peril. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Support the show on Patreon Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

In this episode of our series on Savonarola, we follow events in Florence following the untimely death of Lorenzo the Magnificent. In this time of uncertainty, Savonarola's apocalyptic predictions grew increasingly bolder. As the friar sought to assert his independence from the Medici family, developments to the north threatened to turn his prophecies into reality. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

The sons of Andrea , "The Amati Brothers" took violas, violins and cellos to new heights with their incredible skill and innovation. Meet Antonio and Girolamo before things get complicated in this first episode. This is the story of the Amati brothers, Antonio, and Girolamo. Join me as we explore the remarkable craftsmanship, profound influence, and indelible mark left by these legendary violin makers.  Discover the distinctive characteristics of their creations, renowned for their elegance, exquisite sound, and unparalleled craftsmanship.  Delve into the secrets of the Amati brothers' workshop, uncovering their innovative techniques, meticulous attention to detail, and the artistry that made their instruments treasures coveted by musicians and collectors worldwide. In this episode I speak to Cellist James Beck and Violin maker and Expert Carlo Chiesa.    Transcript of Episode  Welcome back to Cremona, a city where you can find almost anything your everyday Renaissance citizen could desire.  Located on a bend of the impressively long Po River, bursting with artisans and commerce, we find ourselves in the mid-1500s, and more precisely in the home of Girolamo Amati and Antonio Amati, otherwise known as the Amati brothers or the brothers Amati. In these episodes, I'll be talking about Andrea Amati's two sons, Antonio Amati and Girolamo Amati. Sometimes Girolamo Amati is also referred to as Hieronymus, the Latin version of his name.  Because I'm doing these podcasts chronologically, we heard about the early childhood of the brothers, in the Andrea Amati episodes. As we heard in the previous episode, Antonio Amati, the elder brother, by quite some years, perhaps even 14 years older than Girolamo Amati, inherited his father's workshop with his little bro when their father died.  They grew up in Cremona during the mid-1500s, in a time that was relatively more peaceful than their father's childhood and would have attended the local school. The local school was attended mainly by children of merchants and nobles. They would learn, in addition to the traditional subjects of geometry, arithmetic, and even astrology, subjects such as geography, architecture, algebra, and mechanics, both theoretical and applied. This created quite a well-educated middle class that the brothers would have been part of. Like their father, they would go on to be quite successful in their business, adapting their products to the demands of the time. The brothers were growing up in post Reformation Cremona, and the instrumental music was bounding forward. Renaissance composers were fitting words and music together in an increasingly dramatic fashion. Humanists were studying the ancient Greek treaties on music and the relationships between music and poetry and how it could.  This was displayed in Madrigals and later in opera and all the while the Amati workshop along with other instrument makers of course were toiling away making instruments so that all this could happen. Now the eldest brother Antonio Amati never appears to marry or have a family but the younger brother Girolamo Amati apparently a ladies man, does and as you would have heard in the previous episodes, when he was 23, he married Lucrencia Cronetti, a local girl, and she comes to live in the Amati house, handing over her dowry to her new husband (Girolamo Amati) and father in law (Andrea Amati). A few years later, Girolamo Amati's father saved up enough money to buy the family home so that when he passes away in 1576. Girolamo Amati is in his mid-twenties and his older brother (Antonio Amati) is probably around his late thirties. They inherited a wealthy business, a house, and a workshop.  So here we find the Amati brothers living and working together in the house and workshop in San Faustino (Cremona). Antonio Amati, the head of the household and Girolamo Amati with his young bride. Business is looking good, and life looks promising. Antonio and Girolamo may have been some of the only violin makers in Cremona, but they were by far not lone artisans in the city. They were surrounded by merchants and tradespeople busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers, just to name a few of the 400 trades listed in the city at this period. Business was going well for our violin makers. There was a boom in the city. Many noble houses were being built amongst which the grand residences of merchants stood out, sanctioning their social ascent.  Charitable houses, monasteries and convents were popping up like mushrooms around town.  Ever since the Counter Reformation, the local impetus to help the poor and unfortunate had flourished. Wondering what the Counter Reformation is? Then go back and listen to episode two of the Andrea Amati series. Where we talk about what the Reformation was, what the Counter Reformation was, and what its effects were on artisans in Cremona.  But nowhere said organized religion like the Cathedral. And entering the vast, echoey structure was something to behold, with its mysterious, awe-inspiring grandeur, the towering heights of the ceilings inspiring a sense of reverence and humility. The vaulted arches and frescoed domes drawing the eye upwards, the kaleidoscope of colors entering the windows, and the glittering of precious metals illuminated by flickering candles, ornate furnishings, intricate artworks, sculptures, and base reliefs with depictions of saints, biblical stories, and the scenes from the life of Christ covering the walls, all created an otherworldly feeling and a sense of the divine.  And what would the Cathedral be without music? The glittering of gold, the fragrant smell of incense, and the heavenly sounds of music were an all-in-one package for the regular church attender in the Amati Brothers Day. The Chapel House School of the Cathedral produced many talented composers, yet the church would only sponsor and permit sacred music. And even then, this music had to be in full compliance with the Council of Trent. This meant following a whole bunch of rules in composition. Wing clipping of aspiring young composers led to many of them moving away to other courts and cities who were looking for fresh, raw talent. This may or may not have been the case for a musician and composer called Claudio Monteverdi. But what we do know is that he left Cremona to join the employ of the Mantuan court at the age of 23.  I spoke to cellist James Beck about Monteverdi, who was a Cremonese composer who left the city to work at the Gonzaga court during the Amati brother's lifetime. And so Monteverdi, for example, to take him as an example, he was employed in the court, in the Manchurian court, and he was just one of many musicians and  composers. And also I'm wondering about just, the everyday life, would they also,  were musicians expected to, to wear certain.  Clothes, like they were just told, look, this is what you're wearing. James Beck Livery is the term for the, the uniform of the house. And we know about that kind of stuff from, you know, Downton Abbey and all that kind of stuff so musicians were very much part of the servant class, a very intellectual servant class and a very trusted servant class, but Monteverdi arrived at that Gonzaga court in Mantua as a string instrument player of some kind. We don't really know if it was a gamba, you know, between the legs or brachio held like a violin. He was at the court for about, I think, 10 or 15 years as a string player before he became The Maestro de Capelle and of course that was a very trusted employee because he accompanied his employer, the Duke, on various war campaigns or social outings to other countries, as a musician and maybe as some kind of trusted part of the entourage. So, Monteverdi was picking up lots of ideas about things that could go on in music because he was witnessing different practices, he was in Flanders. He was in Hungary. He was in other parts of Italy seeing how they did music over there on the other side of the fence and I think that is what can never be underestimated, that communication was haphazard and accidental in previous times and there was no such thing as uniformity. So, to go to another country and to go to another court and to see musicians who had different training or had come into different spheres of influence to yourself would have been hugely, hugely exciting and influential and we think that Monteverdi picked up some of the ideas of what might be opera from these kind of trips. Linda Lespets It makes me think of when I was a student and I would do work experience in different workshops and they would, I had been taught in French school, it was a very specific way of doing things and I'd go to another workshop and I'd just be like, wow, it's like, what are you, what are you doing? How could this possibly work? And it does. And you're like, oh, and now I feel like I, the way I work, it's a mixture of all these different techniques. What works best for me. And it must've been magnified so much, to such a greater level for in that period for music and competition. Because of the, because of the social isolation and the geographic isolation of previous times. James Beck And I mean, just if we just talk about pitch, whole idea of what is An A was different in each town, and it might have sounded better on some instruments than not so good on others, and those instruments would have been, you know, crafted to sound good at those different pitches. And now we all play the same pitch, and we want every instrument to be the same. What were some of the, if you could generalize, what were some of the differences for you? In the different Lutherie schools. Linda Lespets  So, in the French method, you basically hold everything in your hands or it's like wedged between you and the workbench and you don't use really, uh, vices. And I have quite small hands and  I did one work experience and the guy was like, just put it in a vice. And I was like,  Ohhh, and I was getting a lot of RSI  and sore wrists and it kind of just, it was sort of practical as well. James Beck Wow. And is that for crafting? Individual elements or is that for working on complete instruments?  Linda Lespets Like in general, like you just, you can make a violin without using a vice and they, they won't use sandpaper or it's all done with, scrapers. So it's good. I know all the different techniques and I can, when there is a blackout or an electricity failure, we can just keep on going. Like, we can keep rolling, it doesn't stop us.  There was a thing with Monteverdi that, that you seem to know about how madrigals. James Beck I know about madrigals. I hope I do. Linda Lespets  In Mantua and the, this kind of trapezoidal room. James Beck  There's a very special room in the ducal court.  Ducal castle or Ducal palace in Mantua, and they call it the wedding room and it's a room that was, had existed for some time. I mean, it's a huge, huge palace, I think it's the sixth largest palace in Europe. So, it's 34, 000 square meters, 500 rooms.  And this is not, I mean, Mantua was not a big state.  You never know when you need 500 rooms.  It wasn't a big state, but it was a very aspirational state. And they really wanted to kind of prove themselves amongst these, the cultural elite of Northern Italy, because there were extraordinary things going on in Florence and Venice. So, you know, they were really, the Gonzaga's were really trying to hold their own. So, they had one of these 500 rooms slightly remodelled. So it was of cube proportions.  Right. So, you walk into a cube. You walk into a cube and then, they commissioned, a very, uh, distinguished painter to cover, everything within that room in very realistic, uh, lifelike portraits of, of the Gonzaga's going about their life. And this was the highest status room in the palace, and it was used for various purposes to impress. So, it could be used for ceremonies, or it could be used for, as a bedchamber for the Duke if he wanted to receive a guest of high status, and show that guest that he slept in this incredible room. Linda Lespets Slightly creepy.  All these people looking at you. James Beck  I know, and they're really, there's a lot of eyeballing in those portraits.  So it's like, you're outnumbered. Like when you go in there, like you're surrounded by people. You're surrounded by the Gonzaga's. We're here. That was not a very, uh, fertile or, healthy line. So, they were dying out fast, but there were lots of them painted on the walls. Linda Lespets Wasn't there one with mirrors? James Beck There was a hidden room, that they discovered in, I think 1998. ., which had mirrors. Linda Lespets  and I was wondering what the,  maybe it was polished metal, the mirrors. James Beck I'm not sure where they would, where they would sing madrigals. Well, they think it was specifically for, for performances of Monteverde, but I don't know. . Why a hidden room is needed. Yes. And how, how do you hide a room for 500, or, sorry, for 200 years, maybe it was walled up. Linda Lespets Well, I mean, if you're in a palace with 500 rooms, you might miss one, you know, if it's walled up. James Beck  And also there was a big, there were quite a lot of, traumatic experiences in the Mantuan court. Not long after Monteverde left there, there was a siege and a war and then a lot of plague. So you can see how knowledge could dissipate and everyone could die that knew about it , exactly absolutely.  When the Gonzagas were running out of heirs, their neighbours and, and particularly the Hapsburgs, were like, Hmm, we might take that little gem of a dutchie. So they, they laid siege to it for two summers. War was a summer sport at those days. 'cause you know, no one wanted to do it in winter 'cause it was just too much. And Mantua is at that stage was completely surrounded by water. It was very cleverly conceived and beautifully conceived too because the water reflects the beautiful buildings. And so they, the Mantuan's stockpiled food and drew up the bridges. And, and for two years they were, no one came in or out of the city whilst the Habsburgs laid siege. And actually the Habsburgs didn't really get through those defences, but at the, in the second summer, in the second siege, a cannonball did get through and then the whole, the cannonball made some rats got through and those dirty soldiers who'd been on campaign for two summers were riddled with plague and the plague got into the town and that was actually undoing of the Gonzaga dynasty. Linda Lespets A rat brought them down. James Beck A rat brought them down. And so, the plague weakened the city. The city fell. And then that plague was taken by those refugees from Antwerp down into Venice. And Venice was absolutely devastated by plague for something like 10 years. And the city's population plummeted to its lowest in 150 years. Linda Lespets Wow. . And it's true that war was like a summer sport. And I'm wondering if nowadays, we, you know... That's, we play sport instead. Well, I hope, I think that's why we do play organized sport. I think that's, you know, it's... Take the World Cup or something.  Well although that's, not... To get that aggression, to get all that aggression out of our system in a nicely controlled manner. James Beck It is like countries like against each other. Totally is. Linda Lespets The Cremona City Municipality had at its disposal a group of wind players, mostly made up of brass instruments, trombones, bombards, bagpipes, and sometimes a cornet. This ensemble was particularly suited for outdoor performances.  Or at least I hope it was. I don't know if you've ever heard a bombard being played inside. I have.  Anyway, the viola da braccia players and viola or violin players were also employed by the town hall and given a uniform made of red and white cloth.  This was the instrumental group in the church, and it doubled up for civic occasions as well.  I speak to Carlo Chiesa, violin maker and expert in Milan. Carlo Chiesa And the other way by which Cremonese makers got their success is musicians, because in the 16th century, there are a few important Cremonese musicians moving from Cremona and going to northern cities to play for the emperor, for the king, or to Venice. I think the most important supplier of instruments at some point out of Cremona was the Monteverdi Circle.   Linda Lespets This orchestra employed by the city of Cremona played both for the council and in the church on all public holidays and in processions.  One of their members, a cornet player called Ariodante Radiani,  who was paid the considerable sum of 100 lira. When the maestro di cappella was paid 124 lira, ended up having to be let go. It turned out he was a little bit laissez faire with his responsibilities as a musician, and a lawsuit was brought against him for neglecting his duties as a musician. To add to this, he was also found guilty of murder.  So, in the end, their homicidal cornet player was replaced.  Linda Lespets  You know, you've got the scientists and human thought and philosophy and looking back to Greek and Roman antiquity. So, I feel like that's, that's like the idea in art, in literature. And what do you, how do you see that happening?  in music. James Beck We as musicians had really practical roles to fulfill as well and sometimes that was expressing the will of the church through music and of course you know that's kind of self-explanatory and then we've got this really practical role to entertain and how we go about doing that with the materials we have. So the renaissance as an idealistic expression, I think, you know, as a practical musician, we were always doing others bidding out unless we were church musicians, we were there to entertain and to, excite and to distract and act as an instrument of sometimes of state policy or, or, you know, kind of  showing off the power or opulence of a state.  Maybe it was through, opera. Where are you?  You're getting like human emotion. Yes, absolutely, absolutely. But also, the subject of all those early operas is usually, ancient material from ancient Greece or Rome, so, you know, clearly Renaissance in its ideals of looking back. Othello.  Of course. Poppea, Ulysses. I mean, the operas were definitely, drawing into ancient literature and myth, which was bypassing Christianity in many ways.  Linda Lespets  It's strange because it was an era where it didn't really contradict the other. People were cool with it. Like they were very devoted churchgoers and at the same time they were very into all this Greek and Roman mythology. It was interesting. And then all this humanist thinking and invention I mean, Monteverde was a priest as well, right? James Beck  Towards the end of his life. Linda Lespets Instruments are starting to play a bigger role in the music, in the church in Cremona. In 1573, the Maestro de Capella, the Chapel Master at the cathedral, wrote a piece of music for five voices, consorted with all sorts of musical instruments.  The words and text are completely clear in accordance with the Council of Trent, he points out. The Amati brothers' father, Andrea Amati, would have witnessed this musical tradition in his lifetime as he attended church, where the music sung would have gone from something that had been unrecognizable in, or in any case very difficult to understand, to music that had identifiable text that could possibly be understood and sung with. They were not hymns like the Lutherans were singing in a congregational style, but there was a marked change in the music being played in the churches. And these were the effects of the counter reformation trickling into everyday life of the people.  The workshop continued to be a success. Both the brothers Amati were able to earn a living and to provide a generous dowry for their sister, who had just recently married a man from Casal Maggiore. In town, the cathedral looked like it was finally going to have the interior finished. This had been going on ever since their father was a little boy. And now it looked like all the frescoes and paintings were to be completed. And most amazing of all was an enormous astronomical clock that was being mounted on the terrazzo, the giant bell tower next to the cathedral. Sadly, Girolamo Amati's pregnant wife would never see the clock that would amaze the citizens of Cremona, as shortly after giving birth to their daughter, Elizabeth, Lucrenzia ( Girolamo Amati's wife) died. The fragility of life and uncertainty that Girolamo Amati had to deal with is quite removed from our lives today, and a man in his situation would certainly be looking to marry again, if for nothing else than to have a mother for his young daughter. And as he was contemplating remarrying, finding a new wife and mother for his child, over in Paris, one of the biggest celebrity weddings of the decade was taking place. And the music for the closing spectacle was being played in part on the instruments his father (Andrea Amati) and brother (Antonio Amati) had made for the Valois royal family all those years ago.

Welcome to The Saint of the Day Podcast, a service of Good Catholic and The Catholic Company. Today's featured saint is St. Francis of Girolamo. If you like what you heard, share this podcast with someone you know, and make sure to subscribe!

In this episode of our series on Girolamo Savonarola, we follow the monk as he is reassigned from Florence after failing to make inroads with the people of the city. He spends the next few years wandering northern Italy, honing his preaching skills and earning a powerful reputation for himself until he is invited to return to Florence by the city's ruler- Lorenzo de Medici. Email me Follow me on Twitter Like the show on Facebook Watch the show on YouTube Visit the eBay store Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Today we look at a document written by Girolamo Dandini, Professor of Theology at Perugia, sent in 1596 by Pope Clement VIII as a nuncio to the Maronites of Lebanon. From August 8th when he visited Limassol, then Larnaca and Nicosia until the 27th when he left for Tripoli. He would return to Larnaca on March 19th 1597 and departed for Venice on April 12th. Intro & outro excerpts of Cantus Firmus monks (available via YouTube audio library)

In this first episode of our series on Girolamo Savonarola, we cover Savonarola's early years in an effort to understand the philosophy that undergirded his life. Afterward, we follow Savonarola as he strikes out from his home to join the order of the Dominicans and to find his destiny.  Works Cited: Bartlett, Kenneth. Florence in the Age of the Medici and Savonarola, 1464-1498: A Short History with Documents. Hackett Publishing, 2018. Landucci, Luca. A Florentine Diary from 1450 to 1516. Columbia University Press, 1927.  Martines, Lauro. Fire in the City: Savonarola and the Struggle for the Soul of Renaissance Florence. Oxford University Press, 2005.  Savonarola, Girolamo. A Guide to Righteous Living and Other Works. Toronto Center for Reformation and Renaissance Studies, 2003. Strathern, Paul. Death in Florence: The Medici, Savonarola, and the Battle for the Soul of a Renaissance City. Pegasus Books, 2016. Villari, Pasquale. Life and Times of Girolamo Savonarola. University of the Pacific Press, 2004. Weinstein, Donald. Savonarola: The Rise and Fall of a Renaissance Prophet. Yale University Press, 2011. Cover Image: Portrait of a Dominican, presumed to be Girolamo Savonarola, c. 1524 Opening Theme: Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178 by Antonín Dvořák Closing Theme: "Dies Irae" performed by the Monastic Choir of the Grimbergen Abbey

Today Im sitting down with Teresa Girolamo, Ph.D., she is an autistic language in autism researcher and assistant professor in Speech, Language, and Hearing Sciences at San Diego State University. As director of the Brain, Environment, and Language Lab, she works with racially and ethnically minoritized autistic individuals with language impairment. This population is underserved in research, hindering our ability to develop supports to meet their needs. Current projects include how social determinants of health plus language ability shape life outcomes and how to better understand strengths in language ability in this population. The long-term goal of this work is to translate this knowledge into community-based supports for individuals to meet their self-identified goals.

On January 6, the day that marks the opening of the first Casa dei Bambini in San Lorenzo, Rome, we hosted an AMI Talk with Victoria Johnson, Agnese Fontanaand Rosario di Girolamo. The speakers shared their experiences around the theme of the Global Path of Montessori. Victoria Johnson, PhD in Global Family, Health and Wellbeing, University of Nebraska-Lincoln, gave a fascinating overview of her research into the introduction of Montessori in communities, and how Montessori's unique capability of taking on a diverse hue underscored its universality. Agnese Fontana, producer and author, and Rosario di Girolamo, cross-media creative director of MontessoriRoad delighted the audience by showing this spread across cultures, sharing highlights from their filming of Montessori children at work in different countries.