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CONFERENCIAS de Mons. Munilla
Danos hoy nuestro pan de cada día... (5/8)

CONFERENCIAS de Mons. Munilla

Play Episode Listen Later Feb 21, 2023 39:20


Quinta de las ocho catequesis realizadas por Mons. Munilla sobre el PADRE NUESTRO a lo largo del curso pastoral 2022-2023 en la Diócesis de Orihuela-Alicante. Fue pronunciada el jueves 16 de febrero de 2023 en la Parroquia de Nuestra Señora de la Asunción de Sax (Alicante).

“54 Days of Roses”
S8 Día 7 - Misterios Gozosos en Petición

“54 Days of Roses”

Play Episode Listen Later Feb 20, 2023 38:48


Hola familia¡Bienvenido de nuevo! Este es el día 7 de nuestra Novena del Rosario de 54 días.Hoy es la fiesta de Santa Jacinta y Francisco Marto. Los niños de Fátima que recibieron apariciones de Nuestra Santísima Madre., en 1917.Hay una película sobre apariciones. El nombre de la Película es Fátima dirigida por Marco Pontecorvo.En sus apariciones, Nuestra Santísima Madre pidió a los niños que aprendieran a leer, escribir y rezar el Rosario "para obtener la paz para el mundo y el fin de la guerra". Los niños debían orar por los pecadores y la conversión de Rusia. El 13 de octubre de 1917, hasta 90.000 personas se reunieron para la última aparición de Nuestra Señora. Si no has visto la película, te la recomiendo.¿Cuáles son algunas de tus películas favoritas basadas en la fe? Envíame un correo electrónico que me gustaría compartir con Nuestra Familia. el correo electrónico es oremos@54daysofroses.comDía 7 - Misterios Gozosos en Petición:Empecemos; hoy estamos rezando los Misterios Gozosos en petición.Santísima Madre, Reina del Santísimo Rosario, ayúdanos a vivir y celebrar, en nuestra vida diaria, a Jesús en la Eucaristía.Santísima Madre, oramos por la paz en el mundo, por los pecadores. Oramos por la conversión de nuestros amigos y seres queridos. Oramos por las EnfermerasOramos por las personas sin hogar.Oramos por la salud de nuestra familia. Oramos por aquellos cuya vocación es el matrimonio.Y rezamos por las intenciones de todos los que patrocinan la temporada 8 al compartir, calificar y donar al podcast: Magaly, Ashley, Josiah, Kaitlin, Francis, Giovanni, Janessa, Lisa, Jeny, Sharon, Kristin, Azas, Alexandra, Mary, Cindy and Kurt, John, Bernie, Mary, Ann Margaret, Ann Therese, Paul , Rajit, Monica, Domi, Rich, Stephanie, Ana Sofia, Glorymar, Cathy, Jesselton, Yovana, Miri, Sequoia, Jennifer, Shannon, KJ, Suzy, Maia, Tracy, Prayers and Mary, Andrea, Peter, y Melanie.Con amor, Maritza Mendez.Linktr.eehttps://linktr.ee/54daysofrosesPágina webhttps://www.54daysofroses.com/Envía tu Petición de Oraciónhttps://www.54daysofroses.com/requestsSuscríbete a nuestro canal de YouTubehttps://www.youtube.com/@54daysofrosesApoya nuestro Ministeriohttps://www.54daysofroses.com/supportVenmohttps://account.venmo.com/u/Novena54DaysofRosesPayPalhttps://www.paypal.com/paypalme/54DaysOfRosesCreación de Contenido y Diseño Webhttps://lillywriteshere.com/Support the show

“54 Days of Roses”
S8 Día 1 - Misterios Gozosos en Petición

“54 Days of Roses”

Play Episode Listen Later Feb 14, 2023 39:57


Hola Familia!Bienvenidos  a la octava temporada de 54 Days of Roses. Este es el día 1 de nuestra novena de 54 días.Si te unes por primera vez, bienvenido a esta hermosa familia de oración.La Novena;Esta Novena es una hermosa devoción que te ayudará a rezar el rosario diariamente y es una hermosa manera de preparar nuestros corazones durante esta Cuaresma.Cuando rezamos el Rosario, meditamos en la vida de Jesús y pedimos la Intercesión de Nuestras Santísimas Madres para que oren por nosotros y con nosotros para que Él conceda nuestros deseos y Ella nos acerque a Él.Esta Novena del Rosario de 54 días consiste en rezar 3 Novenas en petición (27 días), seguidas de 3 Novenas en Acción de Gracias (27 días). Meditaremos en los Misterios Gozosos, Dolorosos y Gloriosos. Los Misterios Luminosos no son parte de la Novena de 54 Días; sin embargo, puede incluir los misterios luminosos si lo desea.Para descargar una copia de las oraciones junto con un cronograma, diríjase a nuestro sitio web en 54daysofroses.com y haga clic en la sección "Cómo orar".La temporada 8;La temporada 8 está dedicada a Jesús en la Eucaristía. A través del rezo del Rosario, imploraremos a Nuestra Señora del Santísimo Rosario, que nos ayude a vivir y celebrar, en nuestra vida cotidiana, a Jesús en la Eucaristía. También oraremos por las intenciones especiales que tienen en sus corazones.Si desea que oremos por sus intenciones y mencionemos su nombre en el podcast, envíe su pedido de oración en nuestro sitio web 54daysofroses.comEspero con ansias este viaje de 54 días con ustedes, en esta temporada de Cuaresma.Y Feliz dia De San Valentin. Recuerda que vales la sangre de cristo.Día 1: Misterios Gozosos en Petición:Empecemos; hoy rezamos los misterios gozosos en petición.Santísima Madre, Reina del Santísimo Rosario, ayúdanos a vivir y celebrar, en nuestra vida cotidiana, a Jesús en la Eucaristía.Santisima Madre, oramos por las intenciones de nuestra familia aquí en el podcast, intenciones recibidas por correo electrónico, Instagram y YouTube.Y rezamos por las intenciones de todos los que patrocinaron la Temporada 8 al compartir, calificar y donar al podcast: Eduvina, Kathleen, Barbara, Emmanuel, Mary, Sonia, Jillian, Sherrie, Julie, Lourdes, Adjovi, Caitlyn, Davina, Teresa, Michel, Jane, Angela Mary, Nicolas, Adele, Judy, Nancy, Nhan and his Mother, Eve, Rubi, Laura, Donna, Michelle, Mark, Patricia, Marie, Lilianne, Maria E, Ashley, Leah, Manolita, Kristina, Veronica, John, Cindy, Kurt, Nadia, Irma, Pete, Kim S, Michael K, Martha, Janet, Dj, Lupita, Rocio, Dawn, Divine, Antonia, Asthana, Karina V, Jessica M, Lauren, Laura M, Eve, Sarah, y Janet.Con amor,Maritza MendezLinktr.eehttps://linktr.ee/54daysofrosesPágina webhttps://www.54daysofroses.com/Envía tu Petición de Oraciónhttps://www.54daysofroses.com/requestsApoya nuestro Ministeriohttps://www.54daysofroses.com/supportVenmohttps://account.venmo.com/u/Novena54DaysofRosesPayPalhttps://www.paypal.com/paypalme/54DaysOfRosesSupport the show

Historia de Aragón
De Puertas al Campo - 12/02/2023 - Inversión para la modernización de regadíos en Huesca y Zaragoza

Historia de Aragón

Play Episode Listen Later Feb 12, 2023 89:36


Ganaderos de Pinseque, Alagón y otros tantos municipios de la Ribera Alta del Ebro se ven obligados a sacar el ganado de noche en pos del bienestar animal del rebaño debido a los ataques de la mosca negra. En total, en la zona, estiman que hay más de cien ganaderos afectados por la elevada incidencia de las moscas y larvas. Nos lo han contado esta mañana.El ministro de Agricultura, Pesca y Alimentación, Luis Planas, defendía esta semana en el Congreso de los Diputados la importancia de contar en España con una ganadería extensiva que sea competitiva y que a la vez fomente medidas medioambientales, como el adecuado tratamiento de subproductos como los estiércoles y los purines para su posterior utilización como fertilizantes. Hoy hablamos sobre ello en ‘Agricultura 2030'.En "Agua y regadíos de Aragón", nos han acompañado los presidentes de las Comunidades de Regantes del Canal de Aragón y Cataluña y de Nuestra Señora de la Alegría de Monzón. Y es que el pasado jueves, Huesca acogía el acto de firma de los dos convenios relativos a la modernización de los sectores X y XI del Canal del Flumen y de Nuestra Señora de la Alegría de Monzón y, el pasado martes, el Ministerio de Agricultura, Pesca y Alimentación anunciaba una nueva inversión de algo más de 17 millones de euros para la modernización de regadíos en cinco comunidades de regantes del Canal de Aragón y Cataluña, en Huesca y Lérida.En los minutos que cada domingo dedicamos a conocer la actualidad de la caza en nos han contado como la Federación Aragonesa de Caza colabora con el Gobierno de Aragón en la monitorización sanitaria de la fauna cinegética y el iniciado el periodo de censos nocturnos y de aves residentes por parte del Observatorio Cinegético.Antes de llegar a la merindad de las nueve de la mañana conocimos un proyecto de investigación en el que se trabaja desde la EEAD CSIC que busca realizar el primer diagnóstico riguroso de la situación ambiental de los suelos de olivar a gran escala, considerando las áreas más importantes de producción de olivos en la Región Mediterránea y sus relaciones con la calidad del aceite de oliva.Todos los grupos de la Cortes de Aragón presentaron una proposición no de ley  instando al Gobierno de Aragón al reconocimiento del Can de Chira como raza originaria de Aragón, en aras de lograr la conservación y mejora de esta raza y conseguir que sea reconocida oficialmente en España.En la actualidad, el CITA cuenta con una plantilla de 270 personas de las 147 son mujeres. Muchas de ellas ocupan puestos de responsabilidad. En 2019 por primera vez asumió la dirección del centro una mujer, Lucía Soriano.  Hoy en ‘Mujer rural en Aragón', nos ha acompañado con motivo del Día Internacional de la Mujer y la Niña en la Ciencia que se conmemoraba ayer.El próximo martes dará comienzo Enomaq en Zaragoza, feria internacional del vino, el aceite y la cerveza que reunirá a 1.056 marcas procedentes de 20 países. A cuarenta y ocho horas para que se abran las puertas de esta nueva edición ha estado con nosotros su directora, Cristina López.

Radio HM
¿Qué santo es hoy?: Nuestra Señora de Lourdes (11 de febrero)

Radio HM

Play Episode Listen Later Feb 11, 2023 3:45


En el año 1858 la Virgen María Inmaculada se apareció a Santa Bernardita Soubirous, cerca de Lourdes (Francia), dentro de la cueva de Massabielle. Por medio de esta humilde jovencita, María llamaba a los pecadores a la conversión, suscitando un gran celo de oración y amor, principalmente como servicio a los enfermos y pobres.

En Cristo
Nuestra Señora de Lourdes, jornada del enfermo

En Cristo

Play Episode Listen Later Feb 11, 2023 13:24


11 DE FEBRERO - NUESTRA SEÑORA DE LOURDES, JORNADA DEL ENFERMO

Misa Diaria
2023-02-11 - Fr. Patrick

Misa Diaria

Play Episode Listen Later Feb 11, 2023 15:00


Nuestra Señora de Lourdes (Memoria Libre)

nuestra se fr patrick
MIENTRAS EL MUNDO GIRA
2023-02-08 - LOURDES: ANTESALA DEL CIELO

MIENTRAS EL MUNDO GIRA

Play Episode Listen Later Feb 8, 2023 60:00


El Santuario de Nuestra Señora de Lourdes es un conjunto de edificios y lugares dedicados a la veneración de la Virgen María, en Francia. El Padre Willie nos cuenta que muchos enfermos que visitan la Gruta y todo el Santuario de Lourdes encuentran un lugar de paz, es por eso que lo considera una antesala del Cielo.

CONOCE  AMA Y VIVE TU FE
Episodio 776: MILAGRO‼️ Sacerdote Con Tumor ha sido Sanado En Lourdes / Priest With Tumor Healed In Lourdes / Luis Roman

CONOCE AMA Y VIVE TU FE

Play Episode Listen Later Feb 7, 2023 26:50


John Hollowell, un sacerdote católico que pertenece a la diócesis de Indianápolis en Indiana, reveló en YouTube que fue sanado de un tumor cerebral en el Santuario de Nuestra Señora de Lourdes. Hoy Luis Román lo entrevista sobre esta extraordinaria noticia. Pulsa aqui para ver el Programa con Substitulos en Español¡Convierte en Miembro Cristero de Nuestro Canal Hoy!! Pulsa aquíSiguenos en todos los medios y canales aquiHaz click para suscribirte y escucharnos en: AndroidRSSSpotify:TuneInStitcherPlayer FMCastbox Pocket Casts OvercastBeyondPod  PandoraApoya mi trabajo y recibes regalos (Haz click en el enlace o link): www.patreon.com/ConoceamayvivetufeRecibe el Libro Mana de Aliento para el Cristiano GRATIS ¡Haz click aqui! Support the showSupport the show YouTube Facebook Telegram Instagram Tik Tok Twitter

En Cristo
Fiesta de la Presentación del Señor. Nuestra Señora de la Candelaria

En Cristo

Play Episode Listen Later Feb 2, 2023 13:27


2 DE FEBRERO - FIESTA DE LA PRESENTACIÓN DEL SEÑOR. NUESTRA SEÑORA DE LA CANDELARIA

Historia de Aragón
Aragón Noticias De Cerca Zaragoza - 23/12/2022

Historia de Aragón

Play Episode Listen Later Dec 23, 2022 30:00


Hoy conocemos "De Cerca" la iniciativa por la cual, de la mano de la Federación Interpeñas, se han preparado hasta 250 menús solidarios que se han repartido en la Parroquia de Nuestra Señora del Perpetuo Socorro, la Fundación La Caridad y el Centro Cívico San José Teodoro Sánchez Punter. Tras esto, hablamos de la iniciativa, "Una Vuelta Atrás" que ha recibido el premio a mejor experiencia turística 2022 en el apartado de Ecoturismo. En Ejea de los Caballeros conocemos en detalle la puesta en marcha de un bus urbano que conectará diversos puntos de la ciudad. Y, por último, de la mano del músico Luis Miguel Bajén, también conocido Capitán Mundo, damos un toque cultural con la presentación de su último disco, "¡Jugamos a cantar!".

Jewelry Journey Podcast
Episode 177 Part 2: History at Your Fingertips: How Beatriz Chadour-Sampson Catalogued 2,600 Historic Rings

Jewelry Journey Podcast

Play Episode Listen Later Dec 23, 2022 35:37


What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. Welcome back.   Beatriz: You asked about the catalogue. We didn't know if the exhibition was going ahead at one point, but I was asked by V&A Publishing to do a book on pearls, which I did. So, yes, we did a book which was for sale during the exhibition. That was in 2013. We redesigned the jewelry gallery, and 2008 was the end of that. The pearls exhibition was in 2013, the beginning of 2014.   Sharon: Why was it redesigned, the gallery?   Beatriz: The jewelry gallery. With all galleries, there comes a point where they need to be refreshed and renewed, and the previous design needed it. You even had gates you had to get through, and if you weren't quite as slim as myself, you would have problems getting through the gates. When it was redesigned, it was a completely different aesthetic. As I said, the boards have to tell the story, so when the visitor walks in, they have to understand the story and go from one to the other. Some people say the gallery is very full, but it is a study collection. We asked the education department artists to do certain things.    I was very keen on going “from cradle to grave.” The gallery is chronological, so you want a display before you start to know why you wear jewelry. A child wears jewelry or a mother wears jewelry to protect them at childbirth, or they wear it for status or religion or whatever it is. Jewelry is multitasking, multifunctional. Today we think of jewelry as decorative, but that is not the case. Jewelry was made for an occasion and a reason. With status, you always have the big diamonds and the big stones. That has always existed, in recently centuries definitely. But there are so many more reasons for jewelry, for mourning and birth and good luck. That sort of exists today, probably with charms. So, jewelry is multifunctional.    Then we have a screen with pictures from different centuries showing portraits because, at a jewelry gallery, you can't see the pieces on someone. They need the body, but they don't have the body. So, it's good to have a screen showing how the jewelry was worn through the centuries, which is very important. Also in the display, each board—let's say you had earrings, a necklace and a bracelet. The concept was that what you wear on the top of the head goes on top. What you wear around your neck comes next and then the base, so you have a feeling of an abstract body in a way. It's not always obvious, but I try to think of it logically.    Of course, with the contemporary, we couldn't do that. It is all chronological until you get to about the 1950s, and that's it. You have to find a completely different concept. So, we decided to do it by materials. Good chronology at the beginning, but then it comes into materials. Natural materials, new metals, techniques. You couldn't do decades. That couldn't work. So, we did it by materials, which is an interesting aspect because you have all the different materials they use in comparison to all the gold and silver you see throughout the gallery. Suddenly, you're seeing a whole wall of completely different materials.   Sharon: What is your role as co-curator? You're curator and co-curator of so many places. What's your role as a co-curator? What do you do? What do they call in you for?   Beatriz: It's an advisory role. The Victoria and Albert Museum is a bit more than just an advisory role. You're working with the team, with the architect. It's a team procedure, but as I say, everybody has their own role to play. It intermingles, of course.    Sharon: At other times, you've talked about a different museum in Switzerland where you came, and it looked just—was it at eye level? Was it low? Was it too high?   Beatriz: Oh, that one, no. You remembered that detail. The eye level, that was the Victoria and Albert Museum. That is in the center of the gallery because we did a display for a tourist who goes to the museum and only has 10 minutes to look at jewelry history. So, in the center you've got these curved glass cases. The jewelry is on special mounts. You remember that. I asked my colleagues of different heights, from four foot something to six foot something. In the storage room, we had glass doors where there was a lot of storage space with artifacts in it, and I used Post-it Notes to put the different heights of people to see what a good eye level is. So, if you're looking at a broach or a tiara or something, you want it on the level where you more or less visualize it on your body so you can see it well. So, yes, that's the Post-it Notes. I used not only double-sided tape and pieces of paper, but also Post-it Notes, trying to find the right height for the pieces.    Eye level is hugely important, but the other museum you're thinking of may be something I'm current advising on. This is really an advisory role. It is a museum that will open next year, the Dubedeen, a German museum. Of course, there are gemologists there that are very specialized, but their museum experience is missing. So, I'm giving a little bit of advice on the background of things. Don't put a plinth that you can fall over. Don't make drawers that a child can get their fingers caught in. You learn these things from places like the Victoria and Albert Museum. There's health and safety. There's also the height of displays, the attention span of visitors. Text shouldn't be too long. It's more of an advisory role than an active role.   Sharon: I'm thinking about attention span. You must have seen that really go down. It seems nobody has more than two seconds for attention anymore.   Beatriz: There is an element of that. I think the Koch Collection of rings in the Jewelry Gallery is one of the most visited in the England museums. When you get to sparkle and glitter, there's more attention span, but not so much on the text.   Sharon: Yeah, that's probably true. You've also done a lot of work on shipwrecks. That's very interesting.   Beatriz: That goes back to 1989. By sheer coincidence, I came to work on shipwrecks. I was in New York when I was working on the Concepción Collection. I met Priscilla Muller of the Hispanic Society of America in New York, and I helped her with some Spanish and Portuguese jewelry. When she was asked, she just didn't have the time to work on the shipwrecks. She thought with my Spanish and Portuguese knowledge, I would be suited for that, so I was asked by Pacific Sea Resources in 1989 to work on an incredible shipwreck called the Nuestra Señora de la Concepción from 1638 that sank. It was the usual thing, mutiny and the wrong person taking care of the ship. That's a private story, not a jewelry story, but the interesting thing is that the jewelry was basically made for Spaniards in the Philippines. The jewelry was made in the Philippines, the majority of it for Spaniards. It was a Spanish colony at the time.   When I was first went through it, I thought, “It looks quite European. It looks O.K.” I signed the contract, and little did I know how much research was involved for the material, which I hardly knew. It was because of the influence. The Spaniards definitely had European design books they brought with them. By then, you had printed books with designs in them, and they must have had them there. Chinese craftsmen were working for them in the Philippines, and of course the Chinese had great skills with outside countries. Some of it looks very European, and some of it is Indian influences, Siamese influences, and influences from Java, Sumatra. The chains, heavy gold chains, were certainly Chinese filigree. In fact, I told the Ashmolean Museum it belonged to Sir Elias Ashmole, whose portrait and chains still exist in the Ashmolean Museum, and I told them that one of the gold chains he had was Chinese. It was given by the Kuffners from Brandenburg, and I happened to find out that the Kuffners from Brandenburg travelled to China. So, that all fit. That was a little like detective work. That was published in 1990.   I've recently been working again on shipwrecks, just a few pieces of absolutely fascinating jewelry found off the shore of the Bahamas, which has now been in the Maritime Museum on the Bahamas for only a few months. I also worked on the Atocha in Key West. I organized an exhibition in Hanover for them, where we did a display of the Atocha and Santa Margarita events. But what's so fascinating about shipwrecks is that we see so many portraits of beautiful jewelry from the Renaissance, the 16th, 17th centuries, where they really documented beautifully painted jewelry in paintings. Thanks to that we can study them in detail. All this jewelry doesn't exist anymore, especially gold chains, because gold chains were the easiest thing to melt and reuse for more modern jewelry. As I have said, I have a smile when somebody talks to me about recycled gold being something new. Well, it's nothing new. Recycling gold goes back centuries.    Sharon: I'm surprised because in the pictures, you always think it's a straightforward gold chain with no Chinese engraving or anything. You think of it as a gold chain.   Beatriz: Some of it is simple, what they called a P-chain. You saw loads of it, especially on Dutch paintings. But in the Atocha there was a spiral. You can see they're very tidy on the portraits, but it looks as if they had a spiral at the back holding the chain so they flowed down properly. Some of those chains we had were definitely Chinese filigree because those chains are filigree. In the 1655 shipwreck from the Bahamas, there's a chain like that, and that's mainly why they asked me to look at it. That certainly reminded me of some of the Concepción work, which was Chinese craftsmanship.    The trade was amazing. You had trade happening in the Philippines. Even the Dutch were trading with the Spaniards. The Dutch were trading silks and spices from China and so on. These big galleons went from the Philippines to Acapulco and Vera Cruz and then to Havana. They went on a route around South America, loading and offloading things from Europe. It's interesting because in Seville, there's the Archivo General de Indias, and there they have all the books on the shipping material. Like with the Atocha, they found out which ship it was because the gold bars have a text mark on them, and that coincided with the documents they have in Seville. It's fascinating. It's a fascinating field.   Sharon: It seems like it.   Beatriz: It's a mystery and it's global, of course. Made in Asia; there's nothing new. It's hundreds of years. There would not be any porcelain in 18th century Europe the other way around.   Sharon: Do you get to see the ship right away? When it comes up, do you see it when they pull it from the ocean?   Beatriz: No. When I was asked to work on the Concepción, I had to travel to Singapore where it was being cleaned and conserved. In one instance I had to say, “Stop cleaning because I think there's enamel underneath, black and white enamel. Stop.” You have to be careful because you have to get rid of the marine dirt. No, I got to see it after it was cleaned or while it was being cleaned.    Sharon: Wow! And then what? It goes to the museum? What happens afterwards?   Beatriz: It nearly got split up and sold at auction. I'm glad it didn't because it's a historical find, but unfortunately you have to go the Mariana Islands to see it. You can't see it always. The material is put together, and it was published in a black and white archaeological report. It was published in 1990, so at least it's documented. National Geographic did a beautiful spread with color, so you know what it's like.   Sharon: What have you learned from parsing these shipwrecks, from researching the shipwrecks?   Beatriz: The extent of influence in Europe of some motifs and how far they went. It was made in the Philippines and sold in Europe because everything that was made and transported on this galleon, the Atocha, at some point went to Seville and then it was traded on. We definitely know that the emeralds the emperors were after came from Colombia and then went through Havana to Seville. It's a fascinating trade, but the trade is something we never think about. In Roman times, the Roman emperor wanted pearls, so they traveled to southern India to get pearls. History does amaze one.    Sharon: It does. You're working on many projects now. What can you tell us about some of them?   Beatriz: I can tell you what's half-finished and what's coming. I've had a year of three books. I co-edited a book with Sandra Hindman, founder of Les Enluminures. I need to add Les Enluminures because for many years, I've been their jewelry consultant. They're based in Chicago, New York and Paris and are specialized mainly in Medieval and Renaissance jewelry, but this has nothing to do with the book we did. It just happened to be that we worked together again. Sandra and myself did something called a liber amicorum in honor of Diana Scarisbrick, a leading jewelry historian. It was for her 94th birthday, and we kept it a secret until her birthday. It had 20 authors in three languages all writing in her honor. That has come out. It's now available. It was published by Paul Holberton. It's on varied topics, from archaeology to today, really. 20 authors contributed towards that.    Today I received my copy of a book I worked on for the Schmuckmuseum, so it's now published. The launch is on Sunday, but I won't be traveling to Germany for that, unfortunately. It has to be a Zoom celebration for me. It's to do with the humanist Johann Reuchlin. He was from Pforzheim. He lived in the late 15th to the 16th century, and it's about script and jewelry from varying periods. It's a lot of contemporary jewelry as well. The cover doesn't really tell you that because it was the 500th anniversary of, I think, his death date. So, he was honored in this book, which has just come out, with essays from many people. Lots and lots of jewelry. That was published by Arnoldsche, and it's called—I have to think of it—German sounds so much easier in this case. It means script and pictures worn on the finger. I worked on rings with script on them.   Sharon: With writing you mean?   Beatriz: Yeah, writing, that's it. There are a lot of other topics in the book as well, but jewelry is certainly the dominant. Yes, they are rings. Mary Queen of Scotts is somebody who wrote her inscription inside the ring and was loyal to the queen. Had that been seen, her head would have gone to the chop. It's rings with prayers on them or rings with some sort of amuletic inscriptions. It's all inscriptions on rings in my case, and it's about Josiah Wedgwood who gave this ring to John Flaxman. You've got a whole history behind it. It's rings with script on them, highly visible on the bezel, either visible on the bezel or inside the hoop.   Sharon: In English or German?   Beatriz: It's basically German, I'm afraid to say, but with lots of good pictures with excellent captions, which are international. I am bilingual in German and English, but I haven't written German for a long time.    I've actually written a third book that's coming out, but that won't come out until January. That was a huge task. It's on jewelry from Bossard from Lucerne. It started in the early 19th century, but the two I worked on were a father and son from 1869 until 1934. That was the period of historicism. It was also a time of fakes of Renaissance jewelry being made, because there were so many collectors who wanted Renaissance but couldn't afford the real Renaissance jewelry. So, it was very tempting for fakers to make fake jewelry. When I started, I didn't know what I was in for, but I have come to the conclusion that it's pure historicism, what Bossard made. I had very little jewelry to go on, just a few pieces in private hands, but I did find by sheer coincidence a drawing, and I found the bishop who it belonged to. You have a hundred drawings by the Bossard Company over this whole period, and it's very interesting material to see their designs they were making. In some instances, it's real Renaissance. I don't know if they were Renaissance or if it was actually made later. Then it gets critical. It's a very complex period, but a very interesting archive in the Swiss National Museum in Zurich.   Sharon: For next year, do you have other projects going on?   Beatriz: Yes, the coming projects. I mentioned the gem museum, which is opening next year. I'm in the midst of advising. I'm going to be working very shortly—I've already started a bit—on the jeweler Eileen Coyne from London. She's been working on jewelry since the 1970s and continues to make jewelry very, very different to anything I've worked on before. What I find so fascinating is that her imagination and inspiration come from the material. It comes with the material and the tools. She also uses interesting gemstones and beads that come from ethnic backgrounds. She uses the most amazing materials. Also jades, carnelians, all kinds of things. So, we're going to do a book. She had a shop in the 80s and into the 90s. Her jewelry was displayed in Harvey Nichols in London, and she had a shop where all the celebrities and royals went shopping. It was quite an interesting clientele. We'll see if we get photographs or if they allow us to show some of the things they bought. It's very much about discretion in such cases. So, that's interesting, a completely different type of jewelry.    I'm really excited about it, but at the same time, I've also been involved, and am more involved now, in an artificial intelligence project. That is a ring that has been designed by Sylvia Reidenbach and John Emeny in England. Sylvia Reidenbach is German, but she teaches in Glasgow and London and all over Europe as well. She has created, with John Emeny, a ring with artificial intelligence based on one or two rings from the archaeological museum in Munich, a few rings from the  Germanisches Nationalmuseum in Nuremburg, and 150 rings from the Koch Collection. There's one design. The machine makes the design, mixes it all and combines it into one design. The ring is now being made. The stone is labradorite. It's been on display since Wednesday last week in the Germanisches Nationalmuseum but will be coming to Zurich afterwards. So, I'll be learning a lot about AI and design. That is completely different from anything. I like the natural materials and history, and then the contrast is the AI.   Sharon: The AI is the dimensions of all these hundreds of rings?   Beatriz: Yes, the images are put into the machine, the AI. Don't ask me the technology of it because I haven't got a clue about AI technology. I'm at the beginning of it all. I'm learning, but I have seen how it develops. The images are fed into the machine, like the 150 rings from the Koch Collection and the others, and the machine designs one ring out of that.   Sharon: Wow! So, it's already made and in the museum.   Beatriz: Only just now. It's hot off the press, but there's more to come on that. There will be more to come on that, yes.   Sharon: You've written several other books. You wrote “A Life in Jewels.”   Beatriz: That is the book we did for Diana Scarisbrick, honoring her. I've written books since 1981, so it's added up quite a bit. Sometime I can give you a list.    Sharon: How about the influence of women on 20th century jewelry? Has it changed jewelry? Has it made it more feminine?    Beatriz: It's an extremely complex story, the role of women in design. You have to see it from the role of the woman in history. Just recently by coincidence, I've seen some material on women painters from the 16th and 17th centuries. In Bologna, for example, there were quite a few, and it's only now coming to the fore. You also have to see high jewelers' workshops in the field of jewelry. You don't have a Renaissance piece of jewelry and know, “So-and-so made it.” That didn't exist. It's only in the 19th century that we start that. The hallmarking system in England goes back to the 13th century, but jewelry was considered smallware, so they didn't consider putting a hallmark on it.    That changed later on, the but the name of the designer is something that we very often don't know. The high jewelers of the 19th century, when you knew the name of who made it in Paris or New York, you never know the name of the designer. That is something that came in in the 20th century. You have some classical examples. With Cartier, it was Jeanne Toussaint. She designed some of the iconic pieces for Cartier and the Duchess of Windsor. She worked for I don't know how many decades designing jewelry. She was a very important female designer. Then you've got Coco Chanel. She designed jewelry, mostly costume jewelry, but she also designed diamond jewelry. Not that she wanted to, but it was for the nation and probably the economy that she did it. Elsa Schiaparelli, with her fantastic surrealist jewelry, made that incredible neckpiece with beetles in plastic. If you had to date that as a jewelry store and you didn't know the background, you'd easily say 1970s or 80s. It's so amazing. In that period, you also had Suzanne Belperron with her really unique designs in jewelry.    Of course, the role of the woman changed after the First World War. You had millions of widows, and they had to work. The whole society was changing. After the Second World War, it became even more evident that women were working. I was very cheeky. I did a lecture. It was in the British Museum, and I was talking about the changing role of men and women buying jewelry. You can imagine the shock of some of them. I said, “Women go out and buy their own jewelry.” Before it was classical: the husband bought the jewelry for the wife. They were the earners, so they bought it. There were a few examples in the early 1900s, like the Duchess of Manchester, whose tiaras are in the Victoria and Albert Museum. She was one of these Dollar Princesses and quite a character. She liked smoking cigars and all. She went off with the family diamonds to Cartier and said, “Make me a tiara, and use up the garments.” You have Lady Mountbatten, who, after the birth of her daughter, Pamela, decided to go to Cartier and buy herself a nice bracelet that she could also wear in her hair in the 1920s.    There are a few examples. On the whole, it was always the husband buying the jewelry, but past that, you have women earning money and buying their own jewelry. The 60s sets off in that direction, and then it becomes jewelry that's more affordable. Jewelry has never been so diverse as in the last decades. It's never been so diverse in all its history. If you look at the Royal College of Art, I think you'll find that, in general, there are a lot more women in training to become jewelers. You find so many names of women designers, now one doesn't even talk about it. Whether it's a man or a woman, it's just become a norm.    Sharon: That's interesting. If you stop to think about it, I don't even know if there are that many male designers. I'm thinking about when I go to studios. You see more women than you do men.   Beatriz: It's more and more, yes. There are more and more women, absolutely.   Sharon: What would you advise? What piece of advice would you give emerging jewelers or people who want to follow in your steps?   Beatriz: Remember that if you're a jewelry historian, you're an academic. Remember that. You have to really enjoy what you're doing. In my case, I was very lucky. I've worked for so many different projects and so many different jewelers internationally. I've specialized in that, but it's very difficult. Maybe, depending on the economic situation, people can volunteer in a museum to learn the trade. I think what you really have to know is do you want to work in a gallery, or do you want to work in an auction? Do you want to work in a museum? They don't always mingle, so you have to learn where you want to go. It depends on what your interests are. If you have anybody, send them to me privately. I'm happy to talk it through.   Sharon: Thank you for being with us.   Beatriz: My pleasure.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Jewelry Journey Podcast
Episode 177 Part 1: History at Your Fingertips: How Beatriz Chadour-Sampson Catalogued 2,600 Historic Rings

Jewelry Journey Podcast

Play Episode Listen Later Dec 21, 2022 33:22


What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Inside the Jewel Vault with Dr Beatriz Chadour-Sampson Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. My guest today is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. She's also a jewelry historian, art historian, educator, author and a whole bunch of other things I'm sure I'm missing out on, but she'll fill us in today. Beatriz, welcome to the program.   Beatriz: Thank you very much for your invitation.   Sharon: Can you tell us about your jewelry journey? It's been quite a journey.   Beatriz: Yes, the journey starts many years ago when I was a small child, in fact. I'm not a young chick at the moment, but I started off in my childhood with jewelry. I have to tell you a little bit of the family history. I was born in Cuba. My father was Russian and my mother was British. There's a whole story of European history, including being five times refugees from Europe within Europe. That's the aside, but my father learned how to cut and polish diamonds during the war in Cuba. After the war, he opened an import/export business for gemstones. It's not unknown. You'll probably find on the internet a picture of me, age three, sorting stones in his office in Cuba. We left Cuba during the Cuban Revolution. I was a Cuban subject as well as my father, but we left and never returned.    He opened a business called Chadour Charms, Inc. in New York. I always spent my holidays in New York. My mother was working in a company where I couldn't tag along. I spent most of my free time as a child on 47th Street, which was called the gold and diamond alley at the time. My father designed charms. He had the gold cast and then set the stones himself. On 47th Street we had many friends we visited. One had a refinery for gold and silver; the other one sold supplies for goldsmiths, which was quite exciting. I encountered pearls, corals, diamonds and all sorts of jewelry experiences.    That was from three years to early childhood. It was about three years altogether in New York. Then my father was offered a job in Frankfurt am Main in Germany. He spoke fluent German. It was an American company building a pearl business in Frankfurt. That's when I got even deeper into jewelry. Of course, there was also the trade. You can call it child labor today. In those days maybe it was seen slightly differently, but I did my homework with the secretaries. After that, I was stringing pearls, writing invoices and doing all kinds of things with pearls. When I was slightly older, I was allowed to make pearl pairs. Don't think that a pearl is white. It's nowhere near white. There are so many different colors and lusters that come in the pearl. So, I was setting pearls, hundreds of pearls, sorting them by a quarter of a millimeter, and then pairing them for earrings and matching the pearls in their luster so they could be worn as earrings.   From there we went on to jewelry, so stones and charms. Something interesting with the charms—I have a little anecdote. I was researching a book, “The Power of Love,” which came out in 2019, and I was looking in an auction catalogue for a famous love ring that Sir Laurence Olivier gave to the actress Vivian Leigh. Late at night, as I do very often, I was searching on the internet for the auction catalogue, and suddenly I see a charm bracelet. I couldn't believe my eyes. One of the charms she had on the bracelet was designed by my father. I can prove that because I have the same charm on my charm bracelet. It was a ship in the sunset, as you see in the background. So, that was going down memory lane.    When I reached the age of 18, I said, “I don't want to have anything to do with jewelry ever again.” I had enough. I grew up in the jewelry trade. It was all trade. Lo and behold, I then decided to study art history in Germany and England, but I did my thesis in Germany at the University of Münster. My subject at the end of this was Antonio Gentili, a Renaissance goldsmith. He came from Faenza. He worked for the Medici and the Farnese families, two very high families. He also did works for the Vatican. I remember in my early years after my dissertation, I used to see the Easter Mass on television in Germany. I was looking to see if the cross and candlesticks I worked on were on the show on the altar, which most years they were.    I then got into goldsmiths' work. It's through my jewelry background and my thesis on Renaissance goldsmiths' work that I was awarded a scholarship to write the catalogue of 900 pieces of jewelry for what is now called the Museum for Applied Arts, the Museum für Angewandte Kunst. The collection covers 5,000 years of jewelry history. I was really plunged into the deep history of jewelry. There weren't so many books at the time. They were more archaeology books. This explosion of jewelry books is something that came after I had finished the catalogue. There was a lot of research that was quite complex, but I enjoyed it. It was wonderful to gain that experience and knowledge of a wide part of jewelry history. That was in 1981. I finished the catalogue. It was published. That was also my first experience doing an exhibition because when the catalogue was launched, we had an exhibition with the jewelry. More recently I've been with the Cologne Museum since 1981. It was the first time. They're now doing a new display of the jewelry. They're still planning it. I think it's due to come out next year, so there will be a new display of the jewelry I catalogued.    Then I was offered a job in Hanau, Germany. Many will not realize that Hanau has a history in jewelry that goes back to the 17th century. Up to the First World War, it was a center for producing hand-manufactured jewelry. Today, they have an academy where you can learn how to make jewelry. That goes back to 1772. So, it's a city of great tradition of jewelry. I was Managing Director of the Gesellschaft für Goldschmiedekunst. I was organizing exhibitions and competitions and catalogues, and it was all contemporary jewelry.  When I was working in Cologne, that was my first encounter with contemporary jewelry. I met people who I became great friends with. I also took part in the many events of the Forum für Schmuck und Design, which still exists. So, those were my early experiences with contemporary jewelry, but when I got to Hanau, I was plunged right into it. I had all kinds of jobs to do, as I said, exhibitions, catalogues and competitions.    I stayed there for about three and a half years. In 1988, I was asked if I would catalogue the Alice and Louis Koch Collection. Louis Koch was a very famous jeweler in Frankfurt au Main, Germany, and he and his wife collected rings, among many other collections. It was a family of collections. By 1904, they had about 1,700 rings. There are over 2,600 rings now. I was asked to catalogue the 1,700 rings, which took me quite a long time, but I was doing all kinds of other projects in between. The collector allowed me to do that, which was great fun. In 1994, the historical collection was catalogued fully. It's like an encyclopedia of rings from ancient Egypt on. It covers 4,000 years of jewelry history.   In about 1993, just before we finished the catalogue—and there are a few contemporary rings in the 1994 publication. I believe this collection from Louis Koch in 1904 went to a second and a third generation after he died in 1930. The fourth generation, we discussed it, and we came to the conclusion that they should make it their own and continue where their great-grandfather had finished. Now, their great-grandfather was, as I said, a very famous family jeweler in Frankfurt. The shop was called the Cartier of Germany, so you can imagine royalty wearing it and the national business. He was a quite a jeweler. They also expanded to Baden-Baden. He was a very fashionable jeweler, and he was a contemporary of René Lalique. He didn't buy rings from any other contemporaries, but he bought a ring by René Lalique, so he must have realized there was something very contemporary about Lalique. He was the modernizer of French jewelry at the time, using glass and gold that was unthinkable.    So, we went on this venture from 1993 until the publication in 2019. We amassed a collection of 610 rings from the 20th and 21st century, which are all catalogued. Then the collection went into the Swiss National Museum. There was a small exhibition, but since 2019, there's a permanent display of 1,700 rings. May I add that the 610 contemporary rings are all on display, so we reduced repetitions within the historical part of the collection. Interestingly, this room's showcase is also round like a ring. With 1,700 rings, it's not an easy task because you have to go in a circle. We had big, brown panels of paper and played around with the rings. It starts with themes and then goes on chronologically to the contemporary. You couldn't make a mistake because once you got to ring 200, you couldn't go back to number 50. You can imagine going up to 1,700. I can say there are two rings that are not in the right place, but that's not too bad with 1,700 rings.   Sharon: Did you have to photograph them?   Beatriz: I'm very lucky to finish up on the Koch Collection. I'm now consultant curator to the Swiss National Museum in Zurich. I was responsible for the display there together with my colleagues in the museum. That was quite an experience. It's wonderful after 35 years to still be able to do this. I think they were a bit concerned about my babies and that I would want to run away from it, but that isn't the case. I really enjoy working with them. It's a pleasure. It's so rewarding, after 35 years, to see the collection on display, which was always in private hands from the 1900s onward.   I've just written six blogs for the Swiss National Museum. One is on the Napoleonic Wars, and the stories are all told by the rings. The next one coming out in November is on Josiah Wedgwood and his sculptor, John Flaxman. Rings tell lots of stories.   Sharon: Are the blogs in English?    Beatriz: Everything in the Swiss National Museum is English, German, French and Italian. So, you take your pick which one you want.   Sharon: Did you have to photograph everything? When you say you catalogued them, I think of a catalogue being a photograph and description.   Beatriz: Oh, no. The photographs of the historical collection were all done by a photographer. It's very difficult because we had to choose one background for all. That was complex. It's pre-1994, so it's sort of an old, pale, gray blue. One color fits all because it was the encyclopedic nature of the books.    With the 2019 book, I was working with the photographer in Zurich. I spent many weeks and months in Zurich sitting next to the photographer and choosing which angle because contemporary rings don't just have a hoop and a bezel. It's a piece of sculpture, so you have to know exactly which angle to take the photograph to show as much as you can of the ring. I was actually working together with the photographer. You learn a lot with such jobs.    Sharon: Wow! Today there are all kinds of degrees you can get with exhibitions. Was it something you learned hands on or learned by doing?   Beatriz: I was working at the practice in my second home of the Victoria and Albert Museum, because I was consultant curator to the William and Judith Bollinger Jewelry Gallery. I worked there for four and a half years on the displays. When you see the displays in the gallery, the concept was from me. I had little black and white photographs of the old gallery, nothing in color. It didn't matter that I knew the pieces by heart and each piece of jewelry was about the size of a small fingernail, and I got a damp hand from cutting out 4,000 images of 4,000 pieces of jewelry, very high-tech, of course. I had my pieces of paper, and I started thinking that every board has to tell a story. For me with an exhibition, the exhibit has to tell the story, and the text below on the captions really helps you understand it. Visually, I think it's very important that the pieces also talk. So, yes, I started before the architect was allocated and we worked together with 4,000 pieces. My colleague, Richard H. Cumber, worked on the watches, but otherwise all the jewelry is designed on black and white photographs on white sheets of paper with double-sided tape.   Sharon: Do you have thoughts about why you got so immersed in jewelry? You said you didn't want anything to do with jewelry, but here you are immersed in it. What were your thoughts?   Beatriz: You mean deep diving in it?   Sharon: Yes.   Beatriz: I grew up in the jewelry trade and experienced the Cuban Revolution and hardships, being refugees in New York and so on and then moving again to another country. It was complex. As a child, it wasn't quite easy. It didn't do me any harm. I've survived, but it was a really hard trade. What I was doing later, and still do now, is historical jewelry. It's a very different thing. I think I've gotten my love of jewelry back, yes, but I'm very keen on the wide picture of jewelry covering thousands of years.    In fact, I've been doing courses for the Victoria and Albert Museum since 2008. When I do the “Bedazzled” one, which is a history of jewelry, I start with 150,000 B.C. I jump off it pretty quickly, but for me, it's so important for people to go back to that time to understand what jewelry was about. To me, it was certainly more amuletic rather than status. It was status as well probably. We can't follow that, but certainly I think amuletic to protect from the dangers. They lived in a very natural world, so the dangers were much worse than we could imagine. I think it's fascinating to see what was in other periods of jewelry history. It makes it much more exciting to understand what's happening now.   Sharon: When you came to contemporary jewelry—it seems that you're pretty immersed in that also—what stood out to you? What made a piece different or jump out at you? There seems to be so much copycatting in many ways.   Beatriz: Definitely, a lot of copycatting. I've worked on a collection of 450 pieces of, and I can tell you that's one of the most copied ones. On Instagram, I have to be careful that I don't get nasty remarks because I do point out, “Yes, we've seen that before. He was ahead of his time, but his style is still modern today.” When we were putting the Koch Collection together with the 610 rings, 20 from the 21st century, the individual l idea was very important for me. It has to be innovative; the idea has to be new; it has to be interesting. For the materials, it should be an experiment with new materials; different materials; materials you wouldn't use for jewelry. We talk about sustainable jewelry. Pre-1994 we have two rings in the collection made of washing-up bottles. We were way ahead of the times. Of course, Peter Chang used recycled materials, and we commissioned a ring from him. We did commission people that never made rings before just to put them to the test. It was very interesting.   Sharon: I didn't know that Peter Chang was recycled.   Beatriz: The materials are all recycled materials, yes. That is the amazing part, the recycled materials. These two crazy rings we bought from a German jeweler, it's just washing-up bottles. If you're creative and imaginative, you make something interesting.    We have many important names who made rings. We have some wonderful rings from Wendy Ramshaw and so on. We have a lot of big names, but that was not the point. We have a lot of ones that just graduated or were young or completely unknown. It's more the idea and what they made. Of course, I was approached many times regarding rings and I had to decline, saying, “Sorry, we already have something like that.” I couldn't say it was not exciting. The idea was already there, so it makes it difficult. Unless it was interpreted differently, yes, that's fine.    So, I think we got a lot of crazy pieces. The collector always teased me. He said, “Can you wear the ring?” I said, “Of course, could you wear the ring? What do you think?” I always choose rings for wearing. Of course, I have to admit there are a few that are not wearable. I'll admit to that, but I think with a collection like the Koch Collection, you're allowed to do that. There are few you really can't wear, or you can wear them with great difficulty.   Sharon: Yes, I think about that. I always think about how it would be to type with a ring like that, or how it would be to work at a keyboard, something like that.   Beatriz: I always say you don't wear the big, high jewelry pieces when you go shopping or washing up.   Sharon: That's true.   Beatriz: I won't say any company names, but the high jewelers of New York, Paris, wherever, they make those pieces. Those are rings. If they look great, they're wearable, but you wouldn't wear them every day while you're washing up or shopping or doing other tasks around the house.   Sharon: That's true. That's probably why people don't buy them as much anymore. They don't have places to go, Covid aside.   Beatriz: I think with Covid, the interesting thing is that we have rings that are sculptures. If you're doing a collection and somebody makes a ring sculpture, I think it's valid to be in the Koch Collection. We do have a few ring sculptures, including Marjorie Schick. But it's interesting that you mentioned Covid and when the pandemic was on. I don't want to go into the pandemic, but we have a much-increased Zoom culture. It did exist before the pandemic, people trying to reduce travelling and climate change and so on. It did come before the pandemic, but it is definitely an increased media. You can't really wear a ring and say, “Well, here's my ring.” You have to wear something that's in the Zoom zone. That's earrings and brooches. Fortunately, I'm somebody who likes earrings and brooches. I always have on earrings and brooches.   Sharon: What you have on is very Zoom culture. It shows up well.   Beatriz: The color shows up, yes. The earrings, they're made of silver and made by Eve Balashova, who works in Glasgow. Zoom is not a problem with this jewelry because, as I said, I love the earrings and certainly the brooch that goes with it. In fact, when I bought the earrings I asked, “Can you make a brooch I can wear with it?”    Sharon: Wow! When you go out, do you see rings that make you say, “That should be in the collection”? Can you add new ones?   Beatriz: Since the display in 2019, there are only a few additions. It sort of finished with the publication and the display, but there have been the odd new rings. I write a lot about that. We have had a few, and I'm hoping that next year they will be on display. Maybe half a dozen rings; not many. We might have another exciting one, but we have to wait. Until the collector has actually gotten his hands on it, I don't want to jinx things.    Sharon: But you identify them and then they say yea or nay.   Beatriz: Yes. They have bought things on their own as well, but we've done this together, yes. I've identified and advised. For me, it was wonderful. First of all, they don't know the collector. It's always the Koch Collection, but the family's name is different, so it was always very modest, without great names. I was the one who negotiated everything, and it always gave me great pleasure when I could stand up and say, “We've chosen a ring for the collection.” You find this great joy on the other end, especially for those young or unknown ones. You could imagine what it meant for them. It's always great joy.    I love working with contemporary artist jewelers. I worked for 13 years as a visiting tutor under David Watkins. I always said I learned more from them than they learned from me, but I helped them with their Ph.Ds. I really enjoyed working with them, and it continued with being able to buy or acquire what they made for the collection.   Sharon: You do a lot of teaching. You're teaching other classes in January at the V&A.   Beatriz: Yeah.   Sharon: It started online.   Beatriz: Yes. In 2021, I did an online course, “Bedazzled.” Next year, in January and February, it's called “Jewels of Love, Romance and Eternity,” which is a topic I've worked on because I published the book “Proud Love.” We have a few other speakers who can bring another slant into it. Again, I start with antiquity, because you can't talk about love jewels without actually talking about Roman jewelry. Many people don't realize that the engagement ring or the proposal ring or marriage ring started with the ancient Romans.   Sharon: I didn't know that.   Beatriz: Diamonds in engagement rings started in the 15th century. It might be a little bit earlier, but that's more or less the dateline. So, there are lots of interesting things to talk about.    As I said, I've been doing courses since 2008 at regular intervals. Also at the Victoria and Albert Museum, I was co-curator of the pearls exhibition. I did a lot of courses on pearls as well, and that is a fascinating topic. It was wonderful to work on that exhibition. It was together with the Qatar Museum's authority, but I was asked by the Victoria and Albert Museum to create an exhibition for the British public, which was very different to what they had in mind, of course.   Sharon: There are so many new kinds of pearls, or at least kinds that weren't popular before. Tahitians and yellow pearls, that sort of thing.   Beatriz: Yes, all these extra pearls are the cultured pearls. It's a history of the natural pearl. Qatar was a center where they were diving for pearls, so we did all the diving history, how merchants worked in that area in Bali and Qatar. The cultured pearl is, of course, Mikimoto. There are theories that the Chinese started the cultured pearls, but the one who really got the cultured pearls going was Mikimoto. He certainly did the science with it. He worked together with scientists and had the vision. Natural pearls were very, very expensive, and his philosophy was that every woman should wear a pearl necklace or be able to afford a pearl necklace. I think his task is fulfilled.   It's interesting because the natural pearl doesn't have quite the luster of the cultured pearl. By the 20s, you have the cultured pearls coming in, and then by the 50s—when I did the exhibition, we had so many stories being told. Of course, some ladies from the Middle East are probably kicking themselves because they sold the family natural pearls because they didn't have the luster, and they bought the nice cultured pearls that are more flashy. Of course, now the value of natural pearls is unthinkable.   Sharon: Was there a catalogue?    Beatriz: With cultured pearls, you have the golden pearls and the Tahitian pearls and so on, but the color of the pearls depends on the shell they grow in, unless you have some that have been tampered with and are colored. But there are Tahitian pearls, golden pearls and all these different shades. Melo pearls have an orangey color. The color of the pearl is dependent on the shell it grows in. The rarest pearl is the pink pearl that comes from the Caribbean. That's the conch pearl; that's hugely expensive. You asked about the catalogue.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

En Cristo
Cuarto Domingo de Adviento. Nuestra Señora de la Esperanza

En Cristo

Play Episode Listen Later Dec 18, 2022 14:04


18 DE DICIEMBRE - CUARTO DOMINGO DE ADVIENTO. NUESTRA SEÑORA DE LA ESPERANZA

CONOZCA PRIMERO SU FE CATOLICA
2022-12-15 - HIJOS, ¿DÓNDE VAN?

CONOZCA PRIMERO SU FE CATOLICA

Play Episode Listen Later Dec 15, 2022 60:00


Recordamos a la Virgen del Tepeyac cuando le dijo a Juan Diego, “hijo, ¿dónde vas?” Esa misma pregunta nos deberíamos de hacer, ¿para dónde vamos? El Padre Pedro nos pide que hagamos un espacio en el corazón para volver a sentir las dulces palabras de aliento de Nuestra Señora de Guadalupe: “No se entristezca tu corazón… ¿Acaso no estoy yo aquí, que soy tu Madre?”. ¡Cuánto consuelo encontramos en ellas! Además responde a las preguntas llegadas al programa vía telefónica, el correo electrónico (padrepedro@ewtn.com) y Facebook (www.facebook.com/ppedronunez).

Filius Mariae
480. Nuestra Señora de Guadalupe

Filius Mariae

Play Episode Listen Later Dec 13, 2022 7:47


December 12, 2022  Readings: Zechariah 2:14-17; Judith 13:18bcde, 19; Luke 1:39-47 https://bible.usccb.org/bible/readings/121222.cfm 

Misa Diaria
2022-12-12 - Fr. Joseph

Misa Diaria

Play Episode Listen Later Dec 12, 2022 15:00


Nuestra Señora de Guadalupe (Fiesta)

La Santa Misa
12 de Diciembre del 2022

La Santa Misa

Play Episode Listen Later Dec 12, 2022 32:37


Fiesta de Nuestra Señora de GuadalupeLectionary: 690A /guadaluperadio.com

P. Juan José Paniagua
Nuestra Señora de Guadalupe

P. Juan José Paniagua

Play Episode Listen Later Dec 12, 2022 3:22


pjuanjpaniagua

Liturgia de las Horas
Laudes Lunes de la III semana de Adviento - Nuestra Señora de Guadalupe

Liturgia de las Horas

Play Episode Listen Later Dec 12, 2022 16:00


LAUDES LUNES DE LA III SEMANA DE ADVIENTO (Oración de la mañana) - Nuestra Señora de Guadalupe INVOCACIÓN INICIAL V. Señor abre mis labios R. Y mi boca proclamará tu alabanza INVITATORIO Ant. Venid, adoremos a Cristo, hijo de la siempre Virgen María. SALMODIA Salmo 62 - Ant. ¿Quien es esa que surge como el alba, hermosa como la luna y límpida como el sol, impotente como escuadrón a banderas desplegadas? Cántico - Ant. Yo soy la siempre Virgen santa María, Madre del verdadero Dios por quien se vive. Salmo 149 - Ant. Como el águila incita a volar a sus polluelos y revolotea sobre el nido, así extendió ella sus alas y los llevo sobre su plumaje. CÁNTICO EVANGÉLICO Ant. Sube a un alto monte, alegre mensajero de Jerusalén, di a las ciudades de Judá: “¡Aquí está vuestro Dios! Como un pastor pastorea a su pueblo.” Cántico de Zacarías. EL MESÍAS Y SU PRECURSOR Lc 1, 68-79 Bendito sea el Señor, Dios de Israel, porque ha visitado y redimido a su pueblo. suscitándonos una fuerza de salvación en la casa de David, su siervo, según lo había predicho desde antiguo por boca de sus santos profetas: Es la salvación que nos libra de nuestros enemigos y de la mano de todos los que nos odian; ha realizado así la misericordia que tuvo con nuestros padres, recordando su santa alianza y el juramento que juró a nuestro padre Abraham. Para concedernos que, libres de temor, arrancados de la mano de los enemigos, le sirvamos con santidad y justicia, en su presencia, todos nuestros días. Y a ti, niño, te llamarán Profeta del Altísimo, porque irás delante del Señor a preparar sus caminos, anunciando a su pueblo la salvación, el perdón de sus pecados. Por la entrañable misericordia de nuestro Dios, nos visitará el sol que nace de lo alto, para iluminar a los que viven en tiniebla y en sombra de muerte, para guiar nuestros pasos por el camino de la paz. Gloria al Padre, y al Hijo, y al Espíritu Santo. Como era en el principio, ahora y siempre, por los siglos de los siglos. Amén. PRECES “Señor, por quien vivimos, escucha nuestras plegarias.” Conclusion V. El Señor nos bendiga, nos guarde de todo mal y nos lleve a la vida eterna. R. Amén. (691) --- Support this podcast: https://anchor.fm/jose-emilio/support

Reflexiones del Evangelio del día
Reflexiones del evangelio del 12 de diciembre del 2022

Reflexiones del Evangelio del día

Play Episode Listen Later Dec 12, 2022 11:49


Nuestra Señora de Guadalupe, Patrona de América y Filipinas

Soy Claretiano
Lámpara para mis pasos 12/dic/2022

Soy Claretiano

Play Episode Listen Later Dec 12, 2022 11:20


Fiesta de Nuestra Señora de Guadalupe ¿Quién soy yo para que me visite la madre de mi Señor? Meditación del Evangelio según San Lucas 1, 39-45 por el biblista P. Norberto Padilla, misionero claretiano. Canción: Acaso No Estoy Yo Aquí (Guadalupe) (2021), de Athenas ---------- Lectura del santo evangelio según san Lucas 1, 39-45 En aquel tiempo María se puso en camino y fue a prisa a la montaña, a un pueblo de Judá. Entró en casa de Zacarías y saludó a Isabel. Cuando Isabel oyó el saludo de María, la creatura dio un salto en su vientre. Isabel llena del Espíritu Santo, exclamó con voz fuerte: "Bendita tú entre las mujeres y bendito el fruto de tu vientre. ¿Quién soy yo, para que me visite la madre de mi Señor? Mira, en cuanto tu saludo llegó a mis oídos, la creatura dio un saltó de gozo en mi vientre." Dichosa tú, que has creído, porque todo lo que te ha dicho en Señor, se cumplirá. Palabra del Señor... Gloria a ti, Señor Jesús #SoyClaretiano #Evangelio #MisionerosClaretianos Música de introducción: Lámpara Es Tu Palabra, de Ain Karem

Evangelio de la Vida - Padre Ricardo
Nuestra Señora de Guadalupe

Evangelio de la Vida - Padre Ricardo

Play Episode Listen Later Dec 12, 2022 7:43


Evangelio de hoy - Viralizando el Evangelio
Nuestra Señora de Guadalupe, patrona de América y Filipinas - ¡El que tenga oídos, que oiga! - Lunes 12 diciembre 2022

Evangelio de hoy - Viralizando el Evangelio

Play Episode Listen Later Dec 12, 2022 1:14


En adelante todas las generaciones me llamarán feliz ¡Hola, soy Alekz! Te comparto la lectura del evangelio de hoy en audio, ¡suscríbete para escuchar siempre el evangelio del día! 12 de diciembre de 2022 Nuestra Señora de Guadalupe, patrona de América y Filipinas Evangelio según San Lucas 1,39-48. En aquellos días, María partió y fue sin demora a un pueblo de la montaña de Judá. Entró en la casa de Zacarías y saludó a Isabel. Apenas esta oyó el saludo de María, el niño saltó de alegría en su seno, e Isabel, llena del Espíritu Santo, exclamó: "¡Tú eres bendita entre todas las mujeres y bendito es el fruto de tu vientre! ¿Quién soy yo, para que la madre de mi Señor venga a visitarme? Apenas oí tu saludo, el niño saltó de alegría en mi seno. Feliz de ti por haber creído que se cumplirá lo que te fue anunciado de parte del Señor." María dijo entonces: "Mi alma canta la grandeza del Señor, y mi espíritu se estremece de gozo en Dios, mi Salvador, porque él miró con bondad la pequeñez de su servidora. En adelante todas las generaciones me llamarán feliz." Conoce el proyecto de Ora Evangelis en nuestro sitio web: https://evangelio.mx

Arrepentidos, Conversos, Testigos...
Diciembre 12 - Guadalupe

Arrepentidos, Conversos, Testigos...

Play Episode Listen Later Dec 12, 2022 59:54


Hoy celebramos a Nuestra Señora de Guadalupe.

The Good Word
Fiesta de Nuestra Señora de Guadalupe, Maximo de los Santos, C.Ss.R.

The Good Word

Play Episode Listen Later Dec 12, 2022 4:54


Meditación del Día RC
Lunes 12 de diciembre de 2022. En el cruce de tus brazos. Nuestra Señora de Guadalupe.

Meditación del Día RC

Play Episode Listen Later Dec 12, 2022 11:08


Les compartimos la meditación del Evangelio según San Lc 1, 39-48.Para más recursos para encontrarte con Dios en la oración, visita nuestra página web www.meditaciondeldia.com o síguenos en Instagram @meditaciondeldia_ y compártenos tu opinión!Este podcast es parte de JuanDiegoNetwork.com.

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ
HOMILÍA - 12 de diciembre de 2022, Misa en la Solemnidad de Nuestra Señora de Guadalupe

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ

Play Episode Listen Later Dec 12, 2022 15:19


Misa en la Solemnidad de Nuestra Señora de Guadalupe

En Cristo
Nuestra Señora de Guadalupe

En Cristo

Play Episode Listen Later Dec 12, 2022 9:42


Meditaciones diarias
1006. ¿No estoy yo aquí que soy tu Madre?

Meditaciones diarias

Play Episode Listen Later Dec 11, 2022 22:11


Meditación en la fiesta de la Nuestra Señora de Guadalupe. Miramos a la Virgen para aprender de ella a vivir el tiempo de Adviento. Llama la atención que sale al encuentro de las personas que le necesitan. Nosotros hemos de hacer lo mismo, porque en ellas llega el Señor. La conmovedora historia de las apariciones de la Virgen a Juan Diego nos habla de confianza en Ella, precisamente a la hora de encontrar la Cruz, que es donde está Jesús.

Lectio Divina del Evangelio
Fiesta de Nuestra Señora de Guadalupe

Lectio Divina del Evangelio

Play Episode Listen Later Dec 11, 2022 6:34


(Lucas 1, 39-48) «¡Bendita tú entre las mujeres, y bendito el fruto de tu seno! ¿Y de dónde me viene, que la madre de mi Señor venga a mí?» La entrada Fiesta de Nuestra Señora de Guadalupe se publicó primero en FormacionCatolica.org.

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ
HOMILÍA - 10 de diciembre de 2022, Misa en la parroquia Nuestra Señora de Loreto

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ

Play Episode Listen Later Dec 11, 2022 12:44


Misa en la fiesta patronal de la parroquia Nuestra Señora de Loreto, en Pesquería

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ
HOMILÍA - 11 de diciembre de 2022, Misa en parroquia Ntra. Sra. de Gpe. Salud de los Enfermos

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ

Play Episode Listen Later Dec 11, 2022 16:41


Misa por consagración del altar en la parroquia Nuestra Señora de Guadalupe Salud de los Enfermos

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Homilias – Casa para tu Fe Católica
LA GRACIA 2022/12/12 Ser católico es ser provida

Homilias – Casa para tu Fe Católica

Play Episode Listen Later Dec 10, 2022


FIESTA DE NUESTRA SEÑORA DE GUADALUPE Ser eco del mensaje de Nuestra Señora de Guadalupe significa preocuparnos porque los niños nazcan, que no se asesine a los enfermos, por la vida eterna y que cada uno nos reconozcamos hijos del Dios verdadero.

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ
HOMILÍA - 9 de diciembre de 2022, Misa en parroquia Nuestra Señora de Guadalupe en Allende

HOMILÍAS MONS. ROGELIO CABRERA LÓPEZ

Play Episode Listen Later Dec 10, 2022 14:38


Misa en parroquia Nuestra Señora de Guadalupe en Allende

misa allende nuestra se homil parroquia nuestra se
Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Astros con Mhoni Vidente
La Virgen de Guadalupe: fervor, fe y milagros

Los Astros con Mhoni Vidente

Play Episode Listen Later Dec 9, 2022 22:30


Estamos a días de celebrar a Nuestra Señora de Guadalupe este 12 de diciembre, donde la fe y el amor mueve a millones de feligreses, en este episodio de Los Astros con Mhoni Vidente platicaremos desde cuál es el origen de la Virgen de Guadalupe, por qué apareció y cómo pedirle un milagro a nuestra señora del Tepeyac.Escucha más episodios de Los Astros con Mhoni Vidente en Spotify: https://open.spotify.com/show/0y0USQ6SkZ3wHrWrEmutjj ¡Síguenos en redes sociales! Instagram: https://www.instagram.com/elheraldopodcast/ Tik Tok: https://www.tiktok.com/@elheraldopodcast Facebook: https://www.facebook.com/elheraldopodcast/ Hosted on Acast. See acast.com/privacy for more information.

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego ♥️

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe con San Juan Diego

Los Pequeños Regalos de Dios

Novena a Nuestra Señora de Guadalupe

Liturgia de las Horas
Laudes Sábado de la XXXIII semana del Tiempo Ordinario - Nuestra Señora Madre de la Divina Providencia

Liturgia de las Horas

Play Episode Listen Later Nov 19, 2022 16:10


LAUDES SÁBADO DE LA XXXIII SEMANA DE ORDINARIO (Oración de la mañana) - Nuestra Señora Madre de la Divina Providencia INVOCACIÓN INICIAL V. Señor abre mis labios R. Y mi boca proclamará tu alabanza INVITATORIO Ant. Venid, adoremos a Cristo Jesús, que nos encomendó como hijos a su providente Madre. SALMODIA Salmo 62 - Ant. Así como mi alma está rebosante de riquezas y abundancia, así mi boca prorrumpirá en cánticos de alegría. Cántico - Ant. Santos y humildes de corazón, bendecid al Señor, porque el Poderoso hizo cosas grandes en mí. Salmo 149 - Ant. Que los hijos de Sión salten de gozo en su Rey, y se alegren en su bendita madre. CÁNTICO EVANGÉLICO Ant. Dijo su madre a Jesús: “No tienen vino”; y Jesús dio comienzo a sus milagros. Cántico de Zacarías. EL MESÍAS Y SU PRECURSOR Lc 1, 68-79 Bendito sea el Señor, Dios de Israel, porque ha visitado y redimido a su pueblo. suscitándonos una fuerza de salvación en la casa de David, su siervo, según lo había predicho desde antiguo por boca de sus santos profetas: Es la salvación que nos libra de nuestros enemigos y de la mano de todos los que nos odian; ha realizado así la misericordia que tuvo con nuestros padres, recordando su santa alianza y el juramento que juró a nuestro padre Abraham. Para concedernos que, libres de temor, arrancados de la mano de los enemigos, le sirvamos con santidad y justicia, en su presencia, todos nuestros días. Y a ti, niño, te llamarán Profeta del Altísimo, porque irás delante del Señor a preparar sus caminos, anunciando a su pueblo la salvación, el perdón de sus pecados. Por la entrañable misericordia de nuestro Dios, nos visitará el sol que nace de lo alto, para iluminar a los que viven en tiniebla y en sombra de muerte, para guiar nuestros pasos por el camino de la paz. Gloria al Padre, y al Hijo, y al Espíritu Santo. Como era en el principio, ahora y siempre, por los siglos de los siglos. Amén. PRECES “Que tu santa Madre, Señor, interceda por nosotros.” Conclusion V. El Señor nos bendiga, nos guarde de todo mal y nos lleve a la vida eterna. R. Amén. (644) --- Support this podcast: https://anchor.fm/jose-emilio/support

Soy Claretiano
Lámpara para mis pasos 19/nov/2022

Soy Claretiano

Play Episode Listen Later Nov 19, 2022 11:38


Nuestra Señora de la Divina Providencia, Patrona de Puerto Rico. Hagan lo que él les diga. Meditación del Evangelio según San Juan 2, 1- 11 por el biblista P. Norberto Padilla, misionero claretiano. Canción: Himno a la Virgen de la Providencia, de Saturnino Junquera, SJ ---------- Lectura del santo evangelio según san Juan 2, 1- 11 En aquel tiempo se celebraron unas bodas en Caná de Galilea, y estaba allí la madre de Jesús. También fueron invitados a la boda Jesús y sus discípulos; y como faltase el vino, le dice a Jesús su madre: "No tienen vino". Jesús le respondió: "¿Qué tengo yo contigo mujer? Todavía no ha llegado mi hora". Dice su madre a los sirvientes: "Hagan lo que él les diga". Había allí seis tinajas de piedra puestas para las purificaciones de los judíos, de dos o tres medidas cada una. Jesús les dice: "Llenen de agua las tinajas". Y los llenaron hasta arriba. "Ahora sáquen un poco y llévenle al encargado". Así lo hicieron. Cuando el encargado probó el agua convertida en vino, sin saber de donde provenía, aunque los sirvientes que sacaron el agua lo sabían, llamó al esposo y le dijo, "Todo el mundo sirve primero el mejor vino, y cuando ya están bebidos, el peor; tú en cambio has guardado el vino bueno hasta ahora". Así, en Caná de Galilea dio Jesús comienzo a sus señales, manifestó su gloria y creyeron en Él, sus discípulos. Palabra del Señor... Gloria a ti, Señor Jesús #SoyClaretiano #Evangelio #MisionerosClaretianos Música de introducción: Lámpara Es Tu Palabra https://www.youtube.com/watch?v=SU-6PsnSs00, de Ain Karem

Mind Matters
Does Personality Impact Neurodiversity?

Mind Matters

Play Episode Listen Later Nov 17, 2022 36:23


Today we talk with Dr. Alex Vuyk, a Professor of Psychology at the Universidad Católica Nuestra Señora de la Asunción in Paraguay. We discuss the Big Five Personality Model, the influence of personality on neurodiversity, and much more. Also, join our Facebook group to be part of the conversation, and get even deeper “into the weeds” on this and other subjects. This episode is sponsored by Bridges Academy Online, a high school education for twice-exceptional students. Find them at bridges.edu. ABOUT THE GUEST - Dr. Alex Vuyk is a Professor of Psychology at the Universidad Católica Nuestra Señora de la Asunción in Paraguay. She has pioneered gifted education research, practice, and advocacy in Paraguay, and founded both the Aikumby Center for Giftedness and Creativity and REDPAC Paraguay to assist both gifted students and professionals working with high ability students. Dr. Vuyk holds degrees from the University of Kansas and Emporia State University. Her research interests include social-emotional development of intellectually and creatively gifted individuals, creative and non-linear career paths, and personality traits related to gifted individuals and their career paths.

CONOCE  AMA Y VIVE TU FE
Episodio 729: Vendrá La HUIDA Y MARTIRIO De Un Papa / PROFECÍAS Y REVELACIONES / Virgen De FÁTIMA / Luis Roman

CONOCE AMA Y VIVE TU FE

Play Episode Listen Later Oct 26, 2022 41:34


Luis Roman nos comparte un sin número de Profecias y Revelaciones que hacen eco del mensaje de Nuestra Señora en Fátima y que apuntan a un Papa que tendrá que huír de Roma y que será martirizado.Pulsa aqui para ver el Programa¡Convierte en Miembro Cristero de Nuestro Canal Hoy!! Pulsa aquíSiguenos en todos los medios y canales aquiHaz click para suscribirte y escucharnos en: AndroidRSSSpotify:TuneInStitcherPlayer FMCastbox Pocket Casts OvercastBeyondPod  PandoraApoya mi trabajo y recibes regalos (Haz click en el enlace o link): www.patreon.com/ConoceamayvivetufeRecibe el Libro Mana de Aliento para el Cristiano GRATIS ¡Haz click aqui!Support the show YouTube Facebook Telegram Instagram Tik Tok Twitter

“54 Days of Roses”
Día 54 - Misterios Gloriosos en Agradecimiento

“54 Days of Roses”

Play Episode Listen Later Oct 7, 2022 44:36


¡Hola familia!Bienvenidos de nuevo. Este es el día 51 de nuestra Novena del Rosario de 54 días.Cada año, el 7 de octubre, la Iglesia Católica celebra la Fiesta de Nuestra Señora del Rosario, antes conocida como Fiesta de Nuestra Señora de la Victoria. El Papa Pío V, estableció esta fiesta en 1573 para agradecer a Dios por una victoria militar cristiana sobre los turcos, una victoria atribuida al rezo del Rosario.La forma en que rezamos el rosario se ha desarrollado con el tiempo. Según franciscanmedia.org. La práctica inicial era rezar 150 Padre Nuestros para imitar los 150 Salmos. Luego hubo una práctica paralela de rezar 150 Ave Marías. En el siglo XVI (16), el Rosario se desarrolló para incluir 15 Misterios de la vida de Jesús; 5 Gozosos, 5 Dolorosos y 5 Gloriosos. En 2002, el Papa Juan Pablo II agregó los 5 Misterios Luminosos al Rosario. El propósito del Rosario es ayudarnos a meditar en los misterios de nuestra salvación: el nacimiento de Jesús, Su Vida, muerte y resurrección.La Novena del Rosario de 54 días se originó a fines del siglo XIX (19), cuando María se le apareció a una joven, Agrelli de Nápoles, Italia. Nuestra Señora Reina del Santísimo Rosario  especifico que quien desease obtener favores de ella, hiciera tres novenas del rezo del Rosario en  petición, y tres novenas en acción de gracias. En nuestro sitio web, puede leer un poco más sobre la Historia de la Novena del Rosario de 54 días.Hoy, en la Fiesta de Nuestra Señora del Rosario, comparto con ustedes la alegría de completar nuestra Novena del Rosario de 54 días. Oro para que por la intercesión de María, sus peticiones sean concedidas si es la Santa Voluntad de Dios.Hemos completado nuestra Novena del Rosario de 54 días, pero los animo a continuar rezando el rosario todos los días. El Rosario es una hermosa oración que podemos utilizar para acercarnos a Jesús y María meditando en los grandes misterios de nuestra Salvación.Si Dios nos permite, nuestra próxima Novena del Rosario de 54 días comenzará el 15 de febrero y terminará el 9 de abril. Una hermosa manera de preparar nuestros corazones para el Domingo de Pascua de 2023. La Novena se publicará en inglés y español.Familia, si desea apoyar nuestro ministerio, continúe compartiendo los links a nuestro podcast y sitio web con sus amigos y familiares. Para darles una actualización rápida, hemos rezado más de 278 000 Raosarios desde agosto de 2020. Con tu ayuda, hemos creado una hermosa familia dedicada a la oración. Agradezco su compromiso y dedicación para priorizar la oración y elegir a Dios primero. Gracias por acompañarnos esta temporada, y gracias por todo su apoyo.Familia, me gustaría pedir su ayuda con una pequeña donación. Esto nos permitirá publicar la temporada 8. Trato de pedir el mínimo para cubrir el costo de publicar una temporada. Por lo general, solo pido donaciones para alcanzar nuestra meta de $3000. No pido más ya que cubro el resto. Al igual que esta temporada, intentaré producir las temporadas en español e inglés con los mismos recursos. Hasta el día de hoy, hemos recaudado $2,617. Estamos tan cerca de alcanzar nuestra meta que necesitamos $383 adicionales.Si el Espíritu Santo lo lleva a apoyar nuestro Ministerio, considere hacer una donación única o convertirse en un patrocinador mensual. Necesitamos 80 patrocinadores mensuales para apoyar nuestro podcast durante todo el año y ampliar nuestra misión de promover el Rosario.Si, en este momento, no puede apoyar nuestro ministerio con una donación monetaria, considere apoyarnos compartiendo el podcast con sus amigos y seres queridos; puede dejarnos una calificación y una reseña en su aplicación de podcast. Estas pequeñas acciones ayudan mucho a nuestra misión de promover la devoción al rosario.Para hacer una donaSupport the show