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The Catholic Church has admitted its error in the smearing of The Magdalene as a prostitute, thereby removing an image that has dominated the minds of religious authors and painters since the 6th century. And although Mary The Magdalene is almost always mentioned first ahead of the Virgin Mary, only a handful of scholars have attempted to reconstruct why she could have been so important, that she carried a royal title that translates as "The Great One." According to the Gnostics, Jesus referred to her as "The One who knew all," who took a front row seat at all of the main events in the life of The Christ. These Gnostics also believed that mankind was the hybrid result of a genetic experiment Today we have mapped our DNA, the mitochondria of which traces all the races of the world back to a single woman in Ethiopia in 200,000 BCE, the exact place and time stipulated by the cuneiform tablets of the ancient Sumerian peoples for the emergence of the genus Homo sapiens. Those Sumerians called this great woman Ninmah, the Egyptians called her Isis, the Greeks called her Athena, The Sophia, and the ancient Hebrews called her Asherah, The Woman of the Tree and the very consort to the Lord God YHWH. But in the hands of the Catholic Church, She became The Black Madonna. Legend connects this Black Madonna with both Isis and The Magdalene. This book, The Black Madonna, sets forth the revelation of that connection, which forms the greatest secret of all time.
The long-awaited paperback edition of the sequel to the best-selling novel The Passion of Mary Magdalen.
"...a marvelous tapestry of insights, discoveries, tools and resources that gives us all hope for Heaven on Planet Earth." - Rev. Ruth L. Miller, PhD, author of Mary's Power "Claire's deep work of Sacred Feminine wisdom ... could not come at a better time." - Tim Kelley, author of True Purpose "...an important contribution to mending a world torn in half..." - Lion Goodman, author of Creating on Purpose Feminine wisdom revealed and reclaimed! Unveil this hidden power within and transform your life. Recent discoveries of ancient manuscripts have shined a light on Mary Magdalene as a powerful teacher and luminous feminine spirit. In The Magdalene Path, Claire Sierra shares her inspiring communication with Mary Magdalene about the awakening of the Divine Feminine as a means to shift and up-level our lives as women in the modern world. The Magdalene Path is a guidebook of compelling ideas, skills and practices to bring your Feminine Soul into daily life. Regardless of your spiritual orientation or previous connection to Mary Magdalene, you will bask in the inspiring wisdom and practical insights in this empowering, illuminating book. - Revitalize your mind and body to tap into more energy for what you love. - Ignite your connection to Spirit through simple rituals and Soul-care practices. - Embrace your authentic, radiant beauty as you reclaim your innate feminine power. - Replenish your passions and feel empowered to live your purpose. - Embody your creativity and live as the vibrant woman you truly are.
Margaret Starbird’s theological beliefs were profoundly shaken when she read Holy Blood, Holy Grail, a book that dared to suggest that Jesus Christ was married to Mary Magdalen and that their descendants carried on his holy bloodline in Western Europe. Shocked by such heresy, this Roman Catholic scholar set out to refute it, but instead found new and compelling evidence for the existence of the bride of Jesus--the same enigmatic woman who anointed him with precious unguent from her “alabaster jar.” In this provocative book, Starbird draws her conclusions from an extensive study of history, heraldry, symbolism, medieval art, mythology, psychology, and the Bible itself. The Woman with the Alabaster Jar is a quest for the forgotten feminine--in the hope that its return will help restore a healthy balance to planet Earth.
With the sudden and immature death of the Author, this work, which was planned to comprise 2I volumes has had to end with the I8th. From a number of students and art critics requests have reached the publisher and myself that an index should be made of the volumes which have been published. Herein their desire has been satisfied. This general index is divided into two parts: one for names of places, so that with the greatest ease and without loss of time the student can find all the Italian paintings from early Christian times up to the end of the Quattrocento, which are scattered throughout the churches, galleries and private collections of Europe and America. For the larger towns the material is divided into the following headings: I Churches and Monasteries. II Public Collections. III Public Buildings and Streets. IV Private Collections. and this order, though not indicated, has always been followed for the smaller localities. The second division contains the names of artists, each one accom panied by dates and where possible an indication of the site of his activity. The chief aim of this index is to make it easier to consult the enormous amount of material treated in the I8 volumes. For the traveller who desires to know what paintings are to be found in any town this index should be a valuable vade-mecum.
Legends of the Madonna as Represented in the Fine Arts is a book by Anna Brownell Jameson. It delves into the interpretation of Mary either alone or with her child Jesus, central icons for both the Catholic and Orthodox churches.
Evelyn Karet's in-depth study of the Antonio II Badile Album - the earliest known example of an art collection pasted onto the pages of a book - is both focused and broad in its appeal to those interested in the early modern era. The provenance of the album is traced from its assemblage to the seventeenth-century collection of Conte Lodovico Moscardo to its dismantling by the dealer Francis Matthiesen in the 1950s, establishing that the volume conserved in the Frits Lugt Collection is not an original but a replica produced by Matthiesen. Although Antonio II must be celebrated as the collector of the drawings, new paleographic analysis has identified the actual compiler of the album after Antonio?s death providing a terminus post quem in the late 1530s or early 1540s. Karet enlarges the focus from the album itself to the historic tradition of collecting drawings in northern Italy in the early modern era before Vasari, for which the album provides a new point of reference. Throughout the book, Karet discusses the Badile family, examines the individual drawings in the book, investigates the contacts between artists and humanists, their rich, diverse collections and the humanist mind-set that fostered the appreciation of drawings. She explores notable early drawing collections in northern Italy and the role of northern Italy as a center of collection in the sixteenth and seventeenth centuries. The book concludes with two appendices: a reconstruction of the original album, including a discussion of the reconstruction process, suggestions about what the album originally looked like, and a page-by-page guide to its contents; and a detailed analysis of Francis Matthiesen's career. This book opens up new areas of inquiry into an overlooked subject.