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Bonaventure's mature work, the Collationes in Hexaemeron, takes exemplarism, drawn out from his transformation of Platonic Realism, as the basis for vital points of Christian theological dogma: God's love of creation, God's foreknowledge, providence and divine governance, the unconstrained but perfect will of God, divine justice and the devil ...
Myrrour of the blessed lyf of Jesu Christ, MS page by Stephen Dodesham, ca. 1475. The Mirror of the Blessed Life of Jesus Christ is an adaptation/translation of Pseudo-Bonaventure's Meditations on the Life of Christ into English by Nicholas Love, the Carthusian prior of Mount Grace Priory, written ca. 1400.
The work's precise date of composition, and its author, has occasioned much debate. [1] Until the late nineteenth century, it was traditionally ascribed to Bonaventure.Once it was realised that the work was not by him, the ascription was changed to pseudo-Bonaventure, and was judged to be of unknown Franciscan authorship.
“Love is not love until love’s vulnerable.”— Theodore Roethke “Above all, keep loving one another earnestly, since love covers a multitude of sins.”— 1 Peter 4:8
“Love is our true destiny. We do not find the meaning of life by ourselves alone — we find it with another.” — Thomas Merton “Twice or thrice had I lov’d thee, / Before I knew thy face ...
This manuscript was an important copy of other works of Bonaventura, performed in 1380 by Giovanni da Iolo in its inventory of Bibliohtek of the Convention in Assisi, of B. Bonelli in the 18th century and described the outgoing end of the 13th century dates, was lost in the aftermath, however, and could only be Guilbert 1984 by Ouy in Leningrad ...
Twelve new bright lights appear, one of which is St. Bonaventure, a Franciscan, who recounts the life of St. Dominic, founder of the order to which Aquinas belonged. The two orders were not always friendly on earth, and having members of one order praising the founder of the other shows the love present in Heaven [19] (Canto XII).
The right side altar contains relics of St. Colomba, and the altarpiece depicts St. Anthony of Padua. Above the front altar on the right side wall is a crucifixion scene by Giovanni Battista Benaschi from the 17th century, [ 6 ] above the rear altar on the right is the depiction of Saints Paschalis, Diego and Salvatore d'Orta, a work by ...