Savonarola s exposition or meditation on Psalm 51 (the Miserere) and Psalm 31 (In te, Domini, speravi) have not been printed in English during the twentieth century. This book makes that text available in modern English. The translator found the Loeb series, which printed the text and translation of classical Roman authors on facing pages, which is the best single help to acquire facility in reading Latin. Few such volumes exist to help students of post-classical Latin.

The subject of this book is the relationship and the difference between the temporal everlasting and the atemporal eternal. This book treats the difference between a temporal postmortem life and eternal life. It identifies the conceptual tension in the religious idea of eternal life and offers a resolution of that tension.

This commentary uniquely combines a verse-by-verse exposition of the Hebrew text of selected Psalms with a history of their interpretation in the Church from the time of the apostles to the present. / Bruce K. Waltke begins the collaboration by first skillfully establishing the meaning of the chosen psalms through careful exegesis in which each text is interpreted in light of its historical backgrounds, its literary form, and the poet’s rhetoric. James M. Houston then exposits each text’s relevance in conjunction with the Church’s interpretation of it throughout her history. To further the accuracy of this interpretation, he commissioned fresh translations of numerous Latin and Middle English texts. / The authors’ purpose in creating this volume was not merely to produce a masterful commentary. Rather, they wished to aid in enriching the daily life of the contemporary Christian and to deepen the church’s community. Waltke and Houston here bring together the two voices of the Holy Spirit — heard infallibly in Scripture and edifyingly in the Church’s response — in a rare and illuminating combination.

In Renaissance Italy a good execution was both public and peaceful—at least in the eyes of authorities. In a feature unique to Italy, the people who prepared a condemned man or woman spiritually and psychologically for execution were not priests or friars, but laymen. This volume includes some of the songs, stories, poems, and images that they used, together with first-person accounts and ballads describing particular executions. Leading scholars expand on these accounts explaining aspects of the theater, psychology, and politics of execution. The main text is a manual, translated in English for the first time, on how to comfort a man in his last hours before beheading or hanging. It became an influential text used across Renaissance Italy. A second lengthy piece gives an eyewitness account of the final hours of two patrician Florentines executed for conspiracy against the Medici in 1512. Shorter pieces include poems written by prisoners on the eve of their execution, songs sung by the condemned and their comforters, and popular broadsheets reporting on particular executions. It is richly illustrated with the small panel paintings that were thrust into prisoners’ faces to distract them as they made the public journey to the gallows. Six interdisciplinary essays explain the contexts and meanings of these writings and of execution rituals generally. They explore the relation of execution rituals to late medieval street theater, the use of art to comfort the condemned, the literature that issued from prisons by the hands of condemned prisoners, the theological issues around public executions in the Renaissance, the psychological dimensions of the comforting process, and some of the social, political, and historical dimensions of executions and comforting in Renaissance Italy.

On 23 May 1498 Girolamo Savonarola, one of the most spell-binding figures of the Italian Renaissance, was publicly burned at the stake on the main piazza of Florence on trumped-up charges of heresy and sedition. Thus ended the friar's meteoric rise to power and his unprecedented influence over Florentine society. Though his ashes were unceremoniously dumped into the River Arno the moment the cinders had died away, the fire of his teachings could not be extinguished, nor could Florentines forget the rivetting preacher from Ferrara who, in four short years, had turned their city upside down. Neither could Italians nor, more generally, European reformers, for they soon turned Savonarola into a prophet of renewal and into a symbol of the struggle against corruption. Whether he was one or the other or neither, is still very much under debate. This collection of texts from Savonarola's extensive body of works seeks to provide the English reader with a variety of entry points into this controversial figure. With samples from his letters to his poems, from his sermons to his pastoral works, it more than doubles the number of Savonarola's works currently available in English. In so doing, it makes his teachings that much more accessible to wide range of scholars and students alike.

In May 1555, a broadsheet was produced in Rome depicting the torture and execution in London and York of the Carthusians of the Charterhouses of London, Axeholme, Beauvale and Sheen during the reign of Henry VIII. This single-page martyrology provides the basis for an in-depth exploration of several interconnected artistic, scientific and scholarly communities active in Rome in 1555 which are identified as having being involved in its production. Their work and concerns, which reflect their time and intellectual environment, are deeply embedded in the broadsheet, especially those occupying the groups and individuals who came to be known as Spirituali and in particular those associated with Cardinal Reginald Pole who is shown to have played a key role in its production. Following an examination of the text and a discussion of the narrative intentions of its producers a systematic analysis is made of the images. This reveals that the structure, content and intention of what, at first sight, seems to be nothing more than a confessionally charged Catholic image of the English Carthusian martyrs, typical of the genre of propaganda produced during the Reformation, is, astonishingly, dominated by the most celebrated name of the Italian Renaissance, the artist Michelangelo Buonarotti. Not only are there direct borrowings from two works by Michelangelo which had just been completed in Rome, The Conversion of St Paul and The Crucifixion of St Peter in the Pauline Chapel but many other of his works are deliberately cited by the broadsheet's producers. Through the use of a variety of artistic, scientific and historical approaches, the author makes a compelling case for the reasons for Michelangelo's presence in the broadsheet and his influence on its design and production. The book not only demonstrates Michelangelo's close relationship with notable Catholic reformers, but shows him to have been at the heart of the English Counter Reformation at its inception. This detailed analysis of the broadsheet also throws fresh light on the Marian religious policy in England in 1555, the influence of Spain and the broader preoccupations of the Counter Reformation papacy, while at the same time, enriching our understanding of martyrology across the confessional divide of the Reformation.

An exploration of overlooked sections of the Bible.