Angels--Their Natural Knowledge

[Weedy]

Angels--Their Natural Knowledge
The Angels have a much more intimate knowledge of created things than
we can ever attain to. They have more powerful intellects and have a
nature more like to the nature of God. They see immediately and at a
glance what we learn only by long study and reasoning. One day,
through God's mercy, we hope to enjoy a knowledge like to theirs. Then
our present ignorance will be changed into an excellent knowledge of
God and of all created things!

Do the Angels know the future by their own natural powers? They can
foresee all that takes place in strict accordance with natural law,
but they cannot foresee what depends on the will of men, and still
less what depends on God. They rest happy in their ignorance. So, too,
I must not vex myself about the future, but must gladly leave all to
God.

Do the Angels know the secrets of hearts? They can guess at a great
deal. Even the devils can do this. They not only read the expression
of our faces, but behold the picture painted on our imagination.
Moreover, God reveals to them all that is necessary for their guidance
and care of our souls. How careful I must be that my soul is pure from
sin, and such as my Guardian Angel will behold with satisfaction, and
that no picture is through my own fault painted there, from which my
Guardian Angel would avert his eyes in shame and sorrow!
by the Rev. R.F. Clarke, S.J.

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June 4th – St. Eadfrith of Lindisfarne
(Also known as Edfrith, Edfrid)

Died 721
Eadfrith's life is obscure prior to his becoming bishop in 698. He
studied in Ireland and was well-trained as a scribe, an artist, and a
calligrapher because it seems almost certain that he alone wrote and
illuminated the Lindisfarne Gospels

The Lindisfarne Gospels were produced more than 1300 years ago at the
monastery of Lindisfarne on the Northumbrian coast. The single volume
manuscript consists of 500 pages of beautiful calligraphy and
decorative symbols. An Anglo Saxon translation of the Latin text was
added two centuries later and is the earliest known English version of
the gospels. The book survived the centuries in spectacular condition
and is now held by the British Library.

Dr. Michelle Brown, curator of illuminated manuscripts for the British
Library, has researched the origins and craftsmanship of the work. Her
findings are shared at an exhibition called Painted Labyrinth--the
World of the Lindisfarne Gospels. The original manuscript is the
centrepiece of the free event alongside an exact duplicate which
visitors will be able to handle.

Dr. Brown said: “The gospels hold a timeless universal appeal. It was
made in an era of immense multiculturalism in England and the imagery
is a mix of Roman British, Irish, Germanic, Mediterranean and even
Middle Eastern influences. This was a deliberate attempt to include
all aspects of society and faith resulting in a breathtaking piece of
art.”

The central text is the Christian gospels of Matthew, Mark, Luke and
John with prefaces by Saint Jerome. Dr. Brown said: “The Lindisfarne
Gospels were made in memory of Saint Cuthbert who lived near the abbey
and was Bishop of Lindisfarne for a time. He was canonized soon after
his death in 687. The work was probably carried out from 715 to 720.
The book was clearly made by one skilled artist unlike many medieval
manuscripts which were made by a team of scholars.”

Bishop Eadfrith, leader of the monastery from 698 to 721, is credited
as the creator of the work. Dr. Brown said: “The monastery was
responsible for the spiritual welfare of people living across the
north of England and southern Scotland up to Edinburgh. Eadfrith
administered this social service. He also attended church 8 times
every day as part of his duties. It is amazing he was able to dedicate
time to the production of the Gospels.”

Eadfrith was inventive and came up with modern solutions to problems
he encountered. Dr. Brown said: “We now understand the process used to
generate the lavish pages. Each piece of vellum covered two pages, for
example a spread of pages two and seven, which when folded and bound
together created the book. The elaborate designs took up more space
than the text in the Naples gospels he was copying from so it was a
complex task to visualize the end design at the early stages. Eadfrith
created test sheets using his own costly vellum to solve the problem.
First he drew out his designs on one piece of vellum. Then he placed
another piece over the top and carefully copied the markings. He
rubbed the vellum in order to transfer the 'pencil' drawings onto the
back of the sheet, as a reversed design."

Dr. Brown continued: "He then turned the sheet over and painted on the
other side from the drawings, using candles to backlight, like a
modern lightbox. This ensured his detailed drawings were not obscured
by the first layers of pigment and could be followed and consulted
throughout the painting process. He worked on the front of the second
piece using a candle as a backlight. The finished work has no
preparation markings on the painted side because the layout is all on
the back.”

Research also shows Eadfrith adapted and expanded on existing artistic
practice. Dr. Brown said: “Pigment analysis reveals the gospels have
108 distinct shades. This is in an era when just three colours were
generally used for work of this type. Eadfrith used a palette of six
base colours made from locally available substances from which he
expanded his range. We also believe Eadfrith may have been the
inventor of the pencil. The traditional method of marking a design was
to score the page using bone, it was difficult to read and paint was
often trapped in the indentations. Eadfrith used a metal point with a
lead graphite element so the grooves were not as deep. This is about
400 years before any other recorded use of a pencil.”

The exhibition features the different production styles used on the
manuscript. It also looks at how the book has been passed down through
the ages. Dr. Brown said: “The Lindsifarne monks fled in 875 to escape
Viking invaders and took the book with them to Chester-Le-Street, near
Durham. A priest called Aldred added the Anglo Saxon translation in
about 950. He also made notes about what was known of Eadfrith. The
monks and the book moved to Durham in 995 where they stayed until at
least the time of Dissolution of the Monasteries. It came into the
hands of Sir Robert Cotton in the 17th Century.

Eadfrith was connected with Cuthbert even in death: He was buried near
his tomb. His relics, together with those of Saints Aidan, Eadbert,
and Ethelwold, were taken with Cuthbert's in their wanderings through
Northumbria from 875 to 995, when they reached Durham. When Cuthbert's
relics were taken to the new cathedral, Edfrith's were translated,
too.

http://www.history.uk.com/articles/index.php?archive=23


Saint Quote:
No tongue can express the greatness of the love which Jesus Christ
bears to our souls. He did not wish that between Him and His servants
there should be any other pledge than himself, to keep alive the
remembrance of Him.
-- Saint Peter of Alcantara

Bible Quote:
Thou crownest the year with thy bounty;
the tracks of thy chariot drip with fatness. Psalm 65:11 RSVCE

<><><><>
OFFERING TO THE SACRED HEART OF JESUS

I N... N...,
desirous to make the best return
in my power for Thy benefits,
and the most ample atonement for my transgressions,
I give Thee my heart,
and consecrate my whole being to Thee,
O amiable Jesus;
and I purpose,
with the assistance of Thy grace,
never more to offend Thee.