Disclaimer:
I have several Catholic friends, who I respect dearly. However, both Protestant's and
Catholic's have some historical records, of being militaristic with a tryrant discord. And
this is one of those known events in history, during the life and times of Raphael.

Let the truth, be known . . .


Sistine Madonna, a terrified baby Jesus, political scandal
Pope Julius II, half-mad militarist, forces Raphael artist


Some Art history first . . . to understand the politics of 1511.



Prophecy of ' The Sistine Madonna ` : JESUS DIED ON GOOD FRIDAY, 33Nisan14


Death & birth of artist Raphael was a Good Friday, 1483-1520

http://www.biblecodeintro.com/intro43.html
Jesus was born on Tishri10, 2 BCE (October 9, 2BC)
Jesus died on Good Friday, 33Nisan14 (April 1, 33AD)

Now, understand the ' Raphael Prophecy ' . . . of ' The Sistine Madonna `,
death & birth of artist Raphael was a Good Friday, 1483-1520


Raphael Prophecy: The Sistine Madonna, Portrait, born on Good Friday, died on Good Friday, 4-6-1520
http://www.christian-forum.net/index.php?s...mp;#entry228350



http://en.wikipedia.org/wiki/Raphael
Vasari, in his biography of Raphael, says that Raphael was also born on a Good Friday, which in 1483 fell on March 28. This would mean that while Raphael was born and died on Good Friday, he was actually older than 37 on the 1520 Good Friday which fell on April 6.[64]


Raphael would have been 30-31 years old, when he painted the
horrific face of the baby Jesus ascended in the arms of Madonna, 1513-14.


Re-examine the key codes in ' The Sistine Madonna ' : Zoom-in on
the face of baby Jesus. See the terror ?

The key is understanding, the following excerpt that names Pope
Sixtus II, for whom the work is named.

This portrait is a historical parallel, of the 1511 hell, that the Pope Julius II, caused.


Sistine Madonna 1513-14
http://en.wikipedia.org/wiki/Image:Raffael_051.jpg (portrait to examine fear/terror, in eyes of baby Jesus)



http://en.wikipedia.org/wiki/Italian_Renai...pment_of_themes
The Sistine Madonna by Raphael, probably his most influential work, uses the formula not of an altarpiece but the formal portrait, with a frame of green curtains through which a vision can be seen, witnessed by Pope Sixtus II for whom the work is named. The clouds around the Virgin are composed of cherubic faces, while the two iconic cherubs so beloved with the late 20th century fashion for angels, prop themselves on the sill. This work became the model for Murillo and many other painters.


The covert artistic skills to use ' The Sistine Madonna ', to parallel the
Pope Sixtus II, 6 Aug., 258, to exchange the face of half-mad militarist Pope Julian II,
216th Pontiff (1503-1513) . . .


The face is of the Pope Julian, see : Sistine Madonna 1513-14
http://en.wikipedia.org/wiki/Image:Raffael_051.jpg



Because, the horrific look of the Christ-child in the arms of Madonna,
ascending, is a political artist redention of secret expression, for the
hatred toward Pope Julian II, a ploy via Raphael used in the . . .

http://www.nationalgallery.org.uk/WebMedia.../NG27/eNG27.jpg

( portrait, Pope Julian II ). That is why he is sad; he is not mourning our sins but his military losses . . . due to the Pope's Sadistic, history.



http://www.oldandsold.com/painters/r1.shtml
DRESDEN

THE SISTINE MADONNA The Madonna is seen standing on clouds against a radiant golden background thronged with cherubim, holding the Child in both hands against her right shoulder. To her left is St. Barbara kneeling, and to her right in the foreground Pope Sixtus II. A curtain drawn back encloses the upper part of the picture on each side. On a ledge at the foot two little boy angels lean looking upward.

Painted in 1516 or 1517 for the high altar of the Church of San Sisto at Piacenza.

"Truly a rare and matchless work." (Vasari.)



Why would Raphael, parallel Pope Sixtus II of Elected 31 Aug., 257, martyred at Rome, 6 Aug., 258, with half-mad militarist Pope Julian II 216th Pontiff (1503-1513)?



http://www.sttimothyla.org/parish_history-paintings.htm
Copy by Thomas Lawless of Raphael's Sistine Madonna, Gemaldegalerie, Dresden, Germany. This noble painting, the most celebrated of all Raphael's Madonnas and the first to be painted on canvas, portrays St. Sixtus' first glimpse of heaven. The curtains, symbolical of the "veil" between heaven and earth, open to reveal to the kneeling Sixtus, the Mother, and Child with St. Barbara on their left. In the original, Barbara's symbol, a tower, appears between her back and the curtain. Here, the tower is difficult to perceive. Sixtus, however, is very clearly portrayed, in fact, so clearly portrayed that scholars have recognized the figure as an obvious portrait of Pope Julian II, Raphael's patron and friend.



The false entry of Pope Julian II, being either Raphael or Michelangelo patron or friend, is a joke to art historian's, who know about the cover-up.

These two artist, were terrified, not to present Pope Julian II, 1513-14,

as a saint in the artist redention.



This is why Pope Sixtus, has Pope Julian II, face within the portrait.



And why the Christ-child, is horrified at Pope Julian II, kneeling in the portrait.

This expression in the portrait, established a secret method to suggest to the art viewer, the blasphemy of Pope Julian II, demanding Raphael by commissioning ' The Sistine Madonna ', as representing Pope Julian II as a Saint. When he was indeed a tyrant.






Pope Julian II, and Raphael's portrait of him . .

http://www.nationalgallery.org.uk/WebMedia.../NG27/eNG27.jpg ( Pope Julian II ).

http://www.mirabilis.ca/archives/000717.html

It was a scene that a few years later would make wonderful Reformation propaganda, something out of a German woodcut of the Apocalypse in which the anti-Pope rides over the land bringing death, pestilence, famine and war. The French and Italian defenders of the besieged fortress of Mirandola in the Duchy of Ferrara, which Julius was attacking as part of his campaign to drive France out of Italy, looked down from their battlements in 1511 and saw a vision out of a nightmare. A white-haired fury was riding up and down the attacking army, barking orders, abusing slackers, praising where praise was due, filling his army with heart and rage. Pope Julius II led from the front. His headquarters was so close to the walls of Mirandola that a cannon shot killed two staff in his kitchen. This just made him angrier. The defenders ended up putting their last efforts into trying to kill the Pope as he egged on his men. When they offered to surrender, he quibbled over the clause that he should spare their lives.


http://www.guardian.co.uk/artanddesign/200...30/artsfeatures
Julius commissioned Michelangelo to paint the ceiling of the Sistine Chapel, and yet his impatience drove the artist to distraction.
One day, he told Condivi, the Pope asked when he would finish. "When I'm able to," he said. The Pope's reply was terrifying: "You want me to have you thrown off that scaffolding, do you?"

Which is why Raphael's portrait of Julius II is such a shock. At first it seems a painting of a sublimely tranquil, compassionate old man, his beard as white as the frilly crisp skirt that falls like water over his knees. Dwarfed by the golden acorns symbolising the Della Rovere family and the huge jewelled rings he wears, Julius II is a man broken by the sorrows of the world. His face is so full of grief, so distracted in sadness (he looks down into his own melancholy), that he might be a Mary with an invisible Christ in her lap. His plump, ringed hands and the papal dress are feminising. It is a portrait of weakness rather than strength, of suffering: the Pope as martyr.

To us, this Pope appears a decent, holy man. But to viewers, just after his death when it first appeared, probably, in the church of Santa Maria del Popolo in Rome, it was a painting of stunning, risky realism. The Pope's beard is the clue. He grew it in 1511-12 as a public act of lamentation after the rising against him in Bologna. So the beard is not simply pious: it mourns the loss of a subject state, which he had seized through war. That is why he is sad; he is not mourning our sins but his military losses.

In fact, Raphael has caught something about him that also struck Guicciardini. Whenever he was defeated and humiliated, recounts Guicciardini, Julius seemed to show his best qualities. He compares the pope to Anteus, who in Greek myth fought Hercules, and whenever he touched the earth suddenly renewed strength. This painting captures Julius in defeat; and in his defeat he finds nobility.

The art of the Renaissance would look very different if Michelangelo's colossus of Julius had survived. Or if Michelangelo's awesome original design for Julius II's tomb had been completed. Julius would - literally - be an even more looming figure than he is. It would be harder for history to do its honeyed work of forgetting, for us to see Raphael's painting as one of a holy old man instead of a half-mad militarist.

· Raphael's The Madonna of the Pinks and his portrait of Pope Julius II are at the National Gallery, London WC2 (020-7747 2885).

Guess who Saint Barbara kneeling, in 'The Sistine Madonna`, portrait, is ?
Answer . . . `Before going on a journey, he commanded that a private bath-house be erected for her use near her dwelling` . . . Attributes Three-windowed tower, palm, chalice, lightning, a crown of martyrdom

So Raphael selects a Saint Barbara, tortured by her pagan father, then beheaded, forced to
live in bondage in a tower. Did you notice how the bottom two angels, are looking upward
at Saint Barbara in the portrait ? And she is looking down toward them, away from the
terrified baby Jesus, in the arms of Madonna. And not any figure in the portrait is exchanging
looks toward Pope Julian II, except the terrified baby Jesus is looking outward to the viewer.

The in-our-face political statements . . . are very clear !



Did not find the above, until I had completed this topic : >

Sistine Madonna, Terrified Baby Jesus, Political Scandal, Pope Julius II,
half-mad militarist,forces Raphael artist
http://www.christian-forum.net/index.php?s...c=22768&hl=

http://en.wikipedia.org/wiki/Image:Raffael_051.jpg (The Sistine Madonna, portrait)

http://www.oldandsold.com/painters/r1.shtml
DRESDEN

THE SISTINE MADONNA The Madonna is seen standing on clouds against a radiant golden background thronged with cherubim, holding the Child in both hands against her right shoulder. To her left is St. Barbara kneeling, and to her right in the foreground Pope Sixtus II. A curtain drawn back encloses the upper part of the picture on each side. On a ledge at the foot two little boy angels lean looking upward.

Painted in 1516 or 1517 for the high altar of the Church of San Sisto at Piacenza.

"Truly a rare and matchless work." (Vasari.)




http://en.wikipedia.org/wiki/Saint_Barbara

Her story

According to the legendary accounts of her life that circulated from the seventh century, Barbara was the daughter of a rich Pagan named Dioscorus. She was carefully guarded by her father who kept her shut up in a tower in order to preserve her from the outside world. Having secretly become a Christian, she rejected an offer of marriage that she received through him. Before going on a journey, he commanded that a private bath-house be erected for her use near her dwelling, and during his absence Barbara had three windows put in it, as a symbol of the Holy Trinity, instead of the two originally intended. When her father returned, she acknowledged herself to be a Christian; upon this she was ill-treated by him and dragged before the prefect of the province, Martinianus, who had her cruelly tortured and finally condemned her to death by beheading. The father himself carried out the death-sentence, but in punishment for this he was struck by lightning on the way home and his body consumed.[1]

Apocalypse In Art + Unlike Prophets . . . Artists Reflect, our feelings about the future Apocalypse
http://www.christian-forum.net/index.php?s...c=22795&hl=



St. Michael Has Just Forced The Devil To The Ground . . ., Raphael. St. Michael. c.1503-1504
http://www.christian-forum.net/index.php?s...c=22796&hl=

RAPHAEL-One of the seven archangels and one of the best loved of all angels. Raphael is honored as the regent of the sun, the angel of healing, the angel of science, the angel of knowledge, head of the guardian angels, and chief of the angelic orders of virtues, although he is also a member of the seraphim, the dominations, and the cherubim. Raphael, whose name means "God has healed," is best known for his appearance in the Book of Tobit. Raphael is said to possess the happiest disposition of any of the angels, having as well the best sense of humor. This may well be a result of his close relationship with the sun; he is, after all, regent of the orb and was called by the poet Longfellow the angel of the sun. He delights in bringing health, happiness, and joy everywhere he goes and encourages the guardian angels in their work.


EXCERPT FROM:
http://www.heart7.net/spirit/ar.html

[quote name='crownsevenalphabet' date='Aug 27 2008, 11:50 PM' post='228410']
Disclaimer:
I have several Catholic friends, who I respect dearly. However, both Protestant's and
Catholic's have some historical records, of being militaristic with a tryrant discord. And
this is one of those known events in history, during the life and times of Raphael.
Let the truth, be known . . .
------------------------------------------------------------------------------------------------



The Great Whore was burning brothers and sisters of Jesus

at the stake centuries before anyone was labeled a "Protestant".

"Come out of her My people"

crownsevenalphabet
Disclaimer:
I have several Catholic friends, who I respect dearly. However, both Protestant's and
Catholic's have some historical records, of being militaristic with a tryrant discord. And
this is one of those known events in history, during the life and times of Raphael.
Let the truth, be known . . .


quote by John Prewett

The Great Whore was burning brothers and sisters of Jesus

at the stake centuries before anyone was labeled a "Protestant".

"Come out of her My people"


John :

Thanks for the feedback . . . . I would like to learn from you.

As I stated, in historical research, I have completed 700 years on one
surname and 500 years on the other surname . . . all religions under both
Protestant and/or Catholic in the English/British theme of things have been
guilty.

The theme of this thread is an artistic understanding of the following . . .


Because, the horrific look of the Christ-child in the arms of Madonna,
ascending, is a political artist redention of secret expression, for the
hatred toward Pope Julian II, a ploy via Raphael used in the . . .

( the rest of the observation can be read in the link, exploring ' The Sistine Madonna ' )

What is your opinion of the dispute of the blessed sacrement ?

The Eucharist blood/body manifested versus observance/remembrance of the
ceremony itself ? And/or a combination of each ?

"Come out of her My people"

I chimed in because:

You, Crown 7, wrote-
both Protestant's and Catholic's have some historical records,
of being militaristic with a tryrant discord.

That suggest some kind of equality between Roman Catholicism and Protestantism.

That is not accurate enough.

Forget learning from me. Do some study of the Inquisitions.

I have completed many studies in these dual abuses by both parties.

Like the election of an elephant or donkey, both parties abuse power.

And about the Inquisitions, since you want to place full blame of abuse on
the one side, and forget that God (IHVH) holds the SCALE OF BALANCE, the Lamed,
to weigh the eternity rights/wrongs . . . here is something from my files . . . you
will want for your stance. ----------- And yes, I have learned today from you.


Blessings . . .




http://www.heritage.org/Press/Commentary/ed122100.cfm


December 21, 2000

Galileo's Daughter
by Joseph Loconte


On this day, December 21, 1614, a Florentine priest from the church of Santa Maria Novella took to his pulpit to denounce Italian astronomer Galileo as one of the "enemies of true religion." Galileo's crime: He dared to suggest that, based on what he could see through his crude, homemade telescope, the earth was not at the center of the solar system.
That discovery contradicted official teaching of the Catholic Church and set off a contest between religion and science that continues to this day.

Dava Sobel's best-selling book, Galileo's Daughter, explores Galileo's scientific quest and his painful conflict with religious dogma. Church inquisitors forced him to recant his views, a reminder that Christian leaders often have betrayed their own principles for dark and dubious reasons.

Nevertheless, this familiar story is more than a tale of church politics run amok. Sobel's account rightly underscores Galileo's own religious beliefs, and his lifelong struggle to hold on to them. It will come as a surprise to some that Galileo saw no conflict between the Bible and the discoveries of science. "Holy Scripture and Nature," he declared, "are both emanations from the divine word."

Lost in our contemporary debates over the Bible is the fact that thinkers like Galileo strove to keep science a sacred study. Bacon, Kepler, Copernicus, Pascal-most of the fathers of modern science took the Bible seriously. Their belief in a rational Creator fired their quest to make sense of the physical world. Their faith in God as a Lawgiver guided their search for natural laws that governed the universe. Isaac Newton never doubted that his discoveries revealed God's handiwork. The universe, he reasoned, "could only proceed from the counsel?of an intelligent and powerful Being."

Too many skeptics have forgotten the massive historical debt they owe to the Jewish and Christian belief in an orderly cosmos: They cast religion as the enemy of science and progress, when in fact it was a religious world view that helped launch the scientific revolution over three centuries ago.

Science is surely a path to knowledge about the universe, but not until recently did scientists hail it as the only path. True, the idea that angels might make public-service announcements or that God would appear in human disguise-to many it seems like the stuff of supermarket tabloids. But as Galileo said in another context, "Facts which at first seem improbable will?drop the cloak which has hidden them and stand forth in naked and simple beauty."

Science may begin the task of pulling away that cloak, but scientists do no injury to science if they sometimes-just sometimes-allow faith to finish the job.

Joseph Loconte is the William E. Simon Fellow in Religion and a Free Society at the Heritage Foundation.

Originally aired on National Public Radio's "All Things Considered" (12/21/00)

TERRIFIED BY ADVERSARIES

http://www.biblewheel.com/Gr/GR_Database.a...m=1&vnum=28

terrified πτυρω G4426 pturo 1680


Phi 1:28 And in nothing terrified by your adversaries: which is to them an evident token of perdition, but to you of salvation, and that of God.


http://www.biblewheel.com/GR/GR_Database.asp?Gem_Num=1680

All the Verses in the Bible with Sum = 1680

Text Verse

And they had in their inheritance Beersheba, or Sheba, and Moladah, Jos 19:2

Now the first lot came forth to Jehoiarib, the second to Jedaiah, 1Ch 24:7

Knowest thou it, because thou wast then born? or because the number of thy days is great? Job 38:21

As soon as they hear of me, they shall obey me: the strangers shall submit themselves unto me. Psa 18:44

Rejoice in the LORD, O ye righteous: for praise is comely for the upright. Psa 33:1

And they shall look unto the earth; and behold trouble and darkness, dimness of anguish; and they shall be driven to darkness. Isa 8:22



terrified πτυρω G4426 pturo 1680

Phi 1:28 And in nothing terrified by your adversaries: which is to them an evident token of perdition, but to you of salvation, and that of God.

When you get rebuttal, and you don't refute or even acknowledge it,

I consider it a lack of integrity.

Good morning, John :

I thought my balanced (Lamed) perspective, was clear. Both parties Catholic/Protestant
and/or Protestant/Catholic have blood on their hands :

And my orginal thoughts are REVEALED in the integrity of the face of baby Jesus, in this portrait called 'THE SISTINE MADONNA' :

Like the Esther (Hidden) . . . the encoded meaning of why Raphael painted the baby
Jesus with a terrified look on his face . . . must be studied in the characters surrounding
the baby Jesus in the scene . . . THE POLITICAL SCENE . . . of the portrait . . . which is the
same political scene of the end times . . .

http://en.wikipedia.org/wiki/Image:Raffael_051.jpg

You refuse to acknowledge or deny that the Papal/Roman Catholic Inquisitions

were burning Christians at the stake

centuries before anyone was labeled a "Protestant".

Guess your not spiritually alert enough to realize it is a significant fact.

Ok, so be it. I won't bother you any more [if you stay quiet]

(quote from John)
You refuse to acknowledge or deny that the Papal/Roman Catholic Inquisitions

were burning Christians at the stake

centuries before anyone was labeled a "Protestant".

Guess your not spiritually alert enough to realize it is a significant fact.

Ok, so be it. I won't bother you any more [if you stay quiet]

John,

It is indeed a historical fact about the 'Inquisitions'.

Here is a message I received from the Holy Spirit about the St. Bartholomew Day
Massacres . . . so stand corrected, on your assumption of my knowledge and spiritual discernment in these matters ! The Lord has revealed this to me with a purpose. That purpose is not for me to act like both Protestant/Catholic do not have bloody hands throughout history :

NOTE:
JUST SO YOU REALLY UNDERSTAND THE FOLLOWING IS REVEALED TO ME ABOUT
THE COMPLETE DETAILS IN VISION/SEEING + HEARING --------AUDIO RECEPTIVE
DETAILS. UNTIL I WAS TOLD TO WRITE THESE FACTS, I HAD NO THEOLOGY KNOWLEDGE
OF THIS MASSACRE OR ITS DETAILS IN HISTORY. The Holy Spirit told me to write these
things, then I researched the words and phrases . . .


Praise His Holy Name (IHVH)



FROM MY FILES IN 2007:

The medallion was based on the m a s s a c r e s happening on
St. Bartholomew's Day. [ with Pope approval ]

And Saturday January 6th, 2007 . . . I was given the MESSAGE
that gave me the clues about a medallion and name :

Bartholomew


Here is the research, that I emailed about my message, that I shared
with a dear friend.

The massacres on St. Bartholomew's Day are painted in the royal saloon of the Vatican at Rome, with the following Latin inscription:
Pontifex, Coligny necem probat which means - The pope approves of Coligny's death.
http://www.teachinghearts.org/dre04historynotes.html


Therefore, the medal could only be designed to celebrate the success of this plot - the massacre of the people represented on the back of the medal.


Subject: Patron Saints Index: Saint Bartholomew the Apostle
Date: 1/7/2007 5:38:23 P.M. Eastern Standard Time
From:
Reply To:
To: bclarkgemetria@aol.com




Betty C. Clark, Saturday January 6th, 2007: MESSAGE


_______duties @inquisition:

To question; to force affirmation; to insist upon penitence for
acts of heresy

The witness who declares who is truthful to the Church foundation
belief; forced sanctification up to death; to save the very soul
verse deadly exchange.

"The Confession", warrents acceptance of the sinner that their
transgression must be spoken out loud to a witness "group".

The lack of confession is judged as an infidel category.
The Medallion grants choice in life or death doctrine. The manuscripts
are read as the medallion is placed around ________ neck. These
scripts list the body tally[#] of sacrificial executions.

The "ceremony" of the medallion is the honor of Catholicism
service award, of a "Faithful Penitence Judge". Each diadem
etched on the locket, represents the saved souls of pergatory
through "execution" of the persons heresy on earth.

These are your words _______:

{The Execution Sentence } :

. . .By thy words justified, by thy words I condemn ye to death, in
the name of Holy Mother Church Credence.
{Bartholemew}

[drawing of medallion on original paper] with this message:

Thus the mental idea that all inquisition applicants sin and
should confess to the church peers.
Intolerance of radical doctrine.

The Jewish of Spain timeframe ________?
was this close to Spanish inquisition ? Search names of Catholic Churches with Mary in Title.
Was this a Jesuit destructive act ?

The end of message~

[ printed exactly as I was told to write
it, until I found the supporting research ]

Summary:

Monday 1-8-07 . . . all the above proved correct in history
files and web links.

The Jesuit were the Roman Catholic order who forced
the information from Jewish people . . .
And the medallion was a memorial connected to inquisition:
Therefore, the medal could only be designed to celebrate the success of this plot - the massacre of the people represented on the back of the medal.

http://www.imdb.com/title/tt0110963/usercomments
The St. Bartholomew's Day Massacre---not exactly a subject the average person knows much about these days. But, a VERY important part of French and European history nonetheless. The history teacher in me will now BRIEFLY take over: Like England, there was a lot of tension between the Protestants (Hugenots) and Catholics during the 16th century. However, unlike Henry VIII's ultimate decision to break from the Catholic Church, the French pretty much wiped out the Hugenots--those who were not killed fled abroad. Up until St. Bart's Day, there had been tension but eventually the king granted religious freedom to all. This was not to last, as a conspiracy was hatched and on St. Bart's Day, thousands of Hugenots were murdered. To commemorate this event, the Pope issued a special medallion and ordered a celebration. Not exactly one of the finer moments in human history.


http://plus.aol.com/aol/reference/StBartho...omews_Day?flv=1
Saint Bartholomew's Day, massacre of, murder of French Protestants, or Huguenots, that began in Paris on Aug. 24, 1572. It was preceded, on Aug. 22, by an attempt, ordered by Catherine de' Medici, on the life of the Huguenot leader Admiral Coligny. The failure of the attempt led to formulation of the plan for a general massacre. The opportunity was furnished by the presence in Paris of many of the Huguenot nobility for the wedding of Henry of Navarre (later King Henry IV) and Catherine's daughter, Margaret of Valois. Involved in the scheme were the duc d'Anjou, later King Henry III; Henri, 3d duc de Guise (see under Guise); and the reluctant King Charles IX. Coligny was the first victim; his death was followed by the killing of minor leaders and of all Huguenots within reach of the soldiery and the mob. The massacre continued even after a royal order to stop, and it spread from Paris into other sections of France. Massacres continued into October reaching the provinces of Rouen, Lyons, Bourges, Orleans, and Bourdeaux. An estimated 3,000 were killed in Paris, 70,000 in all of France. News of the massacres was welcomed by the Pope and the King of Spain. Protestants, however, were horrified, and the killings rekindled the hatred between Protestants and Catholics and resulted in the resumption of civil war (see Religion, Wars of).



http://en.wikipedia.org/wiki/St._Bartholom...;s_Day_Massacre
Pope Gregory XIII ordered a Te Deum to be sung as a special thanksgiving (a practice continued for many years after) and had a medal struck with the motto Ugonottorum strages 1572 showing an angel bearing a cross and sword next to slaughtered Protestants.[5] He also commissioned the artist Giorgio Vasari to paint three murals in the Sala Regia depicting the wounding of Coligny, his death, and Charles IX before Parliament. "The massacre was interpreted as an act of divine retribution; Coligny was considered a threat to Christendom and thus the pope designated 11 September 1572 as a joint commemoration of the Battle of Lepanto and the massacre of the Huguenots".[6]

Protestant countries were horrified at the events, and only the concentrated efforts of Catherine's ambassadors prevented the collapse of her policy of remaining on good terms with them.[citation needed] Elizabeth I of England's ambassador to France at that time, Sir Francis Walsingham, barely escaped with his life. [7] Even Tsar Ivan the Terrible was horrified at the carnage and issued an official protest on the Huguenots' behalf.

http://en.wikipedia.org/wiki/Image:Gregory_XIII_medal.jpg

Thanks for the info. Lord help us all.

Thanks, Crown7, for referencing this excellent website:

http://www.teachinghearts.org/dre04historynotes.html

Church history and RCC. Everyone...please take a look!