ProVaticanus

Kyrie ex Missa Pontificali Perosi Vaticano Altare Transfigurationis ante Opus Raphaelis Urbinatis http://zazzle.com/ProVaticanus Kyrie eleison. Christe eleison. Kyrie eleison. http://twitter.com/ProVaticanus At the end of the left aisle, on the outside of the St. Andrew pier, there is a mosaic copy of Raphael's "Transfiguration," executed under the supervision of the expert Monosilio from a copy by A. Masucci (an earlier one by S. Pozzi was refused) now in the Loggia of the Benediction. The painting, left incomplete by Raphael, and finished by G. Romano and F. Penni, was commissioned in 1517 by Cardinal Giulio de' Medici, the future Clement VII, for the Narbonne Cathedral, where he was bishop. There is, in fact, a certain imbalance between the sublimely conceived and intensely painted upper part, and the lower part in which the expressiveness of the characters is carefully rendered, but exterior aspects of Mannerism also surface in the excessively emphatic attitudes and postures. This work was considered as Raphael's testament, since it was placed at the head of his death bed "breaking the heart of all who look upon it," as Vasari wrote. In this chapel it is possible to admire a mosaic reproduction of one of the world's most famous paintings "The Transfiguration" showing Christ on Mount Tabor, Raphael's last painting (1483-1520). It shows the Lord in a nimbus of bright light, raised in the air with the prophet Elias and Moses, the lawgiver, while the three favored apostles, Peter, James and John gaze on this heavenly scene from earth, wishing that it would last for eternity. The upper portion of the picture reveals the tranquil ecstasy, the celestial serenity and peace the Lord grants only to those who are with Him and who want to be with Him. The lower part contrasts strongly with the upper. The figures are agitated; they look at the possessed boy whose father is holding him. All are troubled, and they seem to be seeking a human solution to ills of the spirit. Only an apostle, indicating the Lord on the Mount reminds them, the disheartened and discouraged, of the source of salvation. In the middle, the kneeling woman symbolizes the Church and its task of bringing peace, hope and faith to the victims of evil. Raphael died young, he was only 37. In his final delirium he asked to see his painting for the last time. His friends brought it to him, and placed it on the bed in which he died on Good Friday, 1520. The same painting was carried at the head of the funeral procession to the Pantheon where the great artist is buried and awaits his own transfiguration. #Kyrie #Polyphony #Vatican http://patreon.com/ProVaticanus

CRUX FRATRUM MILITIAE CHRISTI LIVONIAE http://zazzle.com/ProVaticanus https://www.zazzle.com/camisia_pro_fratribus_militiae_christi_livoniae_polo_shirt-235214605994220078?rf=238651287932471211 https://www.zazzle.com/camisia_pro_cruciata_de_livonia_t_shirt-235103426248701961 The Livonian Brothers of the Sword (Latin: Fratres militiæ Christi Livoniae, German: Schwertbrüderorden, French: Ordre des Chevaliers Porte-Glaive, Polish: Zakon Kawalerów Mieczowych) was a Catholic military order established in 1202 by Albert, the third bishop of Riga (or possibly by Theoderich von Treyden). Pope Innocent III sanctioned the establishment in 1204 for the second time. The membership of the order comprised German "warrior monks" who fought Baltic and Finnic pagans in the area of modern-day Estonia, Latvia and Lithuania. Alternative names of the Order include Christ Knights, Swordbrothers, Sword Brethren, Order of the Brothers of the Sword, and The Militia of Christ of Livonia. The seal reads: +MAGISTRI ETFRM (et fratrum) MILICIE CRI (Christi) DE LIVONIA. Following their defeat by the Samogitians and Semigallians in the Battle of Schaulen (Saule) in 1236, the surviving Brothers merged into the Teutonic Order as an autonomous branch and became known as the Livonian Order. Ago tibi gratias Deo per instrumenta de G.C. pro bono rei publicae. #Livonia #DeusVult #EasternEurope http://patreon.com/ProVaticanus

Actio III SS. Concilii Nicaeni II (28 Sept. 787): De Processione Spiritus Sancti ex Patre Per Filium http://zazzle.com/ProVaticanus Credo in unum Deum Patrem omnipotentem, et in unum Dominum Jesum Christum Filium Dei et Deum nostrum, natum ex Patre sine tempore coaeternum: et in Spiritum sanctum, Dominum et vivificantem, ex Patre per Filium procedentem.... Πιστεύω εις ένα θεόν πατέρα παντοκράτορα καί εις ένα κύριον Ίησοΰν Χριστόν τόν υίόν του θεού καί θεόν ημών, γεννηθέντα έκ τοϋ πατρός άχρόνως καί άϊδίως, καί εις τό πνεύμα τό αγιον, τό κύριον καί ζωοποιόν, τό έκ του πατρός δι' υιού έκπορευόμενον... Cf. https://www.scribd.com/document/565747890/Seventh-Council-in-Greek-and-Latin Cf. Mansi, Tom. XII, Col. 1121-1128: https://www.scribd.com/document/565748002/Sacrorum-Conciliorum-Nova-Et-Amplissima-Labbe-Philippe-Bpt6k51594s #Filioque #EcumenicalCouncils #Orthodoxy Ago tibi gratias Deo per instrumenta de "WoodyofmC" pro bono rei publicae. http://patreon.com/ProVaticanus

S. Patricius missus est ad Hiberniam a SS. Celestino PP. I cum Episcopatu et Regula Romana http://www.zazzle.com/ProVaticanus/patrick+gifts http://ProVaticanus.blogspot.com/2011/02/s-patricius-missus-est-ad-hiberniam-ss.html Sanctus Patricius accurate Magonus Sucatus Patricius, natus fine saeculi IV aut initio saeculi V in Bannaventa Britanniae, obiit die 17 Martii 461 aut 493 in Hibernia. Patricius, cuius dies festae est 17 Martii, est sanctus et patronus Hibernicus. #StPatrick #HappyStPatricksDay #Irelan http://www.youtube.com/ProVaticanus http://www.twitter.com/ProVaticanus

Κανών της ογδόης συνόδου της εν Φλωρεντία γενομένης - Ιωσήφ Πλουσιαδηνός: Ὠδή V. http://zazzle.com/ProVaticanus Τὴν σεβάσμιον ταύτην καὶ ἁγίαν σύνοδον πιστῶς γεραίρομεν, τὴν ἐν Φλωρεντίᾳ ἱερῶς συναχθεῖσαν ἐν πνεύματι καὶ τὰς ἐκκλησίας διερρηγμένας ἀνιάτως ἐν ἑνώσει αὐτὰς κατευθύνασαν. Ἡ φωνὴ τοῦ Σωτῆρος ἀληθῶς πεπλήρωται, ἡ πάλαι φήσασα ἱερῷ τῷ Πέτρῳ· Ἐπιστρέψας στηρίξεις εἰς ἕνωσίν σου τοὺς ἀδελφούς σου. Ἐγὼ γὰρ, Πέτρε, ἐδεήθην, ἵνα μήποτε λείψῃ ἡ πίστις σου. Νῦν ὁ Ῥώμης προστάτης· ὁ κλεινὸς Εὐγένιος, πάντας συνήθροισε ἐν τῇ Φλωρεντίᾳ ὡς τὴν πίστιν κατέχων ἀκλόνητον, καὶ στηρίξας πάντος, καὶ πρὸς αὐτὴν καθοδηγήσας, τοῦ Σωτῆρος τὸν λόγον ἐκπλήρωσε. Συνελθόντες ἐν πίστει, πάντες μακαρίζομέν σε τὴν πανάμωμον, τὴν τὰ διεστῶτα παραδόξως, Παρθένε, συνάψασαν τῷ σεπτῷ σου τόκῳ, ἀλλὰ καὶ νῦν ταῖς ἐκκλησίαις τὴν εἰρήνην καλῶς προξενήσασαν. With faith we honor this venerable and holy synod, devoutly gathered in the Spirit in Florence, to set aright in unity the desperately divided churches. The voice of the Savior is truly fulfilled, which said long ago to blessed Peter: “Having returned, support your brethren in your unity; for I prayed, Peter, that you may never be lacking in faith.” Now the protector of Rome, the glorious Eugenius, in order to uphold the faith unshaken, gathered everyone in Florence, and supporting all and conducting them toward that faith, he fulfilled the word of the Savior. Gathered in faith we all bless you, most-pure Virgin, who once miraculously joined the separated things [i.e. humanity and divinity] through your sacred Offspring, but who have now rightly secured peace for the churches Canon for the Council of Florence: Ode 5 Bp. John Plousiadenos (ca. 1429–1500) MS Vatopedi 1529 Ago tibi gratias Deo per instrumenta de Cappella Romana pro bono rei publicae. #CouncilOfFlorence #ByzantineChant #Orthodoxy

Η Αυθεντία Θεοδωρούς και Παραθαλασσίας - Principalitas Theodorana NFT: https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705773234098012161/ http://zazzle.com/ProVaticanus Η Αυθεντία Θεοδωρούς και Παραθαλασσίας, επίσης γνωστή και ως Γοτθία, ήταν μικρή ηγεμονία στα νοτιοδυτικά της Κριμαίας, από τις αρχές του 14ου αιώνα μέχρι την κατάληψή της από τους Οθωμανούς Τούρκους το 1475. Πρωτεύουσα της ηγεμονίας ήταν το Δόρος ή Θεοδωρούς, σήμερα γνωστό ως Μανγκούπ. Η ηγεμονία ήταν στενά συνδεδεμένη με την Αυτοκρατορία της Τραπεζούντας. Ο πληθυσμός της ήταν ένα μείγμα Ελλήνων, Γότθων της Κριμαίας, Αλανών, Βουλγάρων, Κουμάνων, Κιπτσάκων και άλλων εθνολογικών ομάδων, οι οποίοι ασπάστηκαν τον Ορθόδοξο Χριστιανισμό. Επίσημη γλώσσα του πριγκιπάτου ήταν τα ελληνικά. Το έδαφος ήταν αρχικά υπό τον έλεγχο της Τραπεζούντας, και αποτελούσε μέρος της Περατείας. Η ηγεμονία της Γοτθίας αναφέρεται για πρώτη φορά στις αρχές του 14ου αιώνα, από τον μεταβυζαντινό ιστορικό Θεόδωρο Σπανδουγίνο, που έχει καταγράψει την ύπαρξη μιας «Ηγεμονίας Γοτθίας» κατά τη βασιλεία του Ανδρόνικου Γ΄ Παλαιολόγου (1328-1341). Περαιτέρω αναφορές υπάρχουν κατά τη διάρκεια του 14ου αιώνα, με αρκετούς μελετητές να ταυτίζουν τον «Ντμίτρι», έναν από τους τρεις πρίγκιπες των Τατάρων στη Μάχη των Γαλανών Νερών (π. 1362/3), με έναν ηγεμόνα της Γοτθίας. Το όνομα σε αυτή την περίπτωση μπορεί ενδεχομένως να είναι το βαπτιστικό όνομα του Τατάρου άρχοντα του Μανγκούπ, που ονομαζόταν Khuitani. Η ονομασία «Θεοδωρούς» εμφανίζεται για πρώτη φορά σε ελληνική επιγραφή που χρονολογείται γύρω στο 1361/2, και στη συνέχεια και πάλι ως «Theodoro Mangop» σε γενουατικό έγγραφο του 1374. Προτάθηκε από τον Άντζελο Μερκάτι ότι το γενουατικό έγγραφο είναι παραφθορά του ελληνικού πληθυντικού «οι Θεόδωροι», «των Θεοδώρων», που πιθανόν θα εννοεί τους αγίους Θεόδωρο τον Στρατηλάτη και Θεόδωρο τον Τήρωνα, αλλά ο Νικολάε Μπανέσκου (Nicolae Bănescu) πρότεινε την εναλλακτική εξήγηση ότι αυτή προέκυψε από την οριστική του ελληνικού ονόματος «το Δόρος» ή «το Δόρυ», που ήταν πρώιμη μεσαιωνική ονομασία της περιοχής. Ανεξάρτητα από την προέλευσή του, το όνομα καθιερώθηκε: το 1420 η επίσημη ονομασία του ηγεμόνα ήταν «αὐθέντης πόλεως Θεοδωροῦς και παραθαλασσίας», ενώ στην καθομιλουμένη ονομαζόταν Θεοδωρίτσι («μικρή Θεοδωρούς») από τους κατοίκους της. Ago tibi gratias Deo per instrumenta de Jove Mauro pro bono rei publicae. #Theodoro #RomanEmpire #LastStronghold http://patreon.com/ProVaticanus

SPECVLATORES ET EXPLORATORES PRO FRATRIBVS #XP+#SPQR AD VICTORIAM PER IMPERIVM ROMANVM #NFT: https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705771035074756609/ via @opensea http://zazzle.com/ProVaticanus Speculatores and Exploratores were the scouts and reconnaissance element of the Roman army. In both the legions and in the praetorian camp, speculatores were initially scouts but became bodyguards, couriers, law-enforcers, and sometimes executioners. Exploratores were tasked to keep watch on enemy movements in the field. Both occupations could require the wearing of 'plain clothes' and may therefore be deemed spies (Occulta speculator/speculatrix). The Roman Empire lasted a very long time and various espionage units, including the infamous frumentarii created by Hadrian to suppress internal dissent, and later the agentes in rebus, came and went throughout its history. The first permanent imperial bodyguards were the Corporis Custodes (also called Germanic or Batavian bodyguards). They were probably involved in the death of Emperor Nero, and therefore from that moment on amortized as bodyguards. His successor, Galba, promoted his own bodyguards, the Speculatores, to imperial bodyguards. This situation continued until emperor Trajan promoted his own bodyguard, the Equites Singulares, to imperial bodyguards. The Speculatores were recruited from the best riders of the Praetorian cavalry; they became the unit that was entrusted with the protection of the emperor in Rome. Despite being a private, standalone unit with its own barracks, the unit frequently counted to the Praetorian Guard. The tasks of the imperial bodyguard consisted of (among others): guarding and protecting the emperor, the delivery of imperial mail and training with the emperor during public shows, in which the emperor could show his riding and combat skills to the population. Ago tibi gratias Deo per instrumenta de "lOSt MooN", NCS, et A. Walker pro bono rei publicae. #Spectre #Victory #RomanEmpire #Explorers #Kolombia #Columbus #Byzantine #Christianity #KnightsOfChrist #DeusVult #Latin #V #U #RomanLegions #RomanMilitary #MilitaryOrders #Intel #ChristianOffices #Deacons #Subdeacons #TLM #EyesAndEars #Watchmen #CaesarsMen #TheodosiusTheGreat #Stealth #SpecialOps #GhostRecon #Reconnaissance #Scouts #Sentry #Wolfpack #ROMA #Walkmen #ϒ http://patreon.com/ProVaticanus

#ζ OPI S. GEORGIUS EQUITUM PATRONUS PRO #XP+#SPQR #NFT: https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705769935563128833 http://zazzle.com/ProVaticanus COLLECT Deus, qui nos beati Georgii Martyris tui meritis et intercessione lætificas : concede propitius : ut, qui tua per eum beneficia poscimus, dono tuæ gratiæ consequamur. Per Dominum nostrum. O God, who makest us to rejoice in the merits and intercession of blessed George, thy martyr; grant in thy mercy that, as we seek thy blessings through him, we may obtain them through the gift of thy grace. Through our Lord. #StGeorge #Z #RomanEmpire #Orthodoxy #Christianity #CatholicChurch #Crusader #DeusVult #SanJorge #Ops #Force #Zymbol Ago tibi gratias Deo per instrumenta de "The Walkers (et A. Walker)" pro bono rei publicae. http://patreon.com/ProVaticanus

FACITE ROMAM MAGNAM ITERVM (MAKE ROME GREAT AGAIN) https://www.zazzle.com/cassis_facite_romam_magnam_itervm_embroidered_baseball_cap-233697917145651982?rf=238651287932471211 https://www.zazzle.com/facite_romam_magnam_itervm_make_rome_great_again_t_shirt-235636960769643672?rf=238651287932471211 http://zazzle.com/ProVaticanus #NFT https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705767736539873281/ Renovatio imperii Romanorum ("renewal of the empire of the Romans") was a formula declaring an intention to restore or revive the Roman Empire. The formula (and variations) was used by several emperors of the Carolingian and Ottonian dynasties, but the idea was common in Late Antiquity and the Middle Ages. Late Antiquity The phrases renovatio Romanorum ("renewal of the Romans") and renovatio urbis Romae ("renewal of the city of Rome") had already been used in Antiquity. The word renovatio ("renewal") and its relatives, resitutio ("restitution") and reparatio ("restoration"), occasionally appeared on Roman coins from the reign of Hadrian onward, usually signifying the restoration of peace following rebellion. The formula seems especially favoured by usurpers, such as Carausius, Magnentius and Decentius. Even Theoderic the Great, the king of the Ostrogoths in Italy (r. 493–526), made use of the language of Roman renewal. The records of his reign in Cassiodorus, Ennodius and the Anonymus Valesianus are replete with reference to renewing, repairing and rejuvenating. Under the Emperor Justinian I (r. 527–565), renewal was closely linked with the restoration of the empire's frontiers by reconquest. This policy appealed to the Roman aristocracy and to such writers as Procopius and John Lydus, who wrote in his De magistratibus: "To Rome Justinian restored what was Rome's." This was not enough for the poet Corippus, who saw the end of Justinian's reign as a period of reckless spending and neglect. His poem In Laudem Iustini Augusti Minoris takes as its theme the renewal of the empire under Justin II. Middle Ages The form renovatio Romanorum imperii was first used in a diploma issued by Charlemagne, who was crowned emperor in 800. He was probably inspired, at least in part, by Roman coins. Evidence for the "renewal" of the city of Rome under Charlemagne comes largely from the Liber pontificalis. There were major building and renovation programmes under Popes Hadrian I and Leo III, and there is also evidence for population growth and an increase in Christian pilgrimage traffic. Charlemagne's successor, Louis the Pious, dropped the formula in favour of a new one: renovatio regni Francorum ("renewal of the kingdom of the Franks"). When Louis's younger son, Charles the Bald, became emperor in 875 he adopted the combined formula renovatio imperii Romani et Francorum for his seal. The formula renovatio imperii Romanorum reappears on a lead seal of the Emperor Otto III in August 998. This seal was replaced in January 1001 by one bearing the legend aurea Roma ("golden Rome"). Otto III also built a palace in Rome, which none of his predecessors had done. Otto III's use of the formula has been made to bear much historical weight in light of his enigmatic career and politics. The historian Percy Ernst Schramm argued that the formula represented a coherent programme for the restoration of the Roman Empire along secular and universal lines. Knut Görich has written a riposte to Schramm's thesis, arguing instead that Otto III and Pope Gregory V were embarking on a renewal of the papacy only. The idea of the renewal of Rome the city (renovatio Romae), of the empire (renovatio imperii) and of Roman virtue (renovatio morum) were intertwined in early Italian humanist thinking. The Roman popular leader Cola di Rienzo believed that the renewal of the empire would be brought about through popular sovereignty and not the Holy Roman Emperors. Most humanists, like Dante and Petrarch, believed that the renewal of imperial authority in Italy would precede the renewal of the city and encouraged Kings Henry VII and Charles IV to make the journey to Rome for imperial coronation. Ago tibi Deo gratias per instrumenta de "DjSoH" pro bono rei publicae. #MakeRomeGreatAgain #MAGA #SPQR #XP #Roma #RomanEmpire #Constantinople #Rome #TheCity #TheEmpire #Restoration #RenovatioImperiiRomanorum #TheRepublic #Restorer #Facite #MakeIT #Push #Orthodoxy #Reunion #CouncilOfFlorence #Medici #Byzantine #Orthodox #CatholicChurch #RestoreTheRepublic #RestoreTheEmpire #Filioque #UniversalNation #Renovatio #EasternEurope #EKKLESIA #OldWorldOrder #Kolombia #Columbus #Romans #Greek #Latin http://patreon.com/ProVaticanus

SS. Biblia Polyglotta F. Ximeny Card. in Academia Complutensi cum Leonis X approbatione 22 Mar. 1520 http://zazzle.com/ProVaticanus The first Bible which may be considered a Polyglot is that edited at Alcalá (in Latin Complutum, hence the name Complutensian Bible), Spain, in 1502-17, under the supervision and at the expense of Cardinal Ximenes, by scholars of the university founded in that city by the same great Cardinal. It was published in 1520, with the sanction of Leo X. Ximenes wished, he writes, "to revive the languishing study of the Sacred Scriptures"; and to achieve this object he undertook to furnish students with accurate printed texts of the Old Testament in the Hebrew, Greek, and Latin languages, and of the New Testament in the Greek and Latin. His Bible contains also the Chaldaic Targum of the Pentateuch and an interlinear Latin translation of the Greek Old Testament. The work is in six large volumes, the last of which is made up of a Hebrew and Chaldaic dictionary, a Hebrew grammar, and Greek dictionary. It is said that only six hundred copies were issued; but they found their way into the principal libraries of Europe and had considerable influence on subsequent editions of the Bible. Vigouroux made use of it in the very latest of the Polyglots. Cardinal Ximenes was, he assures us, eager to secure the best manuscripts accessible to serve as a basis of his texts; he thanks Leo X for lending him Vatican manuscripts Traces of such manuscripts are, indeed, discernible, particularly in the Greek text; and there is still a copy at Madrid of a Venetian manuscript which he is thought to have used. He did not, however, use any of what are now considered the best; appreciation of the worth of the manuscripts, and of their variant readings, had still much progress to make; but the active work of many years produced texts sufficiently pure for most purposes. The "Complutensian Bible" published the first printed edition of the Greek Old Testament, the one which was commonly used and reproduced, before the appearance of the edition of Sixtus V, in 1587. It is followed, on the whole, in the Septuagint columns of the four great Polyglots edited by Montanus (Antwerp, 1569-72); Bertram (Heidelberg, 1586-1616); Wolder (Hamburg, 1596); and Le Jay (Paris, 1645). Ximenes' Greek New Testament, printed in 1514, was not published until six years after the hastily edited Greek New Testament of Erasmus, which was published before it in 1516; but in the fourth edition of Erasmus' work (1527), which forms the basis of the "Textus Receptus", a strong influence of Ximenes' text is generally recognized. #Biblia #BibleHistory #Complutensian http://patreon.com/ProVaticanus

#XP+#SPQR : LEG V MACEDONICA (43 B.C. - 646 A.D.) FVIT #LEGATIA VLTIMA ROMAE http://zazzle.com/ProVaticanus Legio V Macedonica legio fuit Romana anno 43 a.C.n. constituta, quae usque ad saeculum VII operavit, Memphi in Aegypto. Ago tibi gratias Deo per instrumenta de "Official9db" pro bono rei publicae. #Legacy #SPQR #RomanEmpire #Christianity #LegioVMacedonica #Macedonia #Egypt #Caesar #ConstansII #RomesLastLegion #LastRomanLegion #Roma #RomesLegacy #TributeVideo #MusicVideo #Push #RomanGreatness #Honor #VisEtHonor #ChristianRomanEmpire #ChiRho #Labarum #Orthodoxy #CatholicChurch #CatholicChristian #RomanCatholic #NowPlaying #Remixes #43BC #646AD #Byzantine #WesternEmpire #TheEmpire #Imperium #Legion #Bull #Eagle #AlexanderTheGreat #Alexandria #TheEagle #Macedonica #EasternEurope #Romans #Rum #Macedonian #Macedonia #Македонија #Μακεδονία #Romania #RomanRepublic #LastRomanLegion #Forgotten #Orthodoxy #YouTubeAlgorithm #PromotedVideo #NowTrending #BreakingNews #NorthMacedonia #Albania #Italia #LastLegion #LastManStanding #RomanStandard http://patreon.com/ProVaticanus

RESTITVTORES VRBIS (526-565 A.D.) : LEGENDA IVSTINIANI MAGNI BELISARII NARSISQVE http://zazzle.com/ProVaticanus Athalaric, Theodoric's grandson and heir, was just ten years old when he became king. He died in 534 without defining a clear line of succession: the contrasts among the Ostrogoths over who should succeed Athalaric attracted the attention of Justinian, the Eastern Roman Emperor who in 527 had succeeded his uncle Justin. He thought the time had come to reunify the Roman empire under a sole emperor and a sole creed. In 533 Justinian's general Belisarius conquered the Kingdom of the Vandals in Africa. From there Belisarius led a relatively small army into Sicily and, having easily conquered the island, he then landed in southern Italy. He captured Rome in 536 and managed to defend the city against the Goths, who on that occasion severely damaged the aqueducts. He then moved northwards and eventually in 540 he took Ravenna. Belisarius was then recalled to Constantinople by Justinian because of threats on the eastern border of the empire; when he returned to Italy in 544, the Ostrogoths had regrouped under the leadership of Totila, who had regained control of northern Italy and seized Rome. Belisarius retook Rome, but without enough troops and supplies he was unable to conclude the war. Justinian replaced him with Narses who eventually in 555 was able to defeat the Ostrogoths and to restore the imperial rule over the whole of Italy. Ago tibi gratias per instrumenta de "Tevvez," "Veni Vidi Vici," "Deny," "NotRACERDan," "edhaje," etc. pro bono rei publicae. #JustinianTheGreat #Belisarius #Narses #Legend MakeRomeGreatAgain #Rome #EternalCity #Restoration #Restorers #555AD #RomaEmpire #TheEmpireStrikesBack #RomanHistory #EastWest #Reunification #Reunion #Romanoi http://patreon.com/ProVaticanus

AD SAECVLVM OBSCVRVM MINVS POST ACTVS IVSTIANIANI BELISARIIQVE PER IMPERIVM ROMANVM (526-565 A.D.) http://zazzle.com/ProVaticanus Flavius Belisarius (Greek: Βελισάριος, c. 500 – 565 AD) was a general of the Roman Empire. He was instrumental to Emperor Justinian's ambitious project of reconquering much of the Mediterranean territory of the former Western Roman Empire, which had been lost less than a century previously. One of the defining features of Belisarius' career was his success despite varying levels of support from Justinian. His name is frequently given as one of the so-called "Last of the Romans". Belisarius was an excellent general and overall one of the best of all time. As the Magister Militum Per Orientem of the Roman army under the reign of Justinian, he was responsible for much of the territory gained under Justinian’s rule. Some of his military feats include: Battle of Dara (530) 25,000 Roman men against 50,000 Sassanids. The battle is often considered to be Belisarius’ greatest victory. This was an instrumental battle in the Iberian war. The Roman victory foiled the Sassanid plan to invade via Commagene, due to the loss the Sassanids were then forced into the battle of Calcinium. Which resulted in a Sassanid Pyrrhic victory with both sides taking heavy casualties. Calcinium resulted in somewhat of a stalemate, which then led to the Byzantines eventually coming to terms for peace. Without Belisarius vital victory at Dara the Byzantines would have lost the war completely. Ad Decimum and the Vandalic war (533–534) Belisarius conquered the Vandal Kingdom in nine months despite being outnumbered by 51 thousand men (he had 16K infantry and cavalry, whereas Gelimer had 57k Infantry and cavalry). His first encounter with Vandal forces was at Ad Decimum. On hearing that Gelimers forces were at the pass, he ordered his troops to charge against the vandals. The hunnic cavalry attacked from the west and 15,000 Romans pushed the enemy to the west, killing many. The battle was a decisive Roman Victory. The Romans entered Carthage on the 15th of September. However, The vandals cut the water supply to the city which forced the Romans to attack at tric-amarum. He left his infantry as well as the hunnic mercenaries in Carthage. And moved with less than 10,000 against 15,000 vandals. He charged 3 times at the vandals and on the last charge killed Gelimers brother and the vandal king started his retreat. This was the end of the vandal kingdom and Roman control over Africa, sardinia, Corsica and part of Sicily was re-established. Gothic war (535–554) Belisarius captured vital strategic points in southern Italy,such as Naples and Panoramus through 535–536. In just two years he had all of southern Italy under his control and in 536 he recaptured Rome from the Ostrogoths. A year later he would go on to successfully defend the city from the Goths despite being outnumbered 3:1. In 540 Belisarius captured the Ostrogothic capital, Ravenna. Sadly he would be recalled to Constantinople shortly after as Justinian grew suspicious that Belisarius was plotting against him. He would later be reassigned to the army of the east to fight the Sassanids but was yet again disgraced, as he was demoted and had his entire wealth confiscated due to him being accused of plotting against the emperor by Justinian’s wife. Belisarius was an excellent general due to him being able to win great victories despite little available resources and men. He was known for his excellent quick thinking on the battlefield and for his deceptive skills. At Dara, he won a resounding victory by predicting and influencing enemy movement. When the enemy concentrated and broke through, he moved against their rear and defeated them. In Africa, His ability to see an opportunity to gain the advantage (such as at Ad Decimum) and to take it, contrast positively with Gelimer's inactivity. In Italy, he mostly relied on sieges to defeat the Goths. At this he was so efficient that Totila refused to engage in them until Belisarius was unable to take the initiative due to supply shortages. In Italy, to deal with a changing situation, he made multiple strategies inside the span of a year. Meanwhile, his opponent Vitiges had no coherent strategy after the failure of the siege of Rome. , Belisarius was a phenomenal general and one of the best that the Roman Empire has ever produced. Hence why he is often called “the last Roman”. #RomanEmpire #Belisarius #Justinian #SPQR #Rome #Constantinople #LittleDarkAge #Narses #Italy #MusicVideo #MGMT #CreativeCommons #PublicDomain #RomanHero #TheLastRoman #TheBest #GOAT #Romanoi #Byzantine AGO TIBI GRATIAS DEO PER INSTRVMENTA DE "SOFI LYRICS", TIMOTHEO MARCO, "MUSICOCEAN", "EDHAJE" , ETC. PRO BONO REI PVBLICAE. http://patreon.com/ProVaticanus

#IMPERIVM ROMANVM : α☧ω 🦅🦅 #ββββ : βασιλεὺς βασιλέων, βασιλεύων βασιλευόντων http://zazzle.com/ProVaticanus This Roman Imperial standard-flag is based on the tetragrammic cross emblem/flag of the Byzantine Palaiologos dynasty, with the difference that in Serbian use the cross is usually white on a red background, rather than gold on a red background (though it can be depicted in gold as well). It is composed of a cross symbol with four "fire striker" shapes, originally four Greek letters beta (Β). The so called ‘ocila' in Serbian or ‘fire strikers' in English are the initials (letters β) of the imperial motto of the Palaiologos dynasty: King of Kings, Ruling Over Kings. In Greek it goes like this: βασιλεὺς βασιλέων, βασιλεύων βασιλευόντων; (Basileus Basileōn, Basileuōn Basileuontōn) The emblem mostly associated with the Roman Empire in the East (Byzantine) is the double-headed eagle. It is not of Byzantine invention, but a traditional Anatolian motif dating to Hittite times, and the Byzantines themselves only used it in the last centuries of the Empire. The date of its adoption by the Byzantines has been hotly debated by scholars. In 1861, the Greek scholar Georgios Chrysovergis wrote that it was adopted by the Komnenoi in 1048. The Palaiologan emperors used the double-headed eagle as a symbol of the senior members of the imperial family. It was mostly used on clothes and other accoutrements, as codified in the mid-14th century by pseudo-Kodinos in his Book of Offices. According to Kodinos, the emperor bore special boots (tzangia) with eagles made of pearls on both shins and on the instep; the Despots wore similar boots of white and purple, and featured pearl-embroidered eagles on their saddles, while the saddle cloth and their tents were white decorated with red eagles. Similarly, the sebastokrator wore blue boots with golden wire-embroidered eagles on a red background, while his saddle cloth was blue with four red embroidered eagles. The only occasion the double-headed eagle appears on a flag is on the ship that bore Emperor John VIII Palaiologos to the Council of Florence, as mentioned by Sphrantzes and confirmed by its depiction in the Filarete Doors of St. Peter's Basilica. According to a handful of surviving examples, such as the supposed "Flag of Andronikos II Palaiologos" in the Vatopedi Monastery, or a frontispiece of a Bible belonging to Demetrios Palaiologos, the Byzantine double-headed eagle was golden on a red background. Likewise, in Western armorials from the 15th century, the golden double-headed eagle on a red shield is given as the arms of the "Empire of the East" or "of Constantinople", or as emblem of members of the imperial family. The representation of the eagle on a shield is an adaptation to Western heraldic practice, however; the Byzantines never used it in this manner for themselves, although they employed it in a Western context, e.g. in the award of the right to bear the imperial arms to the Florentine citizen Giacomo Paolo di Morellis in 1439. Within the Byzantine world, the eagle was also used by the semi-autonomous Despots of the Morea, who were younger imperial princes, and by the Gattilusi of Lesbos, who were Palaiologan relatives and vassals. The double-headed eagle was used in the breakaway Empire of Trebizond as well, being attested imperial clothes but also on flags. Indeed, Western portolans of the 14th–15th centuries use the double-headed eagle (silver/golden on red/vermilion) as the symbol of Trebizond rather than Constantinople. Single-headed eagles are also attested in Trapezuntine coins, and a 1421 source depicts the Trapezuntine flag as yellow with a red single-headed eagle. Apparently, just as in the metropolitan Byzantine state, the use of both motifs, single and double-headed, continued side by side. Double-headed eagle reliefs are also attested for the walls of Trebizond, with one example preserved in a church in Kalamaria, Thessaloniki, which is very similar to 13th-century Seljuq examples. Modern scholars commonly consider the double-headed eagle to have been adopted by the Grand Komnenos emperors of Trebizond after their recognition of the suzerainty of, and intermarriage with, the Palaiologos dynasty in the 1280s. Likewise, the small Byzantine Principality of Theodoro in the Crimea, whose rulers conducted marriage alliances with both the Palaiologoi and the Grand Komnenoi, also used the double-headed eagle in the 15th century. #XP #SPQR #Imperium #RomanEmpire #Byzantine #Orthodoxy #Labarum #Rome #Constantinople #EasternRomanEmpire #ByzantineEmpire #Romanoi #Orthodox #Catholic #Palaiologos #CouncilOfFlorence #ByzantineMusic #Anthem #RomanFlag #Vexillum #Ekklesia #Reunion #ChurchState #ConstantineTheGreat #TheodosiusTheGreat #JohnVIII #ConstantineXI #Patria #DoubleEagle #4Beta #AlphaOmega #ChiRho #Serbia #Greece #Italia #TheEmpire #TheRepublic Ago tibi gratias Deo per instrumenta de "Zzen" pro bono rei publicae. http://patreon.com/ProVaticanus

Missa «Tu es Petrus» per Opus Praenestini et Icon «Traditio Clavium» a Perusino in Cappella Sistina https://www.zazzle.com/tu_es_petrus_icon_a_perugino_poster-228203266331341834 Missa Tu es Petrus is a parody mass for six voices (SSATBB) by Giovanni Pierluigi da Palestrina first printed in the Missarum, Liber 15 (1887) of Franz Xaver Haberl's edition. The eponymous model Tu es Petrus ("Thou art Peter") is one of three motets by Palestrina, all on the same text, intended “for the Feast of St. Paul and St. Peter” (29 July); the other two are for 5 and 7 voices. In fact there are three Missae Tu es Petrus, the less well-known being a six-voice paraphrase mass on the gregorian antiphon posthumously published in Missarum, Liber 12 (1601), and a polychoral mass for 18vv of doubtful authenticity that like the other parody mass adapts the music of the same 1572 motet to the texts of the Ordinary of the Mass. Palestrina frequently employed parody technique, reworking old material in newer works. The text of the model is in Latin and is based on Matthew 16:18–19: Tu es Petrus, et super hanc petram Aedificabo Ecclesiam meam, Et portae inferi non praevalebunt adversus eam: Et tibi dabo claves Regni coelorum. Quodcumque ligaveris super terram, Erit ligatum et in coelis; Et quodcumque solveris super terram Erit solutum et in coelis. You are Peter, and on this rock I will build My church, And the gates of hell will not prevail against it: And I will give you the keys To the kingdom of heaven. Whatever you bind on earth Will be bound also in heaven; And whatever you release on earth Will be released also in heaven. — Matthew 16:18-19 The mass consists of seven movements, standard for a choral mass: Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei 1 and Agnus Dei 2. In the opening of the majority of the main movements in the mass, Palestrina copies almost exactly the notation of the motet from the original work. The added features give the piece a more, “fugal” feel. The work is antiphonal in its structure and is meant to convey an overwhelming sense of joy. The work requires singers to balance respect for the religious nature of the work, while exhibiting a sense of glee. The major key also adds to its blissful character. The music combines vivacity with quiet and tender touches that suit its intended performance venue, i.e. a church/cathedral. In general, its tempi are reasonably calm, so the sense of excitement and ecstasy ensues in its transformation through performance. In AllMusic, Donato Mancini wrote, "Palestrina's style has virtually become a stand-in for sacred-sounding music, partly because his was the last generation of composers dedicated to a purely contrapuntal style. His own stylistic aim seems to have been to sum up and bring to a peak of refinement and clarity the accomplishments of those who came before him. Missa Tu es Petrus is one of those works where that aim is most perfectly achieved." The Delivery of the Keys, or Christ Giving the Keys to St. Peter is a fresco by the Italian Renaissance painter Pietro Perugino, executed in 1481–1482 and located in the Sistine Chapel, Rome. The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.[citation needed] While the work was still being created, a visit from Alfonso II of Naples resulted in his addition to the far left of the group of foreground figures. To balance out the image, an apostle was added above St. Peter. Ago tibi gratias Deo per instrumenta de H. Schrems et Schola Dioecesis Ratisbonensis pro boni rei publicae, cf. https://archive.org/details/lp_missa-tu-es-petrus-missa-assumpta-est-ma_giovanni-pierluigi-da-palestrina-regensbur #TraditionalLatinMass #TuEsPetrus #SistineChapel http://patreon.com/ProVaticanus

SS. Gelasius PP. I Decrevit Festam Diem S. Valentini Martyris-Presbyteri http://www.zazzle.com/ProVaticanus/valentine+gifts http://www.zazzle.com/valentinus_sacerdos_martyr_camisia_tshirt-235828459692103860 http://ProVaticanus.blogspot.com/2011/02/ss-gelasius-pp-i-decrevit-festam-s.html http://www.zazzle.com/ProVaticanus Romæ, via Flamínia, natális sancti Valentíni, Presbyteri et Mártyris, qui, post multa sanitátum et doctrínæ insígnia, fústibus cæsus et decollátus est, sub Cláudio Cǽsare. Festa Dies: XIV Feb. #StValentine #HappyValentinesDay #SanValentin http://www.youtube.com/ProVaticanus

NVMMVS: CONSTAN-TINVS P F AVG - VICTORIA CONSTANTINI AVG PTR (317 A.D.) #NFT: https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705766637028245505/ http://zazzle.com/ProVaticanus Constantine I. Gold Solidus (4.35 g), AD 307/10-337. Treveri, AD 317. CONSTAN-TINVS P F AVG, Laureate head of Constantine I right. Reverse: VICTORIA CONSTANTINI AVG, Victory, holding wreath and palm advancing right between two bound and seated captives; PTR. RIC 190; Bastien, Donativa p. 75f and note 6; Depeyrot 24/5. Gratias ago tibi Deo per instrumenta de RaoulWB / Rilliam pro bono rei publicae. http://patreon.com/ProVaticanus #ConstantineTheGreat #RomanEmpire #XP #SPQR #Victoria #RomanReigns #Christianity #Numismatics

RENOVATIO REIPVBLICAE PER IMPERIVM ROMANVM A XP+SPQR http://zazzle.com/ProVaticanus Gratias ago tibi Deo per instrumenta de "AllSoundMusic" (Michael Rodas) pro bono rei publicae. #Renovatio #RomanEmpire #RomanReigns http://patreon.com/ProVaticanus

ΠΡΆΞΕΙΣ ἈΠΟΣΤΌΛΩΝ, XI, 26: ρηματίσαι τε πρώτως ἐν Ἀντιοχείᾳ τοὺς μαθητὰς Χριστιανούς. http://zazzle.com/ProVaticanus ΠΡΆΞΕΙΣ ἈΠΟΣΤΌΛΩΝ, XI, 26: καὶ εὑρὼν ἤγαγεν εἰς Ἀντιόχειαν. ἐγένετο δὲ αὐτοῖς καὶ ἐνιαυτὸν ὅλον συναχθῆναι ἐν τῇ ἐκκλησίᾳ καὶ διδάξαι ὄχλον ἱκανόν, χρηματίσαι τε πρώτως ἐν Ἀντιοχείᾳ τοὺς μαθητὰς Χριστιανούς. ACTUS APOSTOLORUM, XI, 26: Et annum totum conversati sunt ibi in ecclesia: et docuerunt turbam multam, ita ut cognominarentur primum Antiochiæ discipuli, Christiani. ACTS OF THE APOSTLES, XI, 26: For a whole year after this they were made welcome in the Church there, teaching a great multitude. And Antioch was the first place in which the disciples were called Christians. Ago tibi gratias Deo per instrumenta de "G4ME2000" pro bono rei publicae. #Antioch #Bible #Christians #StPeters #Church #Christianity #CatholicChurch #Ignatius #Barnabas #Paul #Luke #Cephas #Melkite #Maronite #Catholic #Orthodox #Orthodoxy #Greek #Latin #ActsOftheApostles #History #RomanEmpire

ΠΡΆΞΕΙΣ ἈΠΟΣΤΌΛΩΝ, XI, 26: ρηματίσαι τε πρώτως ἐν Ἀντιοχείᾳ τοὺς μαθητὰς Χριστιανούς. http://zazzle.com/ProVaticanus ΠΡΆΞΕΙΣ ἈΠΟΣΤΌΛΩΝ, XI, 26: καὶ εὑρὼν ἤγαγεν εἰς Ἀντιόχειαν. ἐγένετο δὲ αὐτοῖς καὶ ἐνιαυτὸν ὅλον συναχθῆναι ἐν τῇ ἐκκλησίᾳ καὶ διδάξαι ὄχλον ἱκανόν, χρηματίσαι τε πρώτως ἐν Ἀντιοχείᾳ τοὺς μαθητὰς Χριστιανούς. ACTUS APOSTOLORUM, XI, 26: Et annum totum conversati sunt ibi in ecclesia: et docuerunt turbam multam, ita ut cognominarentur primum Antiochiæ discipuli, Christiani. ACTS OF THE APOSTLES, XI, 26: For a whole year after this they were made welcome in the Church there, teaching a great multitude. And Antioch was the first place in which the disciples were called Christians. Ago tibi gratias Deo per instrumenta de "G4ME2000" pro bono rei publicae. #Antioch #Bible #Christians

ΚΑΘΟΛΙΚῊ ἘΚΚΛΗΣΊΑ http://zazzle.com/ProVaticanus ἸΓΝΆΤΙΟΣ ἈΝΤΙΟΧΕΊΑΣ ὍΠΟΥ ἊΝ ΦΑΝΗ͂Ι Ὁ ἘΠΊΣΚΟΠΟΣ, ἘΚΕΙ͂ ΤῸ ΠΛΗ͂ΘΟΣ ἜΣΤΩ, ὭΣΠΕΡ ὍΠΟΥ ἊΝ ἮΙ ΧΡΙΣΤῸΣ ἸΗΣΟΥ͂Σ, ἘΚΕΙ͂ Ἡ ΚΑΘΟΛΙΚῊ ἘΚΚΛΗΣΊΑ. IGNATIUS ANTIOCHENUS UBI COM PARUERIT EPISCOPUS, IBI ET MULTITUDO SIT, QUEMADMODUM, UBI FUERIT CHRISTUS IESUS, IBI CATHOLICA EST ECCLESIA. WHEREVER THE BISHOP APPEARS, THERE LET THE PEOPLE BE; AS WHEREVER JESUS CHRIST IS, THERE IS THE CATHOLIC CHURCH. ΣΜΥΡΝΑΙΟΙΣ ΙΓΝΑΤΙΟΣ - EPISTOLA AD SMYRNAEOS, VIII (~107 A.D.): CF. MIGNE, PATROLOGIA GRAECA, TOM. V, COL. 713. #Ignatius #CatholicChurch #Orthodoxy Ago tibi gratias Deo per instrumenta de "XsomH" pro bono rei publicae. http://patreon.com/ProVaticanus

LOCVLVS ASELLI EX MVSEO PIO CHRISTIANO : XP · PETRVS · PAVLVS http://zazzle.com/ProVaticanus https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/70850007952586269275279839719145878113431027391457810365503705765537516617729/ Stone sealing the loculus (niche tomb) of Asellus The slab closed the tomb of a boy named Asellus, who died before the age of seven and was buried in the cemetery of Hippolytus on the Via Tiburtina. On the right the short text of the epigraph is arranged, written in irregular characters in rather inaccurate Latin, as is typical of later inscriptions (those dating from the end of the fourth century). On the left there are the faces of the apostles Peter and Paul, with respective captions, alongside a Christological monogram (combination of chi and rho, the first two letters of the Greek name Christós). The faces, distinguished by their intense gaze, create two simple but very effective “portraits”, faithful to the canonical features attributed to the two saints in the ancient Church. Ideally, it was the intention of whoever prepared the tomb that the little Asellus (“little donkey”, probably an affectionate nickname) should be entrusted in the Hereafter to the two revered patrons of the Roman Church. Cat. 28596 Lastra con iscrizione sepolcrale del piccolo Asellus Inventory: MV.28596.0.0 Description: Lastra con iscrizione sepolcrale del piccolo Asellus; a sinistra, riquadro con ritratti di Pietro e Paolo ai lati di un monogramma, identificati da didascalia Dating: fine IV sec. Material: marmo bianco Measures: cm 18,5 x 86,5 x 3,2; peso: kg 15 Provenance: Roma, dal cimitero di S.Ippolito sulla via Tiburtina poco prima del 1720; quindi collezione del card. Alessandro Albani; donato a Clemente XI di Marco Antonio Ansidei, arcivescovo di Tamiathis (1671-1730); quindi nella Biblioteca Vaticana Location: SCV ➔ Edificio Paolino ➔ Museo Pio Cristiano ➔ Settore 3 - Sarcofagi a doppio registro #PeterAndPaul #Rome #Vatican http://patreon.com/Provaticanus

NVMMVS: VRBS ROMA - ✴ ✴ RBQ http://zazzle.com/ProVaticanus Roman Empire Italy, Rome Constantine I (AD 272-337) AE City of Rome Commemorative 16 mm x 2.00 grams (s. AD 330) Obverse: Plumed helmeted bust of Roma left. Latin Script VRBS ROMA Reverse: Stars of Pollux and Castor above She Wolf with flower on shoulder suckling Romulus and Remus. RBQ in ex. ref: RIC VII Rome 338 Gratias ago tibi Deo per instrumenta de Jove Mauro Cámara pro bono rei publicae. #Numismatics #Roma #ConstantineTheGreat http://patreon.com/ProVaticanus

Labarum. http://zazzle.com/ProVaticanus The labarum (Greek: λάβαρον) was a vexillum (military standard) that displayed the "Chi-Rho" symbol ☧, a christogram formed from the first two Greek letters of the word "Christ" (Greek: ΧΡΙΣΤΟΣ, or Χριστός) — Chi (χ) and Rho (ρ). It was first used by the Roman emperor Constantine the Great. Ancient sources draw an unambiguous distinction between the two terms "labarum" and "Chi-Rho", even though later usage sometimes regards the two as synonyms. The name labarum was applied both to the original standard used by Constantine the Great and to the many standards produced in imitation of it in the Late Antique world, and subsequently. Gratias ago tibi Deo per instrumenta de Jove Mauro Cámara pro bono rei publicae. #XP #SPQR #Labarum http://patreon.com/ProVaticanus

Ipsa Serenissima solum tinxit mentis gerentia sua coloribus caelorum lucidissimis pro Hagia Sophia https://www.zazzle.com/ipsa_serenissima_monet_poster-228105850001029743 "Partitio terrarum Imperii Romaniae" sive "Partitio regni Graeci" est documentum breve Latine anno 1204 editum, Constantinopoli nuper a Cruce signatis quartae expeditionis sacrae capta, de divisione Imperii Byzantini inter imperatorem Balduinum, ducem populumque Venetum, et peregrinatores. Bella Serenissima monet ius patronatus Romaniae hastaeque amori ardentissimo: Ipsa Serenissima solum tinxit mentis gerentia sua coloribus caelorum lucidissimis pro Hagia Sophia ("...She colored her thoughts with only the brightest hues..."). #Serenissima #Monet #BrightestHues #Byzantine #PhiloSophia #SPQR #RomanEmpire #Thoughts #Romance #TheRepublic #Notte #OldSoul #TraditionalCatholic #Orthodox #Romanoi #Venezia #Bubble #Amor #HastaLaVista #Lance #Spear #ArdentLover #EquestrianOrder #Knighthood #Duchess #Romania #Venetia #Wisdom #HagiaSophia #Anagram #Etymology #Leo #Lionheart #KingdomOfTheNorth #Ger #Wiseman #Sage #Sapient #BeautyTruth #TruthBeauty #Lover #Heart #Mindset #Unity #PaxRomana #Colors #Joseph #Rainbow #Love #Amore #ForLove #Bearer #Divine #Truth #Veritas #TalkAboutThis #TheBubble #Mystery #TheSecret #TheMystery #MostRomantic #Byzantine #RomanCatholic #PaxTibiMarco #Venice #GOAT #Community #Bubble #Communion #Marriage #ConjugalLove #Italia #Romantici #Constantinopolitan #GotLove #Doge #SanMarco Ago tibi gratias Deo per instrumenta de "Ultimo dei Romantici 3" pro bono rei publicae. http://patreon.com/ProVaticanus