Word: churches
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Dates: during 1950-1959
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...Country & St. Maurice. First indication of the trend, according to Dr. C. Stanley Lowell, managing editor of the P.O.A.U. monthly, Church and State, was a drive last spring by the Catholic Holy Name Society at infantry-minded Fort Benning, Ga. to promote St. Maurice as patron saint of the infantry.* A program was drawn up. calling for erection at Benning of a $2,300 statue of the saint, the printing of 30,000 folders on his life, wide distribution of St. Maurice medals and the presentation of St. Maurice scrolls to Fort Benning visitors...
...change is said to have been brought about at least partly by Poland's Cardinal Wyszynski during his recently-completed 22-month visit to Rome. As the church's highest-ranking prelate who deals with Communism at first hand, Wyszynski is said to have made this case to Pope John and Cardinal Tardini: Polish Premier Gomulka is increasingly dependent on Poland's Catholics (82.4% of the population) to keep him at least partly independent of Moscow's smothering embrace, and the situation might be used to pry from Gomulka some additional concessions to Polish Catholics...
...Vatican attitude, as one diplomat put it, "could theoretically lead to a better atmosphere between the church and Communism. The first move, though, must come from the Communists." The church's price is likely to be high, involving vastly increased religious and educational freedom in Communist countries...
Secret Life. Craft's affinity for modern music dates back almost as far as he can remember. Born in Kingston. N.Y., into a nonmusical family (his father is a real estate broker), he became a boy soprano in the Episcopal Church when he was six. By the time he was packed off to New York Military Academy at Cornwall, 13-year-old Robert Craft was an avid collector of modern scores, spent his spare time poring over copies of Stravinsky's Sacre du Printemps and Les Noces, Schoenberg's Pierrot Lunaire. Says Craft: "I led a kind...
Daniel was traditionally performed in church to celebrate the New Year, but it is really a thinly disguised popular musical play. Its richly colored music was transcribed for the scholarly New York Pro Musica group (which first revived the play last year) from a 13th century manuscript unearthed in the British Museum. With costumes derived from medieval illustrations and dialogue in the original medieval Latin and French, the current production makes one concession to modern audiences in the form of a skillful English verse narration by Poet W. H. Auden that outlines the action...