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Supervisor Resume Templates will give ideas and strategies to develop your own resume. Do you need a strategic resume to get your next leadership role or even a more challenging position? There are so many kinds of Free Resume Templates.
Supervisor Resume Templates
The main reason i have been making these templates is to tidy up my album presentations. The problem is that due to the way Flickr works, when you create an album and assign an image as the the album cover, unless it is a square format, Flickr auto crop the image which sometimes doesn't look very good. By using a square photo as your album cover it looks ok in your album list but when opening the album, the main photo header often looks terrible. The way i have got over it to some extent is to create a square photo montage like the one above. The critical area is across the center as this is what shows up as the header when opening the album. Unfortunately Flickr still fades out the borders of the photo. Why? who knows.. Anyway if you are interested in trying to improve your album presentation here is a link to a photo template i have made you can download it if you want to try it out and obviously change the design to suit your needs. but remember the critical area is across the middle... www.flickr.com/photos/locosteve/32142082666/
Another interesting thing i just found out is that if you use this template As your Front page header, the second row of images from the top get displayed on your photostream Which could be useful if you wish to change your photostream photo's.... The template size is 5120 x 5120 pixels. You will obviously need some form of photoshop. I use a combination of Microsoft picture it! Photo premium 9 which i have had for years and often use ipiccy which is a free app that is pretty easy to use.. Anyway.. using Microsoft picture it! Photo premium 9 you would simply have to cut out the second row of photo's and replace them with your choice then upload the template with the new images and set them as your photostream header.. I know someone will probably send me details of a simple app where you add three photos and it does all the work for you : ) If there is such a thing!
So just to recap.. If you used the above image as your photostream header you will see my current header display or if you click on my Empire builder album you will see the middle image as the header...
I received this template from www.Miliande.com which is a website you can display your artwork to the public.
Here is free automotive brochure template will help your offline promotions. It is free trifold brochure template auto dealer, auto salon and other automotive related business.
The psd file can be edited in Photoshop, and to be simple able to change the text. The credit for this great resource...
Above neuron powerpoint template is a good choice to make powerpoint presentations on nerve and nerves related didorders etc.
This is a sample invoice form. Its flexibility can handle any of following types of invoices: with discount rate, with sales tax, with shipping&handling, with total in written form. PSW version of the template provides save feature. Hence a collection of invoices can be created which will be saved by the invoice number. These invoices can later be reached online.
Download at:
spreadsheetzone.com/templateview.aspx?i=17
Also check out Excel Invoice Template at:
This template is a kind of personal health template. It is prepared for keeping track of information about medications that you apply. SpreadsheetWEB version of the template allows you to keep your log on the web. With the Save feature, you can save and update your personal medication log online.
To download:
My style 1 mandalorian decal template. Torso, holster, and shin guard made completely by me, arms by Chaotic good and altered by me, knee plates made by Kaminoan and altered by me, and helmet by Dutch Micro and altered by me. For all my CW and similar custom mandalorians.
Descarga el template en pdf en www.machintoy.blogspot.com
Download the template: www.machintoy.blogspot.com
YOU CAN FIND THIS TEMPLATE @ graphicriver.net/item/fashion-catalogue-brochure-template...
YOU CAN SEE A LIVE PREVIEW @ issuu.com/andre28/docs/fashion_template
This is a complete Template for a Fashion Catalogue / Brochure.
ALL the photos are used only to show a preview of how the report can look alike, they are not included in the download.
This layout is not limited for a single business, can be used for general purpose.
The files are created in order to be used by everyone, with just a basic knowledge of the softwares.
The preview images are made by using my Brochure Mock-ups Set
- InDesign CS3-4-5 (.INDD, .IDML, .INX), Photoshop (.PSD), Illustrator (.Ai, .EPS)
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YOU CAN FIND THIS TEMPLATE @ graphicriver.net/item/fashion-catalogue-brochure-template...
Playa Art Template - This 16x9 image might work for your next playa art mockup. If you are scheming on making some cool art and need a background for your desing mockup, well, here you go. Feel free to cut this up or use the playa surface.
powerpoint template ready to use for an online training course or distant learning course online. Ready to use with Articulate presenter or adobe presenter.
CVs and Resumes for admin and office workers. Download CV and Resume Templates at www.cv-service.org
Funeral Program Templates Product Page
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Funeral Program Templates Product Page
This Package contains a 2-Page Booklet Funeral Program Templates style layout & Thank You Card.
High Quality Premium Template Design (300 dpi)
Full Color Design on Front, Back and Inside Pages
Choose from 3 different template applications
No Waiting! Immediate Download
Mystical marriage, or mystical union (in Latin, unio mystica), is a theme of Jewish mysticism taken up by Christian tradition. The religious idea of the union of God and man is thought of and represented in the image of betrothal and marriage. Rabbinic commentaries see the Song of Songs as a symbol of Zion's marriage to God. The New Testament presents Jesus Christ as the Bridegroom. This way of "feeling" rather than "thinking" one's connection to God is evoked by Augustine of Hippo, but the expression "mystical marriage" comes from John of the Cross in The Spiritual Canticle. The Middle Ages saw the emergence of a theology and piety that developed the theme of allegorical marriage with God. In particular, the consecration of virgins "married to Christ" became an institution perpetuated in the Latin and Orthodox Churches. Mystical marriages are indissoluble by nature. They can also be contracted by guardian angels, uniting two people who become mystically complementary. In this case, we speak of marriage by divine proxy. Mystical marriage is a source of inspiration for painters. Saints are depicted as marrying Christ or, more often, the Christ Child, to keep the imagery pure1, while saints marry the three theological virtues.
fr.wikipedia.org/wiki/Mariage_mystique
The mystical wedding is a motif of Judeo-Christian literature, theology and art. The religious idea of a union of God and man (unio mystica) is thought of and represented under the image of betrothal and marriage. In contrast to the marriage of two gods (hierogamy), the female side of the mystical wedding is an earthly bride. The Song of Songs is a love lyrical writing of the biblical wisdom literature. In this erotic alternating song, a love relationship is described between a young woman and King Solomon, who is also named as the author of the writing. In Hellenism, the erotic song was exaggerated allegorically, a tendency that lasted throughout the Middle Ages and was broken only by Johann Gottfried Herder. Before that, commentators almost all rejected a secular, literal erotic interpretation and interpreted the love poem as a description of love between God and his chosen people (in Judaism) or between Christ and the church as the bride of Christ (in Christianity). Commentaries on the Song of Songs thus gave rise to a bridal mysticism (also: nuptial mysticism), which is an explicitly body-based, personal-relational figure of mystical experience. Judaism led the way of a symbolic interpretation (the allegorism) of the Song of Songs by drawing on images of God's covenant with his people as love, bridehood, and marriage and on prophetic bridal symbolism for the commentaries. The post-exilic Isaiah texts, Deutero-Isaiah and Trito-Isaiah, for example, use the image of the bride to describe Israel's new splendor in restoration by YHWH after the lackluster time in exile. Judaism led the way of a symbolic interpretation (the allegorism) of the Song of Songs by drawing on imagery of God's covenant with His people as love, bridehood, and marriage and on prophetic bridal symbolism for commentary. The post-exilic Isaiah texts, Deutero-Isaiah and Trito-Isaiah, for example, use the image of the bride to describe Israel's new splendor in restoration by YHWH after the lackluster time in exile. New Testament motifs have also been used to interpret the Song of Songs. The presence of Jesus the bridegroom with the disciples (Mk 2:19 EU) and the eschatological return of Christ the bridegroom (Mt 25:1-13 EU) use the word field of bridal symbolism to express the intense connection and faithfulness of the church. Paul sees the church as the bride of Christ (Eph.: 5:31-32 EU), in (2 Cor.: 11:2 EU) even using the word "virgin" (Gr.: parthénos[9]) instead of "bride" (Gr.: nýmphe) νύμφη. As an answer to the question of whom the bride Sulamith of the Song of Songs is supposed to represent, the commentaries of Rabbi Akiba (ca. 50/55-135) and the ancient theologian Origen (185 - ca. 254) in particular clashed in the second and third centuries after Christ. Akiba interpreted the Song collectively as a representation of the relationship between God and the people of Israel. For Origen, on the other hand, the bride is individually the soul.[12] Origen's interpretation of the Song of Songs, however, does not yet refer to Mary as the bride. The Church Fathers Hippolytus (c. 170-235) and Cyprian of Carthage (200 or 210 to 258) see the ecclesia, the Church, as the bride of Christ. In the interpretations of the Song of Songs by Methodios of Olympos († probably 311 or 312) and by Ambrose of Milan (339-397), one finds an interpretation of the bride as a virgin consecrated to God. As this tradition continued in the Christian Middle Ages, the Song of Songs played a prominent role in the Marian devotion of Christian mystics. In the 1940s, the Trudperter Hohelied was composed, an interpretation of the Song of Songs in early Middle High German rhythmic artistic prose. It contains a yearning union with God and is the first writing on mysticism in (Alemannic) German. About 80 years earlier, the abbot Williram of Ebersberg (before 1010-1085) had composed a Song of Songs paraphrase. Since Aegidius Romanus (1243-1316), in the interpretation of the Song of Songs, the Church as bride has been understood for the first time as its ministers (praelati). The Jewish Kabbalah also knows the idea of a mystical marriage. Since Juda ben Samuel (ca. 1140/50-1217) there has been the teaching that one cannot unite with God, but one can unite with the Shechina, a kind of dwelling place of the Godhead. The vision and union (ziwwuga) with the Shechina was expressed in erotic symbolism, especially from the 16th century onward, which echoed the Kabbalistic depiction in the Zohar, according to which Moses is depicted in mystical marriage with the Shechina. Gershom Scholem (1897-1982) distinguished the Kabbalistic Shechina doctrine from the bridal mysticism found in the commentaries of the Song of Songs. The Shechina, he argues, is a manifestation of God and the Bride of the Bible is an allegorical representation of the people of Israel. There is, however, a connection between these two concepts. With the expulsion from paradise, the Shechina was expelled along with it.
This separation from God is described as 'Shechina in exile'. The Shechina dwells among Israel, so that the people of Israel is inclined to God in love like the bride of the Song of Songs. One theme of Kabbalah is tzimtzum, a kind of contraction of en sof (the infinite). Tzimtzum is partly interpreted as the creative nothingness of God. This nothingness is said to be the life force of the world. The Godhead descends into the nothingness and man ascends to the divine wisdom (Ḥochmā) of the nothingness in an act of becoming one. In this ascent, the contemplative nullification of the material and a union with the Godhead is sought on the part of man. The first line of the hymn Lecha Dodi by the Kabbalist Schlomo Alkabez (1505-1576) reads, "Come, my friend, to meet the bride, let us greet the Sabbath. With this call, the Shechina is identified with the Sabbath, being seen as the bride. In Jewish mysticism, the "sacred moon" embodies the Sabbath bride, or the Shechina in the world, identified with Israel. "The monthly periodic diminution of the moon (analogous to the monthly = lunar menstruation) symbolizes the 'exile of the Shechina,' whereas the restoration of the moon to its original size and luminosity symbolizes the redemption of the body from exile. In the Holy Trinity Church in Bad Teinach there is a cabbalistic teaching tablet. It was donated by Princess Antonia zu Württemberg (1613-1679), the sister of Eberhard III. The hinged painting shrine depicts a spiritual world system. When closed, the outer image shows a heavenly wedding. Here the kabbalistic traditions are modified beyond recognition and reinterpreted in Christian terms. The mystical wedding here is a bridal procession that literally takes the metaphor of ascending to heaven. The long procession of invited virgins ties in with the end-time wedding stories of the New Testament. The bride being crowned here is Princess Antonia of Württemberg herself. The mystical union between God and man with the image of the spiritual wedding also persists in theoretical-theological mysticism and unfolds to this day in the ecclesiastical practice of betrothal within the consecration of virgins. In mystical theology, the symbolism of love is applied to the relationship of the individual believer to God and often even seeks a unity of the believer with God. Unlike the symbolic marriage of the priestess Basilinna with the god Dionysus, in the Pauline epistles and in the Gospel of John there is talk of an "indwelling" (inhabitatio) of God in man, which can be experienced by the faithful, especially in the Lord's Supper, as a union of man and Christ. In the epiclesis of the Eucharistic celebration, the wish is expressed that all the faithful come from the ends of the earth to celebrate the marriage supper of the Lamb in God's kingdom. Mystical betrothal of consecrated virgins. Tertullian (after 150 - after 220) wrote of the first virgins betrothed to God. "But one or the other betrothed herself to God". He wrote that these virgins, like the other betrothed or married ones, had to wear a veil in the church, since they were the bride of Christ. According to Marianne Schlosser's assessment (* 1960, University of Vienna), Tertullian was the first to transfer the bridal idea of the New Testament from the church to the individual Christian. The first virgins were betrothed to God.
Already at this time the propositum (intention) of consecrated virginity was understood as a spiritual marriage. If a virgin broke this vow, she was considered an adulteress and had to bear excommunication as a consequence. This coexistence of marriage and vows as a spiritual marriage (matrimonium spirituale) corresponds to the later arrangement of the rite of consecration of virgins in parallel to the marriage rites, which also took shape later, whereby the usual interpretive signs were adopted in each case. The rite of consecration of virgins is a rite of consecration of virgins in parallel to the marriage rites, which also took shape later. The Church's 5th century prayer of consecration over the Virgin emphasizes the conjugal character of this mystical union (unio mystica) with Christ: "Although they recognize the dignity of the marriage covenant which you have blessed, they nevertheless renounce the happiness of marriage; for they seek only what the sacrament of marriage signifies: the union of Christ with his Church. Virginity for Christ's sake recognizes in you, O God, its origin; it desires the life proper to angels and longs for marriage with Christ. He is the Son of the virgin Mother and the Bridegroom of those who live in the state of virginity." - Pontifical for the Catholic Dioceses of the German-speaking Area II. Consecration of Virgins. The rite is embedded in the celebration of a Holy Mass and consists of the promise of the virgins, the singing of the Litany of All Saints, the renewal of the resolution of virginity, the consecration prayer and the presentation of the insignia: veil, ring and book of hours. The veil and the ring are signs of the spousal bond with Christ. Since the 7th century, the insignia of consecrated virgins has included the ring, which is presented by the local bishop at the consecration. The virgin is an eschatological image of the heavenly bride.
Theological developments in the Middle Ages
The highest goal in the Middle Ages was the unio mystica, the mystical union with God, a "sensing of God" or in a broader sense "an awareness of the immediate presence of God." This sensing of God in the Middle Ages was "also erotically charged and knowledge of God was interpreted as an encounter between I and God in the sense of a 'holy wedding' between soul and God or Christ." In the Middle Ages, the Christian conception of the human being as a likeness of God was also interpreted as an encounter between I and God in the sense of a 'holy wedding' between soul and God or Christ. The church teacher Gregory of Nyssa (c. 335/340 - after 394) combined Plato's conception of philosophy as likeness to God and the Christian conception of man, whom God created in his image. Gregory's mysticism, however, does not aim at a union but at a participation in God. In his writings, Bernard of Clairvaux (1090-1153) tries to make vivid an ecstatic union with God, a deification of the soul. Since Bernard, the bridal mysticism also combines with elements of the mysticism of suffering and of the cross. In the book The Flowing Light of the Godhead, Mechthild of Magdeburg (1207-1282) shaped in lyrical dialectic of seeking and finding, separation and union of the lovers, the dynamic moment of the soul's mystical search for God as well as the divine turning to man. In the monastery of Helfta, the death of a nun was symbolically celebrated as her spiritual union with Christ, which led to the adoption of this symbolism in vites of grace in other southern German monasteries in the 14th century. The Flemish theologian Jan van Ruysbroek (1200-1803) developed this symbolism further in his writing The Spiritual Wedding. The Flemish theologian Jan van Ruysbroek (1293-1381) further developed bridal mysticism with his writing "The Adornment of the Spiritual Wedding."[44] And Johannes Tauler (1300-1361) used the concept of nothingness for the path of union (via unitiva) with God: by attaining "the very truest knowledge of his own nothingness" (his nothingness), man becomes "one with God." Man and God meet each other, and then the one abyss flows into the other abyss, "the created nothingness sinks into the uncreated nothingness".
Modern times
The mystical marriage of Francis of Assisi with the "Lady Poverty". Sassetta, 15th century. The mysticism of St. John of the Cross (1542-1591) is based on a "salvific drama of marriage: the movement of love proceeds from God, who does not want to be alone, creates humanity as the bride of the Son and courts it again and again - until the Incarnation and the giving of his own life" on the Cross. "Creation stands from the outset in the relation of an intimate belonging to God; it is gift to the Son and gift for the Son's sake, not work of a world-away omnipotent being as in deism. The Son is the one who, through his marriage, makes creation worthy of God. Finally, the Incarnation is understood as a redemptive marriage consummation and 'miraculous exchange' between the Son and the Bride, whereby, as in the Trinity, there is an equal formation of the Beloved. This conformation into likeness is the sign of perfect love." The Protestant pastor Valentin Weigel (1533-1588) places next to the "Christ for us" the "Christ in us" and thereby emphasizes the self-responsibility of the individual. Weigel's mystical theology, which is also usually pejoratively called Weigelianism, contains the idea of a complete merging of God and man. [48] Post-Reformation theology is usually reticent about a complete unity and fusion in Christo (in Christ) and appropriates the unio mystica in a distanced way as unio cum Christo (with Christ). Here, therefore, the gender relationship is reversed to a heavenly bride and an earthly bridegroom. While Philon of Alexandria (around 15/10 B.C. - 40 A.D.), who also understood wisdom as a bride, still considered reason (logos) as the bridegroom, Arnold, following Boehme, considers the individual believing soul as the bridegroom. The reversal of the bride-bridegroom relationship was already to be seen sporadically in the Middle Ages - for example in pictures about Francis of Assisi - who as a human bridegroom symbolically took poverty among the evangelical councils as his bride.
Mystical wedding in art. The heavenly royal couple
The mystical wedding is also depicted in medieval painting and carving. In the late Gothic period, couple scenes were created in the center of high altars: Christ and the crowned Virgin Mary are seated on a common throne, facing each other with symbolic gestures: Christ blesses Mary as a crowned queen in the heavenly palace. This thematic program can be found, among others, on the high altars of Marienstatt Abbey and the Liebfrauenkirche in Oberwesel, as reredos paintings in a church on the island of Poel and in the Marienkirche in Gudow. The enthroned couple depictions are usually understood and titled as the coronation of Mary. The art historian Christian Beutler believed that these heavenly palace scenes represent an allegorical wedding of the Messiah under the influence of the devotio moderna movement and reconstructs the Master Bertram Altar in Hamburg in this sense. The "new piety" (Latin devotio moderna) was a mystical reform movement in the late Middle Ages that propagated a following of Christ (Latin imitatio). Beutler claims that Gothic art does not distinguish between the bride as soul, as church, or as Mary. Celestial couple depictions of this kind tie in with heavenly scenes from the 12th century. A Byzantine depiction in the apse of the church of Santa Maria in Trastevere, the oldest Marian church in Rome, shows the crowned celestial couple, as does, for example, the Marian portal of the cathedral of Senlis in northern France.
Musical-lyrical Baroque mysticism
In Baroque mysticism, the ideas of becoming one with God are taken up again under the image of betrothal and marriage.[61] Angelus Silesius influences this development, and Johann Sebastian Bach reworks the mystical wedding texts musically in his cantatas, oratorios, and passions. He also uses the lyricism of bridal mysticism in Philipp Nicolai (1556-1608) (Wie schön leuchtet der Morgenstern), Gerhard Tersteegen (1697-1769), Paul Gerhard (1607-1676), or Nikolaus Ludwig von Zinzendorf (1700-1760). The four mentioned Protestant pastors also developed the theology of the bride mysticism in texts and sermons.
The bride appears here as Zion or as a single soul, but in the Protestant Bach not as Mary or as an allegory of the church. In the first part of Bach's Christmas Oratorio, composed in 1734, great things are in store; Zion here stands for the Christian community's expectation of the coming Lord.[62] In the alto aria Bereite Dich Zion, which follows a recitative, the reporting style changes to the exhortation style: the bride is to prepare herself for the coming of her beloved:
"Prepare thyself, Zion, with tender shoots,
To see the most beautiful, the dearest soon with you!
Your cheeks must be much more beautiful today,
Make haste to love the bridegroom eagerly!"
In a soprano aria from Bach's St. Matthew Passion, first performed in 1727, the soul sings with the words of Picander:
"I will give thee my heart,
Lower thyself, my salvation, into it!
I will immerse myself in you;
If the world is too small for you,
Eh, thou alone shalt be to me
More than world and heaven be."
Examples of literary processing
Image of a mystical wedding from the book Rosarium Philosophorum.
The theme of the mystical wedding has been elaborated in a medieval didactic poem, an allegorical poem, and a fairy tale, among others. Carl Gustav Jung (1875-1961) also interpreted alchemical images of the mystical wedding as a contribution to psychoanalysis. In the poem Christus und die minnende Seele, which is based on a monastic pictorial arch, a conversation occurs between the bride and Christ. The love of the minnende (loving) soul goes so far that the soul forces Christ to love her back with a shot arrow. Further illustrations show Christ's heart, hit by the arrow, bleeding and wounded, and Christ is devoted to the soul. - The Franciscan Lamprecht of Regensburg wrote the allegorical poem Diu tohter von Syon (The Daughter of Zion) around 1250. The bride Zion strives for a union with Christ. In the fairy tale The Heavenly Wedding by the Brothers Grimm, the story is told of a poor boy who thinks the church is heaven and gives half his food to the image of the baby Jesus in the church because he thinks it is too thin. One day, the baby Jesus invites the boy to the heavenly wedding for the next Sunday. When the boy receives communion on Sunday, he dies and thus comes to the heavenly wedding. C. G. Jung developed in his article: The Psychology of Transference (1946) further developed the Freudian concept of transference. Using mystical wedding images[66] from the alchemical book Rosarium Philosophorum Jung interprets the phenomena of transference and countertransference in the therapeutic process.
de.wikipedia.org/wiki/Mystische_Hochzeit#cite_note-19
The Sacred Union was the name given to the political movement that united French people of all persuasions at the outbreak of the First World War.. The Sacred Union (French: Union Sacrée, French: [ynjɔ̃ sakʁe]) was a political truce in France in which the left-wing agreed, during World War I, not to oppose the government or call any strikes. Made in the name of patriotism, it stood in opposition to the pledge made by the French Section of the Workers' International (SFIO) internationalism, and its former leader Jean Jaurès, not to enter any "bourgeois war."[1] Although an important part of the socialist movement joined the Union sacrée, some trade unionists such as Pierre Monatte opposed it.
On 3 August 1914, Germany declared war on France. The next day, Prime Minister Rene Viviani read an address written by the President of the French Republic, Raymond Poincaré:
« Dans la guerre qui s'engage, la France […] sera héroïquement défendue par tous ses fils, dont rien ne brisera devant l'ennemi l'union sacrée » ("In the coming war, France will be heroically defended by all its sons, whose sacred union will not break in the face of the enemy"). This political movement may have been an attempt to create solidarity during a time when the largely pacifist French Socialist Party threatened a general strike, while many French Catholics felt slighted by a 1905 law separating church and state. Elements of nationalism, that the Germans attacked rather than the French, anti-German propaganda, and a desire to regain the former French territory of Alsace-Moselle may have provided further impetus for the movement.
en.wikipedia.org/wiki/Sacred_Union
Bride of Christ
The bride of Christ or the lamb's wife is a metaphor used in reference to a group of related verses in the Christian Bible, specifically the New Testament – in the Gospels, the Book of Revelation, the Epistles, with related verses in the Old Testament.
The identity of the bride is generally considered within Christian theology to be the church, with Jesus as the bridegroom; Ephesians 5:22–33 in particular compares the union of husband and wife to that of Christ and the church. It is a favorite ecclesial image. Interpretations of metaphor's usage vary from church to church, with most believing that it always refers to the church.
Christ as a bridegroom
The Gospel of John speaks of Jesus Christ as the bridegroom and mentions the bride: He that hath the bride is the bridegroom: but the friend of the bridegroom, which standeth and heareth him, rejoiceth greatly because of the bridegroom's voice: thus my joy therefore is fulfilled.— John 3:29, King James Version
In the Gospels, when Jesus is asked why his disciples do not fast, but the followers of John the Baptist and the Pharisees do, Jesus answers: And Jesus said unto them, Can the friends of the bridegroom fast, as long as the bridegroom is with them? but the days will come, when the bridegroom shall be taken from them, and then shall they fast. — Mark 2:19, King James Version
In Matthew 9:15, Mark 2:19 and Luke 5:34, the Apostles are referred to as the friends, guests, or children – depending on the translation – of the bridegroom commonly accepted to be Jesus Christ. The bridegroom is also mentioned in the Parable of the Ten Virgins: Then the kingdom of heaven will be like ten virgins who took their lamps and went out to meet the bridegroom.
— Matthew 25:1–13[7]
Book of Revelation
The Book of Revelation repeatedly mentions the appearance of the Bride: And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. [...] And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the lamb's wife. And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God — Revelation 21:2,9–10, King James Version. In the above passages, John, the author of the Revelation, speaks of seeing the bride revealed and refers to her as the New Jerusalem, first mentioned in Revelation 3:12. The bride is mentioned again in Revelation 22:17: And the Spirit and the bride say, "Come." And let him that heareth say, "Come." And let him that is athirst come. And whosoever will, let him take the water of life freely. — Revelation 22:17, New International Version. The Greek word used for 'bride' is Ancient Greek: νύμφη, romanized: nymfi/numphe, as in Revelation 21:2, 9, (cf., 18:23; 22:17). This word, νύμφη, is understood to mean 'a son's wife,' or 'daughter-in-law,' -'bride.' Revelation 19:7, which has γυνὴ, gune, means 'wife' or 'woman'; despite the potential translation of the term in Revelation 19:7 as 'woman', the context of the verse is marriage, and numerous Bible translations (such as the New International Version, New Living Translation, English Standard Version, etc.) are consistent in translating γυνὴ as 'bride' in this instance.
Comparing the church to a bride
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In Ephesians 5:22–33, the author compares the union of husband and wife to that of Christ and the church. The central theme of the whole Ephesians letter is reconciliation of the alienated within the unity of the church. Ephesians 5 begins by calling on Christians to imitate God and Christ, who gave himself up for them with love. Verses 1–21 of the same chapter contain a rather strong warning against foolishness and letting down one's guard against evil. Rather, the author encourages the readers to constantly give thanks with song in their hearts because of what God has done for all in Christ. The prelude to the subject's text takes up again the theme of loving submission that began with the example of Christ in Ephesians 5:2: "Be submissive to one another out of reverence for Christ."[14] It implies that the "Bride" is the body of believers that comprise the universal Christian ekklēsia (lit. 'called-out ones'; Church).
The ekklēsia is never explicitly called "the bride of Christ" in the New Testament. That is approached in Ephesians 5:22–33. A major analogy is that of the body. Just as husband and wife are to be "one flesh",[15] this analogy for the writer describes the relationship of Christ and ekklēsia. Husbands were exhorted to love their wives "just as Christ loved the ekklēsia" and gave himself for it. When Christ nourishes and cherishes the ekklēsia, he nourishes and cherishes his own flesh, just as the husband, when he loves his wife, is loving his own flesh. Members of the ekklēsia are "members of his own body", interpreting Genesis 2:24 – "and the two shall become one flesh" – through the lens of the New Testament view of Christ and the church. In Ephesians 5:32, Paul quotes the Genesis passage as what has been called a "divine postscript". In writing to the Church of Corinth in 2 Corinthians 11, Paul writes to warn the community of false teachers who would teach of another Christ, and to confess his concern that they will believe someone who teaches a false Christ, other than Christ Jesus of Nazareth whom he preached; Paul referred to the Church in Corinth as being espoused to Christ: For I am jealous over you with godly jealousy: for I have espoused you to one husband, that I may present you as a chaste virgin to Christ. But I fear, lest by any means, as the serpent beguiled Eve through his subtlety, so your minds should be corrupted from the simplicity that is in Christ. For if he that cometh preacheth another Jesus, whom we have not preached, or if ye receive another spirit, which ye have not received, or another gospel, which ye have not accepted, ye might well bear with him. — 2 Corinthians 11:2–4, King James Version[22]
In the writing to the Church in Rome, Paul writes, "Wherefore, my brethren, ye also are become dead to the law by the body of Christ; that ye should be married to another, even to him who is raised from the dead, that we should bring forth fruit unto God" (Romans 7, King James Version). Here, Paul seems to suggest that the Church is to be married to Jesus Christ of Nazareth, who was raised from the dead.
Other interpretations
Nuns as brides of Christ. While the most commonly accepted interpretation of the bride of Christ is the Church, there are other, uncommon interpretations. A possible alternate interpretation is to regard nuns as being brides of Christ, with their taking monastic vows regarded as a "marriage" to Christ, and their keeping their vows as being faithful to their husband. A notable promoter of that interpretation was Gertrude the Great, a highly influential Christian mystic of the 13th century. It is known that, together with her friend and teacher Mechtilde, Gertrude practiced a spirituality called "nuptial mysticism", and came to see herself as the bride of Christ.
Bernard of Clairvaux, in his sermons on the Song of Songs, interprets the bride of Christ as the soul and the union thereof as the mystical union of the soul with Christ.
Old Testament
The earliest Christian tradition identifies texts from the Hebrew Bible as symbolic of the divine love of God and people. The love poems of the Song of Songs and the latter prophet Hosea have many references to an intimate, spousal relationship between God and his people. The prophet Hosea notes his bride in chapter 2, verses 16 and following. The theme of bridal love is central in the dramatic marriage of Hosea (Hosea 1:2).
en.wikipedia.org/wiki/Bride_of_Christ
August 4, 1914: the birth of the Sacred Union
Crowds awaiting the arrival of parliamentarians, 4/08/1914
"In the war that is about to begin, France will have for her the law, whose eternal moral power cannot be ignored with impunity by peoples or individuals. She will be heroically defended by all her sons and daughters, whose sacred union can never be broken before the enemy, and who are today fraternally united in the same indignation against the aggressor and in the same patriotic faith". Raymond Poincaré, President of the Republic, message to the assemblies, August 4, 1914. As soon as a nationwide state of siege was declared on August 2, 1914, the President of the Republic, Raymond Poincaré, called Parliament into extraordinary session for August 4. In his message to the Chambers, read by the President of the Council, René Viviani, Poincaré introduced the term "Union sacrée" (Sacred Union), reflecting the need for solidarity in the face of the enemy, which would guide the policies of the parliamentary groups until the summer of 1917. The 18 bills presented by the government to place the country in a state of war, hastily examined by the committees, were adopted without debate, unanimously in both the Chamber and the Senate. At the end of the session, the Chambers decided to adjourn sine die, leaving the conduct of the war in the hands of the government, thus allowing mobilized deputies to return to their postings under the aegis of the government.
www2.assemblee-nationale.fr/decouvrir-l-assemblee/histoir...
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