Works
In preparation for his work on the Vatican Council he first edited the Acta et Decreta sacrosancti oecumenici Concilii Vaticani (Freiburg im Br., 1890), the seventh volume of the Acta et Decreta sacrorum Conciliorum recentiorum in the Collectio Lacensis. This was followed by Constitutiones Dogmaticae s. oecumenici Concilii Vaticani ex ipsis ejus actis explicatae atque illustratae" (Freiburg im Br., 1892). The publication of his Geschichte des vaticanischen Koncils von seiner ersten Ankundigung bis zu seiner Vertagung, nach den authentischen Dokumenten dargestellt was continued after the author's death by his fellow Jesuit Konrad Kirch. Two volumes of this work, which the author himself prepared for the press, were issued in 1903 at Freiburg im Breisgau, the first dealing with the preliminary history and the second with the proceedings of the council to the end of the third public sessions. The third and last volume was published in 1906 and treats of the final proceedings. The unabridged text of the acts of the council, especially of the discourses delivered in the general congregations, was laid before the public.
Granderath was also the author of many apologetic, dogmatic, and historical articles in the Stimmen aus Maria-Laach (1874–99), the Zeitschrift für kath. Theologie (1881–86), and the Katholik (1898). The second edition of the Kirchenlexikon contains several lengthy articles by him, among others that on the Vatican Council (XII, 607-33).
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Famous quotes containing the word works:
“That man’s best works should be such bungling imitations of Nature’s infinite perfection, matters not much; but that he should make himself an imitation, this is the fact which Nature moans over, and deprecates beseechingly. Be spontaneous, be truthful, be free, and thus be individuals! is the song she sings through warbling birds, and whispering pines, and roaring waves, and screeching winds.”
—Lydia M. Child (1802–1880)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)
“My first childish doubt as to whether God could really be a good Protestant was suggested by my observation of the deplorable fact that the best voices available for combination with my mother’s in the works of the great composers had been unaccountably vouchsafed to Roman Catholics.”
—George Bernard Shaw (1856–1950)