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Modern Rare Archaic. User list. Submitted names are contributed by users of this website. The accuracy of these name definitions cannot be guaranteed.

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Other kanji combinations are possible. Other kanji combinations are also possible. Other kanji combinations are possible Mickey Mouse is known as Mikki Hiiri in Finnish. Mostly used as a masculine name. When used as a feminine name, it might also be used as a diminutive of Mielikki. Name day on 29th September. Other combinations of kanji characters can also form this name. There's also a gravure idol called Mikuru Natsuki.

It means "son of the Sun. It might reflect some dialectal pronunciation of Mildred as the few bearers of this name tend to appear in both forms in records. It is generally accepted that this name is a form of the common Semitic noun meaning "king" Hebrew melek , and became an epithet of the head of the Ammonite pantheon In some cases, it is also an adoption of the Lithuanian name Milda. In this constellation there is much dark matter that is not, or not yet, powerful: bones unrecognized as relics, relics that do not heal anybody, strangers unrecognized as angels, children who may be saints, images no one cares about.

The Spanish Civil War unleashed the wholesale destruction of the sources of divine power with a violence unique in European history: the killing of the clergy that maintained them, the systematic burning of images, and the desecration of holy places.

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But under Franco the lights came on again, and for believers they are still on now. The expectation of new grace, the very latest in divine presence and help, translates into a general alertness among many believers to people and things that are more than they seem to be: the stranger or pilgrim who may be something else, the priest, nun, monk, or lay volunteer who may have a charisma for healing or prophecy, the image whose potential as a portal to heaven lies unrecognized.

The recognition and propagation of new grace gives agency and provides excitement to active believers in Catholicism. Particular ones, not countless others, became special 2 in many of the same ways that particular relics became special, not others. They could come to stand out by the miracles they performed; by the way they were discovered; by their ritual shifting; by their promotion by saints, preachers, hermits, shrine keepers or lay enthusiasts; and by visions that identified them. But in fact any religious image or cross, however humble, plain, or mass-produced, could at any moment reveal itself to be powerful and have a protective vocation for a person, family, group, or place.

Let us here think of these images as part of a dynamic system in which some images hold onto power, others gradually relinquish it, and new or dormant ones announce it.

In this chapter we will compare instances in early modern Spain with others in twentieth-century Italy, Spain and France. The animation of statues and paintings, in contrast, entailed no revelation and little challenge to community or Church structures of authority, which in fact it ended up strengthening.

In their golden age most of the images involved were of Christ or the Sorrowing Mother. It coincided with the apogee of penitential brotherhoods and a series of droughts, epidemics, intercommunal conflict and wars.

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Theatrically quivering and shaking, he had pricked his finger so that blood dropped on the communion cloth as if from the consecrated host. Perhaps the most influential was Alonso Fernandez de Madrigal c. But that is really water and honey that they put on them from behind, something hard to allow even when idols were adored. If only those who do this did nothing else wrong but make money; but what is above all worse is that they turn silly people into idolaters.

Those who do this should not only be severely punished; but the earth should not have to suffer them. For an image cannot go and rescue captives, or move from a place unless they move it, or have any more awareness or feeling than a stone. How many images have spoken? How many have sweated, even drops of blood?

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Sculptors and painters were called in to determine whether the manifestation might be a fraud or the natural result of resins, glues, varnishes, oils, and paints. And efforts were made to establish how the image had arrived in the town, to endow it with a story and a pedigree.

The relatively small, previously unremarked crucifix belonged in the Rosary chapel and had been lent on Holy Thursday to the brotherhood of flagellants for their procession because nobody wanted to carry the big, heavy one in the Augustinian monastery. In the event, a volunteer eventually turned up to carry the heavy crucifix, and the smaller one was left in the monastery during the procession. People who crowded in felt awe and fear and cried out to God for mercy. The clergy and town councilors took the image to the parish church and examined it with experts including a doctor, a painter, and two Augustinian friars.

The waterlike sweat evaporated, but the red drops were thick, pliable, and moist inside.

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Blood from the flagellants was quickly ruled out, for when a painter placed blood from his finger on other images it dried and flaked, and these drops did not. The priests divided their time between the busy round of Good Friday rituals and repeated examinations of the crucifix.

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Municipal Archive, Medina de Rioseco Valladolid. Photo: The author. Diocesan and town officials took more than five hundred manuscript pages of testimony from forty-seven men, including two painters, a sculptor, two doctors, fourteen priests, five friars, four licentiates, three town officials, four notaries, four members of the brotherhood that owned the crucifix, and just three women Fig.

He also made one argument that certainly applies to all these investigations: that it was to the interest of everyone in the town that the miracle be approved because it would draw pilgrims from afar.

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His defense of this way of singling out special images points to an underlying dynamic in all the cases in this period, that these miracles were first and foremost emblems for civic pride. And by this means Our Lord is accustomed to attract people from other towns, for in this kind of situation we see that people flock to visit the images by which Our Lord works his miracles not only from the places where they occur, but also from the others in the district and from all the area where the fame of the miracle is made known and spreads.

And by these cases and supernatural events, although all images should be esteemed and revered with much respect for what they represent, particularly those [images] by which Our Lord works miracles like these are respected and held in greater devotion and in the chapels where they are kept much penance is done, Masses and sermons are said, and prayers are made, attracting and bringing together towns in these churches and houses of prayer, and giving alms and doing other pious and holy works by which Our Lord is praised and served.

October 27, By permission. Pamphlets and published newsletters brought to public notice other instances in Italy, Mexico, and Goa, along with speculation about what they might mean as omens or portents. While in the other cases studied miracles followed the image activation, here they preceded it, but in both situations new power streaming through the image was what the activation was all about.

Reputable people from Calatayud who saw this are now in Madrid. On July 12, , in Vic, a priest in the chapel of the hospital noticed that drops of blood had appeared on the paten and the corporals while he had said Mass; and when he knelt to pray to know whether it was a divine manifestation or a human fraud, even more drops appeared. He and the few persons present at Mass looked to see where they could have come from.

He checked his own nose to make sure he was not bleeding. They noted in particular that the blood could not have come from the large crucifix over the altar, since it was set well away from the cloths and covered with a veil. All this the priest and the others present told the bishop who came to hear their testimony. Oil on canvas. Courtesy of Ayuntamiento del Bonillo. According to the witnesses at the subsequent hearings, the cross was brought to the town by a woman who had moved to El Bonillo a decade earlier.

She said she had been given the cross by a Franciscan who had brought it from Rome. He was greatly moved and wept profusely, his own reactions convincing him of the authenticity of the miracle. After Mass, five priests checked the back of the image and found it and the cloth and wall behind it dry. They did not freeze there, despite a severe frost that left the water in the baptismal font frozen solid. A chapel was built for the image in the church, and eventually a painting by Vicente Lopez commissioned of the moment in which the Augustinian looked at the crucifix in the house.

In another activation, this time with a painting of the Veronica, took place in the town of Osa de la Vega Cuenca , about one hundred kilometers to the north from El Bonillo. The news led to acclamation and tumult. Only he actually saw the liquid emerge. After the matins ceremony the parish priest took the image to the parish church and locked it away.

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  7. Fearful that the sweating was a bad omen or divine sorrow for their sins, people called out for divine mercy 43 and reproduced in their bodies the anguish of the image in a multiple mimesis between divine prototype, image taking life, and human penitents. The painting was quickly put to work to repel a hailstorm.