The following are given passages.
Passage 1:
Stefaneschi Triptych
The Stefaneschi Altarpiece is a triptych by the Italian painter Giotto (c. 1267 – 1337),  commissioned by Cardinal Giacomo Gaetani Stefaneschi to serve as an altarpiece for one of the altars of Old St. Peter's Basilica in Rome.
It is now at the Pinacoteca Vaticana, Rome.

Description
It is a rare example in Giotto's work of a documented commission, and includes Giotto's signature, although the date, like most dates for Giotto, is disputed, and many scholars feel the artist's workshop was responsible for its execution. It had long been thought to have been made for the main altar of the church; more recent research suggests that it was placed on the "canon's altar",  located in the nave, just to the left of the huge arched opening into the transept. The altar was freestanding, and the altarpiece is painted on both sides so it could be seen by the congregation from the front and the canons of the church from the back.
The central front panel represents Saint Peter enthroned, flanked by saints, with Cardinal Stefaneschi himself kneeling at Peter's right offering up this altarpiece in reduced size.  Saints James and Paul are in the left panel and John the Evangelist and Andrew are on the right. Two of the three predella panels are lost, but they surely all represented half-length figures of saints. The back main (central) panel represents Christ enthroned flanked by angels with a kneeling Cardinal Stefaneschi at his right foot.  In the left panel we see the crucifixion of Peter, and on the right is the beheading of St. Paul. The predella depicts the Virgin and Child flanked by angels in the center and standing figures of the 12 apostles at the sides.
The altarpiece stood before the apse of Old St. Peter's, which in the 14th century contained a mosaic of Christ enthroned between Saints. Peter & Paul.  Thus the iconography of the front of the painting paralleled the apse mosaic in form but did not repeat it in iconography.  The central panel of the back of the altarpiece duplicated the apse mosaic for those who could not see it (because they sat with their backs to it), while the side panels introduced narratives. It was normal for double-sided altarpieces in this period to have an iconic image on the front and narrative images on the back.  Peter echoes Christ's pose to emphasize the role of the pope (Peter was the first pope) as Christ's representative on earth.

Giotto represents the martyrdoms of Peter and Paul as taking place in recognizable locales, frequently visited by pilgrims to Rome. Peter's crucifixion is placed between the Meta Romuli (a pyramid near the Vatican, destroyed in the 15th century) and the Terebinthus Neronis (a classical monument, likely a mausoleum, that no longer exists), while Paul's beheading is outside the city, near a round building that represents the church of San Paolo alle Tre Fontane, the site of the Saint’s beheading South of Rome.  These scenes could also be found in the medieval frescoes on the walls of the nave of Old St. Peter's.  Although images of donors in church decorations in Rome went back to the Early Christian period, Giotto's altarpiece for St. Peter's is unusual in both the double representation of the donor (front and back) and the specificity of the face and costume of Cardinal Stefaneschi.  Stefaneschi is dressed in full ceremonial costume as a cardinal on the front, appropriate for the "public" face of the altarpiece and is introduced to St. Peter by St. George.  On the back, he is more modestly dressed as a canon, like the audience for this side of the painting. Vasari cited portraiture as one of the greatest strengths of Giotto's art.The depiction of Stefaneschi holding this very painting suggests that it originally had a significantly more elaborate frame, which would have made the relatively small altarpiece fit better into the large space that was Old St. Peter's. The characteristic of containing a smaller version of itself provides one of the earliest known Renaissance examples of the so-called "Droste effect", common in medieval art.

Notes
Sources
Boskovits, Miklos, "Giotto a Roma", Arte Cristiana, 88 (2000) 171–180.
Gardner, Julian, "The Stefaneschi Altarpiece: A Reconsideration",  Journal of the Warburg and Courtauld Institutes,  Vol. 37, (1974), pp. 57–103.
Gosebruch, M., "Giottos Stefaneschi-Altarwerk aus Alt-St. Peter in Rom",  Miscellanea Bibliotecae Hertzianae, Munich, 1961, 101–130.
von den Haegen, Anne Mueller, Giotto di Bondone, trans. Lena Miller, Cologne, 1998, 80–85.
Kemp,W., "Zum Program von Stefaneschi-Altar und Navicella", Zeitschrift für Kunstgeschichte, 30 (1967) 309–320.
Kempers, Bram & Sible de Blauuw. "Jacopo Stefaneschi, Patron and Liturgist: A New Hypothesis Regarding the Date, Iconography, Authorship, and Function of His Altarpiece for Old St. Peter's", Mededelingen van het Nederlands Instituut te Rome 47 (1987) 83–113.
Kessler, Herbert L., "Giotto e Roma", in Giotto e il Trecento: "Il più Sovrano Maestro stato in dipintura", exh. cat., ed. Alessandro Tomei, Milan, 2009, 85–99.
Maginnis, Hayden B.J., "Giotto's World through Vasari's Eyes", Zeitschrift für Kunstgeschichte, 56 Bd., H. 3 (1993), pp. 385–408.
Paoletti, John T. & Gary Radke, Art in Renaissance Italy, 3rd ed., London, 2005.

External links
The Vatican: spirit and art of Christian Rome, a book from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this triptych (p. 251)
Passage 2:
Keith Kettleborough
Keith Frank Kettleborough (29 June 1935 – 2 November 2009) was an English professional footballer born in Rotherham, Yorkshire, who made more than 400 appearances in the Football League playing for Rotherham United, Sheffield United, Newcastle United, Doncaster Rovers and Chesterfield.Kettleborough started his football career with Rotherham Y.M.C.A. and after a trial with Grimsby Town he turned professional with his home town club of Rotherham United, for whom he made his debut during the 1955–56 season. It took him two years to win a regular place at inside forward.
Sheffield United signed him in December 1960, but it was not until the following season that he earned a regular place in the first team. In five years with the Blades in the First Division he made 154 league appearances and scored 65 goals. In December 1965, he signed for Newcastle United, but only made 30 starts for the Magpies before transferring to Doncaster Rovers a year later, where he spent a short time as manager. In November 1967, he joined Chesterfield where he completed his Football League career. 
Kettleborough died on 2 November 2009 in Rotherham. A minute's applause was observed before that day's match between Sheffield United and Newcastle United.
Passage 3:
The Conversion of Saint Bavo
The Conversion of Saint Bavo is an altarpiece by Peter Paul Rubens, dated 1623–1624. It was commissioned as the high altarpiece for Sint-Baafskathedraal in Ghent by bishop Antoon Triest (1577–1657). It is still sited in the cathedral. An oil sketch for it is now in the National Gallery, London.

Bibliography
Hans Vlieghe, Saints (Corpus Rubenianum Ludwig Burchard, 8), nr. 72, Arcade, Brussel, 1972
Gent, duizend jaar kunst en cultuur, Bijlokemuseum, Gent, 1975

External links
 Media related to The conversion of Saint Bavo by Peter Paul Rubens at Wikimedia Commons
Passage 4:
Gozzi Altarpiece
The Gozzi Altarpiece is an oil painting by the Italian Renaissance master Titian, dating from 1520. It is located in the Pinacoteca civica Francesco Podesti in Ancona, central Italy.

History
The painting is the first dated work by Titian. It was commissioned by  Alvise Gozzi, a merchant from Ragusa (modern Dubrovnik) who was active in Venice, for the church of San Francesco. The presence of a view of Venice in the background had a political message: in 1510 Pope Julius II had given freedom of navigation and commerce to Ancona at the expense of Venice, but in 1520 the European situation had cancelled this privilege. The presence of the Saints Francis and Blaise, respectively symbolizing Ancona and Ragusa, was thus a hint to their submission of Venice, represented by the Virgin Mary.

Description
The painting depicts the Madonna and Child appearing on a cloud, above a sunset sky with golden, orange and red colors. They are flanked by a clothed cherub and two naked cherubs, who offer Mary laurel crowns. Below are the saints Francis of Assisi, who shows his stigmata, and Blaise, patron saint of Ragusa, who points at the heavenly tableau while he rests a hand on the shoulder of the kneeling donor.
The composition was perhaps inspired by Raphael's Madonna of Foligno, although developed according to Titan's more modern and lively style.

See also
List of works by Titian

Notes
Passage 5:
Santa Maria in Porto Altarpiece
The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.
It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Description
The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.
The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.
The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).
The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Sources
Brera, guida alla Pinacoteca. Milan: Electa, publisher. 2004.
Passage 6:
Altarpiece of Saints Ursula, Martin and Anthony
The Altarpiece of Saints Ursula, Martin and Anthony is a reredo by the Spanish late Gothic painter Gonzalo Pérez, dating to 1420 and housed  in the Museu de Belles Arts of Valencia, Spain.
Painted in the International Gothic style (with influences, such as in St. Martin's  rich garments, by the Italian Gentile da Fabriano), it is one of the artist's few known works, painted for the Portaceli Monastery.

Altarpiece details
Sources
De Vecchi, Pierluigi; Elda Cerchiari (1999). I tempi dell'arte. Milan: Bompiani. ISBN 88-451-7212-0.

External links
Page at the museum's website (in Spanish)
Passage 7:
The Martyrdom of Saint Lawrence (Titian)
The Martyrdom of Saint Lawrence is a 1558 painting by Titian, now in the church of I Gesuiti in Venice. It so impressed Philip II of Spain that he commissioned a second version in 1567 for the basilica at El Escorial.

See also
List of works by Titian
Passage 8:
Santa Lucia de' Magnoli Altarpiece
The Santa Lucia de' Magnoli Altarpiece (Italian: Pala di Santa Lucia de' Magnoli) is a painting by the Italian painter Domenico Veneziano, dated to around 1445–1447. Once placed at the high altar of the church of Santa Lucia dei Magnoli, Florence, it is now in the Uffizi Gallery in the same city. The large panel had originally a predella, which has been divided between museums in Washington, Berlin and Cambridge.
It has been described as "almost certainly ... the first true sacra conversazione", or painting of the Virgin and Child with saints on a unified scale and sharing the same space.

Description
The painting is one of the earliest known examples of tabula quadrata et sine civoriis as suggested by Brunelleschi, which meant a "modern" type of painting without  the inner frames and the gilded background which was typical of earlier painting. The setting is however reminiscent of the frames, with three ogival arches, the columns and the shell-shaped niches. The polychrome floor, and the architecture, including the base of the Madonna's throne, is depicted with the  use of geometrical perspective, an innovation introduced in Italian early Renaissance art.The saints portrayed are St. John the Baptist and St. Zenobius (patron saints of Florence), St. Lucy (titular of the church where the painting was situated) and St. Francis, who resided in the church at his arrival in Florence in 1211. The garments  and the mitre of St. Zenobius are particularly rich, with precious stones, pearls, golden plaques and enamels.

Predella
Reconstruction of the original predella
		
		
		
		
		
The predella included panels with scenes of the saints of the main composition, and a central, double-size Annunciation: the Stygmata of St. Francis and John Baptist in the Desert are currently in the National Gallery of Art in Washington, the Annunciation and The Miracle of St. Zenobius are  in the Fitzwilliam Museum of Cambridge, and the Martyrdom of St. Lucy is in the Berlin State Museums.
Passage 9:
San Giobbe Altarpiece
The San Giobbe Altarpiece (Italian: Pala di San Giobbe) is a c. 1487 oil painting by the Italian Renaissance master Giovanni Bellini. Inspired by a plague outbreak in 1485, this sacra conversazione painting is unique in that it was designed in situ with the surrounding architecture of the church (a first for Bellini), and was one of the largest sacra conversazione paintings at the time. Although it was originally located in the Church of San Giobbe, Venice, it is now housed in the Gallerie dell'Accademia in Venice after having been stolen by Napoleon Bonaparte.

History
Creation
Just prior to 1478, Giovanni Bellini was commissioned to paint the altarpiece by an unknown individual from the Scuola di San Giobbe, to be placed opposite the Martini Chapel of the soon-to-be consecrated Church of San Giobbe. The friars and sisters of the San Giobbe Hospice had founded the Scuola di San Giobbe and replaced an old oratory dedicated to Job with a new church dedicated to both St. Job and St. Bernardino. This was strongly suggested by the confraternity's patron, the doge Cristoforo Moro. This altarpiece marks the first time Bellini used the concept of creating an illusionary space to house a sacra conversazione that appears as though it is an extension of the church architecture itself, and honored St. Job with the position closest to the Christ child. The painting was designed in situ to incorporate the architecture of the Church of San Giobbe; the arches inside the painting match in perspective and design the marble arches of the church framing the painting. Because the Church of San Giobbe did not have two chapels, only the Martini Chapel and an empty space opposite the chapel, the altarpiece was painted in order to create a space that would illusionistically balance the church with “two” chapels on either side. Hence the piece's size and detailed visual description of the perspective in fictive space was intended to serve as a second chapel, and the perspective, along with the similar framing within the painting and surrounding the painting, would give that proper illusion.The actual patron of the painting is unknown, although it is assumed that the patron was a member of the Scuola di San Giobbe. This assumption is currently being debated, as the size and detail of this painting would warrant a large monetary compensation to Giovanni Bellini, which would be difficult for such a small church. One hypothesis is that Cristoforo Moro, who also patronized the church and influenced the rededication of the church to both St. Job and St. Bernardino, had commissioned the painting.The piece, although having no textual proof of exact completion date, was recorded as being complete in the newly consecrated Church of San Giobbe by 1493. The Venetian scholar Marcus Antonio wrote about the piece in its completed form in his “De Venetae Urbis Situ” (A written guide to Venice), and Venetian historian Marin Sanudo had included a comment about the piece’s beauty in a list of Venice’s holy sites, both written in 1493, marking that year the very latest possible date of completion.Although Giovanni Bellini's cursive signature has come into question and had often been used by imitators, this piece is widely accepted to be Bellini's. His signature is on a plaque just below the feet of the middle musician angel and is in an italic form, "Ioannes Bellinus", which was seldom used by imitators.

Provenance
The altarpiece remained in the church of San Giobbe until 1814–1818, until Napoleon Bonaparte, during his ransacking of Venice, stole this piece, along with many others. Eventually it was returned to its city of origin, but was given to the Galleria dell'Accademia in Venice, where it is displayed with the other altarpieces from the Church of San Giobbe.

Composition
Figures
Featured in the center are the Madonna and Child, seated above several other religious figures. Below the central figures are three angels, each playing a musical instrument. The saints flanking the throne are each met with an opposite, both physically and historically. On the viewer’s far left (to the Madonna and Child’s right) is St. Francis, to the right of him is John the Baptist, and in the most notable position and titular figure of the altarpiece’s church, St. Job. Just right of the throne (to the Madonna and Child’s left) are St. Sebastian, St. Dominic and furthest to the right is Franciscan Bishop St. Louise of Toulouse.

Job is bearded and wears only a loincloth, mirroring the youthful, long-haired, clean-shaven figure opposite him in St. Sebastian. St. Sebastian, also posed with only a loincloth, has two arrows in his body referencing his torture. However, he is not bloodied or in agony, but is quite clean and tranquil as he looks upon the Christ child. St. Dominic is posed with a religious text in his hands, and is clean-clothed, appearing to be a studious figure, even when placed in front of the Madonna and Child. As his opposite stands John the Baptist, an unkempt figure, not shaven, and staring at Christ. St. Louis shows the religious garb of his high position and represents the religiosity of the Church. St. Francis, who unlike the other characters, is not looking to the Christ child, but at the viewer, and is reaching out and welcoming the viewer into the scene.

As a recourse for the Church of San Giobbe moving their old patron, Job, into a lower position, Bellini honored St. Job in this piece by placing him not only in the position closest to the Mother and Child, but also honored him by including references to the Cathedral of Saint Mark in Venice by way of the vaulted ceiling.Very few of Bellini’s works with the Madonna and Child include the full length of the saints flanking the throne. The San Giobbe Altarpiece shares this quality along with the Frari triptych, the Priuli triptych and the San Zaccaria Altarpiece.

Setting
Above the Madonna and Child is a coffered vault ceiling, which is an architectural reference to the Saint Mark's Basilica. Bellini creates a fictive chapel within the Church of San Giobbe, while combining figures that were never meant to be together in one space. He also creates a fictive space in terms of architecture, with the plaster columns framing the piece and paralleling structures from the Saint Mark’s Cathedral. This technique of placing holy figures as such in a fictive space was new to Venetian art, a technique that will be commonly repeated by future Venetian artists.Common to the genre at the time, sacra conversazione paintings included some form of sky, or were placed within a structure that is somehow open to the outside world. Unlike all his other sacra conversazione paintings, the San Giobbe Altarpiece is unique in that it takes place in an interior space, due to the fact that it was meant to compensate for the Church of San Giobbe’s lack of a second chapel across from the Martini chapel.The upper part features a perspective coffered ceiling, flanked with pillars which are copies of the real ones at the original altar. Behind the Madonna is a dark niche. In the latter's half-dome is a gilt mosaic decoration in the Venetian style.
This altarpiece is an example of a pala altar, or a single-paneled altar, a technique first introduced to Venice by Bellini and heavily influenced by Antonello da Messina.

Geometry
Triangles during the Renaissance were an important symbol of the Divine. Many artists in the late 15th century included triangular compositions in their pieces. This linked triangles with the divine, and was often a kind of map for the Holy Trinity. The asymmetry in this piece creates a contrast with the figures on opposing sides, and the triangles can be found with these various groupings.The figures are also opposite in symmetry across the vertical center line. The older St. Job stands opposite the youthful St. Sebastian, the wild John the Baptist is across from the tame and studious St. Dominic, and the exuberant attire of St. Louis opposes St. Frances’ plain robes.

Symbols
Sacra Conversazione
The altarpiece is a sacra conversazione, a piece of art that combines holy figures from across time into one place, surrounding the Virgin and Christ child, often with angels nearby playing music. One difference between Bellini’s sacra conversazione and others is that it appears as though the figures are interacting with each other. The angels are gazing up at St. Job, St. Job is looking at the Virgin, St. Francis on the left is breaking the fourth wall of the painting and inviting the audience into the fictive scene. When compared to other sacra conversazione, examples being the San Marco Altarpiece, the Frari Triptych and the San Zaccaria Altarpiece, not only is the San Giobbe Altarpiece much larger and shows the full stature of all figures in the scene, but it also is contained in an interior space, which was very uncommon in Venetian pieces at the time, which oft included an open sky, or an airy feel to the background.

Holy Reference
Several pieces in the painting point toward reinforcement of the Virgin Mother’s immaculate nature. Her hand in the position of the Annunciation and the Latin phrase above on the vaulted-ceiling reads “Ave Virginei Flos Intemerate Pudoris”, roughly translating to “Hail, undefiled flower of virgin modesty”. St. Francis, inviting the viewer in, is also displaying his holiness by way of his Stigmata.The accuracy of the angel musicians at the feet of the Mother and Child is well-portrayed in proper string-instrument technique. One studies its right hand strumming the lute, the other two peering up at St. Job standing next to them, a link that has suggested ta link between St. Job and music. Even the lutes themselves are accurate in construction to lutes, matching the rose piece in the painting with those of real ornamentations at the time.

Evocation of Saints
The plague of 1485 greatly influenced the painting by way of the inclusion of St. Sebastian and his opposite, St. Job. The arrow at St. Sebastian’s side symbolizes the plague, and his presence in the painting would be an invocation used in response to the plague that was hitting Venice at the time. St. Job symbolizes suffering through his plague-like illness, through which he relies on his faith to endure. Not only were both St. Sebastian and St. Job associated with suffering and pain, but the Scuola di San Giobbe was originally a hospice that was built in response to a plague, hence the representation of these saints and their faith to give hope to patients.

See also
San Zaccaria Altarpiece
Montini Altarpiece
Passage 10:
Pope John XXIII
Pope John XXIII (Latin: Ioannes XXIII; Italian: Giovanni XXIII), born Angelo Giuseppe Roncalli (Italian: [ˈandʒelo dʒuˈzɛppe roŋˈkalli]; 25 November 1881 – 3 June 1963), was head of the Catholic Church and sovereign of the Vatican City State from 28 October 1958 until his death in June 1963. He was among 13 children born to Marianna Mazzola and Giovanni Battista Roncalli in a family of sharecroppers who lived in Sotto il Monte, a village in the province of Bergamo, Lombardy. He was ordained to the priesthood on 10 August 1904 and served in a number of posts, as nuncio in France and a delegate to Bulgaria, Greece and Turkey. In a consistory on 12 January 1953 Pope Pius XII made Roncalli a cardinal as the Cardinal-Priest of Santa Prisca in addition to naming him as the Patriarch of Venice. Roncalli was unexpectedly elected pope on 28 October 1958 at age 76 after eleven ballots. Pope John XXIII surprised those who expected him to be a caretaker pope by calling the historic Second Vatican Council (1962–1965), the first session opening on 11 October 1962.
John XXIII made many passionate speeches during his pontificate. His views on equality were summed up in his statement, "We were all made in God's image, and thus, we are all Godly alike." He made a major impact on the Catholic Church, opening it up to dramatic unexpected changes promulgated at the Vatican Council and by his own dealings with other churches and nations. In Italian politics, he prohibited bishops from interfering with local elections, and he helped the Christian Democracy party to cooperate with the Italian Socialist Party. In international affairs, his "Ostpolitik" engaged in dialogue with the communist countries of Eastern Europe. He especially reached out to the Eastern Orthodox churches. His overall goal was to modernize the Church by emphasizing its pastoral role, and its necessary involvement with affairs of state. He dropped the traditional rule of 70 cardinals, increasing the size to 85. He used the opportunity to name the first cardinals from Africa, Japan, and the Philippines. He promoted ecumenical movements in cooperation with other Christian faiths. In doctrinal matters, he was a traditionalist, but he ended the practice of automatically formulating social and political policies on the basis of old theological propositions.He did not live to see the Vatican Council to completion. In September 1962, he was diagnosed with stomach cancer and died 8 months later on June 3, 1963. His cause for canonization was opened on 18 November 1965 by his successor, Pope Paul VI, who declared him a Servant of God. On 5 July 2013, Pope Francis – bypassing the traditionally required second miracle – declared John XXIII a saint, based on his virtuous, model lifestyle, and because of the good which had come from his opening of the Second Vatican Council. He was canonized alongside Pope John Paul II on 27 April 2014. John XXIII today is affectionately known as the Good Pope (Italian: il Papa buono).

Early life
Angelo Giuseppe Roncalli was born on 25 November 1881 in Sotto il Monte, a small country village in the Bergamo province of the Lombardy region of Italy. He was the eldest son of Giovanni Battista Roncalli (1854–1935) and his wife Marianna Giulia Mazzola (1855–1939), and fourth in a family of thirteen. His siblings were:
Maria Caterina (1877–1883)
Teresa (1879–1954), who married Michele Ghisleni in 1899
Ancilla (1880–1953)
Francesco Saverio (1883–1976), who married Maria Carrara in 1907
Maria Elisa (1884–1955)
Assunta Casilda (1886–1980), who married Giovanni Battista Marchesi in 1907
Domenico Giuseppe (1888–1888)
Alfredo (1889–1972)
Giovanni Francesco (1891–1956), who married Caterina Formenti in 1919
Enrica (1893–1918)
Giuseppe Luigi (1894–1981), who married Ida Biffi in 1922
Luigi (1896–1898)His family worked as sharecroppers, as did most of the people of Sotto il Monte – a striking contrast to that of his predecessor, Eugenio Pacelli (Pope Pius XII), who came from an ancient aristocratic family long connected to the papacy. Roncalli was nonetheless a descendant of an Italian noble family, albeit from a secondary and impoverished branch; "(he) derived from no mean origins but from worthy and respected folk who can be traced right back to the beginning of the fifteenth century". The Roncallis maintained a vineyard and cornfields, and kept cattle.In 1889, Roncalli received both his First Communion and Confirmation at the age of 8.On 1 March 1896, Luigi Isacchi, the spiritual director of his seminary, enrolled him into the Secular Franciscan Order. He professed his vows as a member of that order on 23 May 1897.In 1904, Roncalli completed his doctorate in canon law and was ordained a priest in the Catholic Church of Santa Maria in Monte Santo in Piazza del Popolo in Rome on 10 August. Shortly after that, while still in Rome, Roncalli was taken to Saint Peter's Basilica to meet Pope Pius X. After this, he would return to his town to celebrate Mass for the Assumption.

Priesthood
In 1905, Giacomo Radini-Tedeschi, the new Bishop of Bergamo, appointed Roncalli as his secretary. Roncalli worked for Radini-Tedeschi until the bishop's death on 22 August 1914, two days after the death of Pope Pius X. Radini-Tedeschi's last words to Roncalli were "Angelo, pray for peace". The death of Radini-Tedeschi had a deep effect on Roncalli.
 During this period Roncalli was also a lecturer in the diocesan seminary in Bergamo.
During World War I, Roncalli was drafted into the Royal Italian Army as a sergeant, serving in the medical corps as a stretcher-bearer and as a chaplain. After being discharged from the army in early 1919, he was named spiritual director of the seminary. On 7 May 1921, Roncalli was appointed a Domestic Prelate of His Holiness, which gave him the title of Monsignor. On 6 November, he travelled to Rome where he was scheduled to meet the Pope. After their meeting, Pope Benedict XV appointed him as the Italian president of the Society for the Propagation of the Faith. Roncalli would recall Benedict XV as being the most sympathetic of the popes he had met.

Episcopate
In February 1925, the Cardinal Secretary of State Pietro Gasparri summoned him to the Vatican and informed him of Pope Pius XI's decision to appoint him the Apostolic Visitor to Bulgaria (1925–1935). On 3 March, Pius XI also appointed him titular archbishop of Areopolis, Jordan. Roncalli was initially reluctant about a mission to Bulgaria, but he soon relented. His nomination as apostolic visitor was made official on 19 March. Roncalli was consecrated a bishop by Giovanni Tacci Porcelli in the church of San Carlo al Corso in Rome., on 25 March 1925.
On 30 November 1934, he was appointed Apostolic Delegate to Turkey and Greece and titular archbishop of Mesembria, Bulgaria. He became known in Turkey's predominantly Muslim society as "the Turcophile Pope". Roncalli took up this post in 1935 and used his office to help the Jewish underground in saving thousands of refugees in Europe, leading some to consider him to be a Righteous Gentile (see Pope John XXIII and Judaism). In October 1935, he led Bulgarian pilgrims to Rome and introduced them to Pope Pius XI on 14 October.In February 1939, he received news from his sisters that his mother was dying. On 10 February 1939, Pope Pius XI died. Roncalli was unable to see his mother for the end as the death of a pontiff meant that he would have to stay at his post until the election of a new pontiff. Unfortunately, she died on 20 February 1939, during the nine days of mourning for the late Pius XI. He was sent a letter by Cardinal Eugenio Pacelli, and Roncalli later recalled that it was probably the last letter Pacelli sent until his election as Pope Pius XII on 2 March 1939. Roncalli expressed happiness that Pacelli was elected, and, on radio, listened to the coronation of the new pontiff.Roncalli remained in Bulgaria at the time that World War II commenced, optimistically writing in his journal in April 1939, "I don't believe we will have a war". At the time that the war did in fact commence, he was in Rome, meeting with Pope Pius XII on 5 September 1939. In 1940, Roncalli was asked by the Vatican to devote more of his time to Greece; therefore, he made several visits in January and May of that year. He maintained close relations with the Jews and also intervened to convince Bulgaria's King Boris III to cancel deportations of Greek Jews during the Nazi occupation of Greece.

Efforts during the Holocaust
As nuncio, Roncalli made various efforts during The Holocaust in World War II to save refugees, mostly Jewish people, from the Nazis. Among his efforts were:

Delivery of "immigration certificates" to Palestine through the Nunciature diplomatic courier.
Rescue of Jews by means of certificates of "baptism of convenience" sent by Monsignor Roncalli to priests in Europe.
Children managed to leave Slovakia due to his interventions.
Jewish refugees whose names were included on a list submitted by Rabbi Markus of Istanbul to Nuncio Roncalli.
Jews held at Jasenovac concentration camp, near Stara Gradiška, were liberated as a result of his intervention.
Bulgarian Jews who left Bulgaria, a result of his request to King Boris III of Bulgaria.
Romanian Jews from Transnistria left Romania as a result of his intervention.
Italian Jews helped by the Vatican as a result of his interventions.
Orphaned children of Transnistria on board a refugee ship that weighed anchor from Constanța to Istanbul, and later arriving in Palestine as a result of his interventions.
Jews held at the Sereď concentration camp who were spared from being deported to German death camps as a result of his intervention.
Hungarian Jews who saved themselves through their conversions to Christianity through the baptismal certificates sent by Nuncio Roncalli to the Hungarian Nuncio, Monsignor Angelo Rota.In 1965, the Catholic Herald newspaper quoted Pope John XXIII as saying:

 We are conscious today that many, many centuries of blindness have cloaked our eyes so that we can no longer see the beauty of Thy chosen people nor recognise in their faces the features of our privileged brethren. We realize that the mark of Cain stands upon our foreheads. Across the centuries our brother Abel has lain in blood which we drew, or shed tears we caused by forgetting Thy love. Forgive us for the curse we falsely attached to their name as Jews. Forgive us for crucifying Thee a second time in their flesh. For we know not what we did.
On 7 September 2000, the International Raoul Wallenberg Foundation launched the International Campaign for the Acknowledgement of the humanitarian actions undertaken by Vatican Nuncio Angelo Giuseppe Roncalli for people, most of whom were Jewish, persecuted by the Nazi regime. The launching took place at the Permanent Observation Mission of the Vatican to the United Nations, in the presence of Vatican State Secretary Cardinal Angelo Sodano.

The International Raoul Wallenberg Foundation has carried out exhaustive historical research related to different events connected with interventions of Nuncio Roncalli in favour of Jewish refugees during the Holocaust. As of September 2000 three reports have been published compiling different studies and materials of historical research about the humanitarian actions carried out by Roncalli when he was nuncio.In 2011, the International Raoul Wallenberg Foundation submitted a massive file (the Roncalli Dossier) to Yad Vashem, with a strong petition and recommendation to bestow upon him the title of Righteous among the Nations.

Relations with Israel
After 1944, he played an active role in gaining Catholic Church support for the establishment of the State of Israel. His support for Zionism, and the establishment of Israel was the result of his cultural and religious openness toward other faiths and cultures, and especially concern with the fate of Jews after the war. He was one of the Vatican's most sympathetic diplomats toward Jewish immigration to Palestine, which he saw as a humanitarian issue, and not a matter of biblical theology.

Nuncio
On 22 December 1944, during World War II, Pope Pius XII named him to be the new Apostolic Nuncio to recently liberated France. In this capacity he had to negotiate the retirement of bishops who had collaborated with the German occupying power.
Roncalli was chosen among several other candidates, one of whom was Archbishop Joseph Fietta. Roncalli met with Domenico Tardini to discuss his new appointment, and their conversation suggested that Tardini did not approve of it. One curial prelate referred to Roncalli as an "old fogey" while speaking with a journalist.Roncalli left Ankara on 27 December 1944 on a series of short-haul flights that took him to several places, such as Beirut, Cairo and Naples. He ventured to Rome on 28 December and met with both Tardini and his friend Giovanni Battista Montini. He left for France the next day to commence his newest role.

Cardinal
Roncalli received a message from Mgr. Montini on 14 November 1952 asking him if he would want to become the new Patriarch of Venice in light of the nearing death of Carlo Agostini. Furthermore, Montini said to him via letter on 29 November 1952 that Pius XII had decided to raise him to the cardinalate. Roncalli knew that he would be appointed to lead the patriarchy of Venice due to the death of Agostini, who was to have been raised to the rank of cardinal.On 12 January 1953, he was appointed Patriarch of Venice and raised to the rank of Cardinal-Priest of Santa Prisca by Pope Pius XII. Before departing Paris he invited to dinner the eight men who had served as prime minister during Roncalli's term as nuncio. Roncalli left France for Venice on 23 February 1953 stopping briefly in Milan and then to Rome. On 15 March 1953, he took possession of his new diocese in Venice. As a sign of his esteem, the President of France, Vincent Auriol, claimed the ancient privilege possessed by French monarchs and bestowed the red biretta on Roncalli at a ceremony in the Élysée Palace. It was around this time that he, with the aid of Monsignor Bruno Heim, formed his coat of arms with a lion of Saint Mark on a white ground. Auriol also awarded Roncalli three months later with the award of Commander of the Legion of Honour.
Roncalli decided to live on the second floor of the residence reserved for the patriarch, choosing not to live in the first floor room once resided in by Giuseppe Melchiorre Sarto, who later became Pope Pius X. On 29 May 1954, the late Pius X was canonized and Roncalli ensured that the late pontiff's patriarchal room was remodelled into a 1903 (the year of the new saint's papal election) look in his honor. With Pius X's few surviving relatives, Roncalli celebrated a Mass in his honor.
His sister Ancilla would soon be diagnosed with stomach cancer in the early 1950s. Roncalli's last letter to her was dated on 8 November 1953 where he promised to visit her within the next week. He could not keep that promise, as Ancilla died on 11 November 1953 at the time when he was consecrating a new church in Venice. He attended her funeral back in his hometown. In his will around this time, he mentioned that he wished to be buried in the crypt of Saint Mark's in Venice with some of his predecessors rather than with the family in Sotto il Monte.
In 1958, he held a diocesan synod.

Papacy
Papal election
Following the death of Pope Pius XII on 9 October 1958, Roncalli watched the live funeral on his last full day in Venice on 11 October. His journal was specifically concerned with the funeral and the abused state of the late pontiff's corpse. Roncalli left Venice for the conclave in Rome well aware that he was papabile, and after eleven ballots, was elected to succeed the late Pius XII, so it came as no surprise to him, though he had arrived at the Vatican with a return train ticket to Venice.Many had considered Giovanni Battista Montini, the Archbishop of Milan, a possible candidate, but, although he was the archbishop of one of the most ancient and prominent sees in Italy, he had not yet been made a cardinal. Though his absence from the 1958 conclave did not make him ineligible – under Canon Law any Catholic male who is capable of receiving priestly ordination and episcopal consecration may be elected – the College of Cardinals usually chose the new pontiff from among the Cardinals who attend the papal conclave. At the time, as opposed to modern practice, the participating Cardinals did not have to be below age 80 to vote, there were few Eastern-rite Cardinals, and some Cardinals were just priests at the time of their elevation.Roncalli was summoned to the final ballot of the conclave at 4:00 pm. He was elected pope at 4:30 pm with a total of 38 votes. After the long pontificate of Pope Pius XII, the cardinals chose a man who – it was presumed because of his advanced age – would be a short-term or "stop-gap" pope. They wished to choose a candidate who would do little during the new pontificate. Upon his election, Cardinal Eugène Tisserant asked him the ritual questions of whether he would accept and if so, what name he would take for himself. Roncalli gave the first of his many surprises when he chose "John" as his regnal name. Roncalli's exact words were "I will be called John". This was the first time in over 500 years that this name had been chosen; previous popes had avoided its use since the time of the Antipope John XXIII during the Western Schism several centuries before.
On the choice of his papal name, Pope John XXIII said to the cardinals:

I will be called John... a name sweet to us because it is the name of our father, dear to us because it is the name of the humble parish church where we were baptized, the solemn name of numberless cathedrals scattered throughout the world, including our own basilica [St. John Lateran]. Twenty-two Johns of indisputable legitimacy have [been Pope], and almost all had a brief pontificate. We have preferred to hide the smallness of our name behind this magnificent succession of Roman Pontiffs.
Upon his choosing the name, there was some confusion as to whether he would be known as John XXIII or John XXIV; in response, he declared that he was John XXIII, thus affirming the antipapal status of antipope John XXIII.
Before this antipope, the most recent popes called John were John XXII (1316–1334) and John XXI (1276–1277). No Pope John XX existed, owing to confusion caused by medieval historians misreading the Liber Pontificalis to refer to another Pope John between John XIV and John XV.
After his election, he confided in Cardinal Maurice Feltin that he had chosen the name "in memory of France and in the memory of John XXII who continued the history of the papacy in France".After he answered the two ritual questions, the traditional Habemus Papam announcement was delivered by Cardinal Nicola Canali to the people at 6:08 pm, an exact hour after the white smoke appeared. A short while later, he appeared on the balcony and gave his first Urbi et Orbi blessing to the crowds of the faithful below in Saint Peter's Square. That same night, he appointed Domenico Tardini as his Secretary of State. Of the three cassocks prepared for whoever the new pope was, even the largest was not enough to fit his obese frame, which had to be let out in certain places and only to be held together with great effort by bobby pins. When he first saw himself in the mirror in his new vestments, he said with an apprising and critical look that "this man will be a disaster on television!", while later saying he felt his first appearance before the globe was as if he were a "newborn babe in swaddling clothes".His coronation took place on 4 November 1958, on the feast of Saint Charles Borromeo, and it occurred on the central loggia of the Vatican. He was crowned with the 1877 Palatine Tiara. His coronation ran for the traditional five hours.
In John XXIII's first consistory on 15 December of that same year, Montini was created a cardinal and would become John XXIII's successor in 1963, taking the name of Paul VI.  That consistory was notable for being the first to expand the Sacred College membership beyond the then-traditional 70.

Following his election the new pope told the tale of how in his first weeks he was walking when he heard a woman exclaim in a loud voice: "My God, he's so fat!" The new pope casually remarked: "Madame, the holy conclave isn't exactly a beauty contest!"

Visits around Rome
On 25 December 1958, he became the first pope since 1870 to make pastoral visits in his Diocese of Rome, when he visited children infected with polio at the Bambino Gesù Hospital and then visited Santo Spirito Hospital. The following day, he visited Rome's Regina Coeli prison, where he told the inmates: "You could not come to me, so I came to you." These gestures created a sensation, and he wrote in his diary: "... great astonishment in the Roman, Italian and international press. I was hemmed in on all sides: authorities, photographers, prisoners, warders..."During these visits, John XXIII put aside the normal papal use of the formal "we" when referring to himself, such as when he visited a reformatory school for juvenile delinquents in Rome telling them "I have wanted to come here for some time". The media noticed this and reported that "He talked to the youths in their own language".

"Ostpolitik" and Eastern Europe
In international affairs, his  "Ostpolitik" ["Eastern policy"] engaged in dialogue with the Communist countries of Eastern Europe. He worked to reconcile the Vatican with the Russian Orthodox Church to settle tensions between the local churches.  The Second Vatican Council did not condemn Communism and did not even mention it, in what some have called a secret agreement between the Holy See and the Soviet Union. In Pacem in terris, John XXIII also sought to prevent nuclear war and tried to improve relations between the Soviet Union and the United States. He began a policy of dialogue with Soviet leaders in order to seek conditions in which Eastern Catholics could find relief from persecution.

Relations with Jews
One of the first acts of Pope John XXIII, in 1960, was to eliminate the description of Jews as perfidius (Latin for "perfidious" or "faithless") in the prayer for the conversion of the Jews in the Good Friday liturgy. He interrupted the first Good Friday liturgy in his pontificate to address this issue when he first heard a celebrant refer to the Jews with that word. He also made a confession for the Church for antisemitism through the centuries.While Vatican II was being held, John XXIII tasked Cardinal Augustin Bea with the creation of several important documents that pertained to reconciliation with Jewish people.

Calling the Council
Far from being a mere "stopgap" pope, to great excitement, John XXIII called for an ecumenical council fewer than ninety years after the First Vatican Council (Vatican I's predecessor, the Council of Trent, had been held in the 16th century). This decision was announced on 25 January 1959 at the Basilica of Saint Paul Outside the Walls. Cardinal Giovanni Battista Montini, who later became Pope Paul VI, remarked to Giulio Bevilacqua that "this holy old boy doesn't realise what a hornet's nest he's stirring up". From the Second Vatican Council came changes that reshaped the face of Catholicism: a comprehensively revised liturgy, a stronger emphasis on ecumenism, and a new approach to the world.
Prior to the first session of the council, John XXIII visited Assisi and Loreto on 4 October 1962 to pray for the new upcoming council as well as to mark the feast day of St. Francis of Assisi. He was the first pope to travel outside of Rome since Pope Pius IX. Along the way, there were several halts at Orte, Narni, Terni, Spoleto, Foligno, Fabriano, Iesi, Falconara and Ancona where the crowds greeted him.

Moral theology
Contraception
In 1963, John XXIII established a commission of six non-theologians to investigate questions of birth control.

Human rights
John XXIII was an advocate for human rights which included the unborn and the elderly. He wrote about human rights in his encyclical Pacem in terris. He wrote, "Man has the right to live. He has the right to bodily integrity and to the means necessary for the proper development of life, particularly food, clothing, shelter, medical care, rest, and, finally, the necessary social services. In consequence, he has the right to be looked after in the event of ill health; disability stemming from his work; widowhood; old age; enforced unemployment; or whenever through no fault of his own he is deprived of the means of livelihood."

Divorce
John XXIII said that human life is transmitted through the family which is founded on the sacrament of marriage and is both one and indissoluble as a union in God, therefore, it is against the teachings of the Church for a married couple to divorce.

Pope John XXIII and papal ceremonial
Pope John XXIII was the last pope to use full papal ceremony, some of which was abolished after Vatican II, while the rest fell into disuse. His papal coronation ran for the traditional five hours (Pope Paul VI, by contrast, opted for a shorter ceremony, while later popes declined to be crowned). Pope John XXIII, like his predecessor Pius XII, chose to have the coronation itself take place on the balcony of Saint Peter's Basilica, in view of the crowds assembled in Saint Peter's Square below.
He wore a number of papal tiaras during his papacy. On the most formal of occasions would he don the 1877 Palatine tiara he received at his coronation, but on other occasions, he used the 1922 tiara of Pope Pius XI, which was used so often that it was associated with him quite strongly. The people of Bergamo gave him an expensive silver tiara, but he requested that the number of jewels used be halved and that the money be given to the poor.

Liturgical reform
Maintaining continuity with his predecessors, John XXIII continued the gradual reform of the Roman liturgy, and published changes that resulted in the 1962 Roman Missal, the last typical edition containing the Tridentine Mass established in 1570 by Pope Pius V at the request of the Council of Trent.

Beatifications and canonization ceremonies
John XXIII beatified four individuals in his reign: Elena Guerra (26 April 1959), Innocenzo da Berzo (12 November 1961), Elizabeth Ann Seton (17 March 1963) and Luigi Maria Palazzolo (19 March 1963).
He also canonized a small number of individuals: he canonized Charles of Sezze and Joaquina Vedruna de Mas on 12 April 1959, Gregorio Barbarigo on 26 May 1960, Juan de Ribera on 12 June 1960, Maria Bertilla Boscardin on 11 May 1961, Martin de Porres on 6 May 1962, and Antonio Maria Pucci, Francis Mary of Camporosso and Peter Julian Eymard on 9 December 1962. His final canonization was that of Vincent Pallotti on 20 January 1963.

Doctor of the Church
John XXIII proclaimed Saint Lawrence of Brindisi as a Doctor of the Church on 19 March 1959 and conferred upon him the title "Doctor apostolicus" ("Apostolic Doctor").

Consistories
The pope created 52 cardinals in five consistories, including his successor who would become Pope Paul VI. John XXIII decided to expand the size of the College of Cardinals beyond its limit of seventy that Pope Sixtus V established in 1586. The pope also reserved three additional cardinals "in pectore" in 1960 which meant he secretly named cardinals without revealing their identities. The pope died before he could reveal these names, therefore meaning that these appointments were never legitimized. John XXIII also sought to further internationalize the College of Cardinals like Pius XII attempted, while also naming the first ever cardinals from countries such as Japan (Peter Doi) and Tanzania (Laurean Rugambwa). Unlike his predecessor, John XXIII held frequent consistories in a marked departure from Pius XII, returning to the frequency seen in the earlier 20th century.
John XXIII also issued a rule in 1962 mandating that all cardinals should be bishops; he himself ordained as bishops the twelve non-bishop cardinals in April 1962.According to a June 2007 interview, Loris Francesco Capovilla revealed that Francesco Giuseppe Lardone was one of the cardinals that John XXIII had reserved in pectore in 1960. According to Capovilla, Lardone's precarious position in Turkey meant that he would have to abandon his position if he were named to the cardinalate. Lardone was of the opinion that he could assist bishops in the Iron Curtain from his posting which he would be unable to do if he was relocated to accept a position in Rome. In November 1960, in preparation for the next consistory, John XXIII offered the cardinalate to Diego Venini who declined the offer.

Vatican II: The first session
On 11 October 1962, the first session of the Second Vatican Council was held in the Vatican. He gave the Gaudet Mater Ecclesia speech, which served as the opening address for the council. The day consisted of electing members for several council commissions that would work on the issues presented in the council. On the night following the conclusion of the first session, the people in Saint Peter's Square chanted and yelled with the objective of having John XXIII appear at the window to address them.
Pope John XXIII appeared at the window and delivered a speech to the people below, and told them to return home and hug their children, telling them that the hug came from the pope. This speech would later become known as the so-called 'Speech of the Moon'.The first session ended in a solemn ceremony on 8 December 1962 with the next session scheduled to occur in 1963 from 12 May to 29 June – this was announced on 12 November 1962. John XXIII's closing speech made subtle references to Pope Pius IX, and he had expressed the desire to see Pius IX beatified and eventually canonized. In his journal in 1959 during a spiritual retreat, John XXIII made this remark: "I always think of Pius IX of holy and glorious memory, and by imitating him in his sacrifices, I would like to be worthy to celebrate his canonization".

Final months and death
On 23 September 1962, Pope John XXIII was diagnosed with stomach cancer. The diagnosis, which was kept from the public, followed nearly eight months of occasional stomach hemorrhages, and reduced the pontiff's appearances. Looking pale and drawn during these events, he gave a hint to his ultimate fate in April 1963, when he said to visitors, "That which happens to all men perhaps will happen soon to the Pope who speaks to you today."
Pope John XXIII offered to mediate between US President John F. Kennedy and Nikita Khrushchev during the Cuban Missile Crisis in October 1962. Both men applauded the pope for his deep commitment to peace. Khrushchev would later send a message via Norman Cousins and the letter expressed his best wishes for the pontiff's ailing health. John XXIII personally typed and sent a message back to him, thanking him for his letter. Cousins, meanwhile, travelled to New York City and ensured that John would become Time magazine's 'Man of the Year'. John XXIII became the first Pope to receive the title, followed by John Paul II in 1994 and Francis in 2013.
On 10 February 1963, John XXIII officially opened the process of beatification for the late Cardinal Andrea Carlo Ferrari, Archbishop of Milan from 1894 to 1921. This conferred upon him the title of Servant of God.
On 7 March 1963, the feast of the university's patron Saint Thomas Aquinas, Pope John XXIII visited the Pontifical University of Saint Thomas Aquinas, Angelicum and with the motu proprio Dominicanus Ordo, raised the Angelicum to the rank of Pontifical University. Thereafter it would be known as the Pontifical University of Saint Thomas Aquinas in the city.On 10 May 1963, John XXIII received the Balzan Prize in private at the Vatican but deflected achievements of himself to the five popes of his lifetime, Pope Leo XIII to Pius XII. On 11 May, the Italian President Antonio Segni officially awarded Pope John XXIII with the Balzan Prize for his engagement for peace. While in the car en route to the official ceremony, he suffered great stomach pains but insisted on meeting with Segni to receive the award in the Quirinal Palace, refusing to do so within the Vatican. He stated that it would have been an insult to honour a pontiff on the remains of the crucified Saint Peter. It was the pope's last public appearance.
On 25 May 1963, the pope suffered another haemorrhage and required several blood transfusions, but the cancer had perforated the stomach wall and peritonitis soon set in. The doctors conferred in a decision regarding this matter and John XXIII's aide Loris F. Capovilla broke the news to him saying that the cancer had done its work and nothing could be done for him. Around this time, his remaining siblings arrived to be with him. By 31 May, it had become clear that the cancer had overcome the resistance of John XXIII – it had left him confined to his bed.

At 11 am Petrus Canisius Van Lierde as Papal Sacristan was at the bedside of the dying pope, ready to anoint him. The pope began to speak for the last time: "I had the great grace to be born into a Christian family, modest and poor, but with the fear of the Lord. My time on earth is drawing to a close. But Christ lives on and continues his work in the Church. Souls, souls, ut omnes unum sint."  Van Lierde then anointed his eyes, ears, mouth, hands and feet. Overcome by emotion, Van Lierde forgot the right order of anointing. John XXIII gently helped him before bidding those present a last farewell.
John XXIII died of peritonitis caused by a perforated stomach at 19:49 local time on 3 June 1963 at the age of 81, ending a historic pontificate of four years and seven months. He died just as a Mass for him finished in Saint Peter's Square below, celebrated by Luigi Traglia. After he died, his brow was ritually tapped to see if he was dead, and those with him in the room said prayers. Then the room was illuminated, thus informing the people of what had happened. The Italian government announced three days of mourning with flags half-masted and the closure of offices and schools. Spain announced ten days of mourning with flags half-masted; Philippines announced nine days of mourning with flags half-masted; Paraguay and Guatemala announced three days of mourning; Republic of the Congo declared one day of mourning. He was buried on 6 June in the Vatican grottos. Two wreaths, placed on the two sides of his tomb, were donated by the prisoners of the Regina Coeli prison and the Mantova jail in Verona. On 22 June 1963, one day after his friend and successor Pope Paul VI was elected, the latter prayed at his tomb. John XXIII's tomb is located near the tombs of both Pope Pius X and Pope John Paul II.
On 3 December 1963, US President Lyndon B. Johnson posthumously awarded him the Presidential Medal of Freedom, the United States' highest civilian award, in recognition of the good relationship between Pope John XXIII and the United States of America. The citation for the medal reads:

His Holiness Pope John XXIII, dedicated servant of God. He brought to all citizens of the planet a heightened sense of the dignity of the individual, of the brotherhood of man, and of the common duty to build an environment of peace for all human kind.

Beatification and canonization
He was known affectionately as the "Good Pope". His cause for canonization was opened under Pope Paul VI during the final session of the Second Vatican Council on 18 November 1965, along with the cause of Pope Pius XII. On 3 September 2000, John XXIII was declared "Blessed" alongside Pope Pius IX by Pope John Paul II, the penultimate step on the road to sainthood, after a miracle of curing an ill woman was discovered. He was the first pope since Pope Pius X to receive this honour. Following his beatification, his body was moved from its original burial place in the grottoes below the Vatican to the altar of St. Jerome and displayed for the veneration of the faithful.At the time, the body was observed to be extremely well preserved – a condition which the Church ascribes to embalming and the lack of air flow in his sealed triple coffin rather than a miracle. When John XXIII's body was moved in 2001, it was once again treated to prevent deterioration. The original vault above the floor was removed and a new one built beneath the ground; it was here that the body of Pope John Paul II was entombed from 9 April 2005 to April 2011, before being moved for his beatification on 1 May 2011.The 50th anniversary of his death was celebrated on 3 June 2013 by Pope Francis, who visited his tomb and prayed there, then addressing the gathered crowd and spoke about the late pope. The people that gathered there at the tomb were from Bergamo, the province where the late pope came from. A month later, on 5 July 2013, Francis approved Pope John XXIII for canonization, along with Pope John Paul II without the traditional second miracle required. Instead, Francis based this decision on John XXIII's merits for the Second Vatican Council. On Sunday, 27 April 2014, John XXIII and Pope John Paul II were declared saints on Divine Mercy Sunday.The date assigned for the liturgical celebration of John XXIII is not 3 June, the anniversary of his death as would be usual (due to the obligatory memorial of saints Charles Lwanga and his companion martyrs), but 11 October, the anniversary of his opening of the Second Vatican Council. He is also commemorated in the Anglican Church of Canada, the Evangelical Lutheran Church in America, and some other organizations with a feast day of 3 June or 4 June.

Legacy
From his teens when he entered the seminary, he maintained a diary of spiritual reflections that was subsequently published as the Journal of a Soul. The collection of writings charts Roncalli's goals and his efforts as a young man to "grow in holiness" and continues after his election to the papacy; it remains widely read.The opening titles of Pier Paolo Pasolini's film The Gospel According to St. Matthew (1964) dedicate the film to the memory of John XXIII.Institutions named after John XXIII include:  John XXIII College (Perth) in Western Australia; Pope John Senior High School and Junior Seminary in Koforidua, Ghana; the Catholic Learning Community of John XXIII, a primary school in Sydney;  Roncalli College, located in Timaru, New Zealand; Roncalli High Schools in Indianapolis, Indiana, Aberdeen, South Dakota, Manitowoc, Wisconsin, and Omaha, Nebraska;  John XXIII School in India; and Jean-XXIII high school in Montréal, Québec. 
Parishes named after John XXIII are located in Evanston, IL, Fort Collins, CO, Fort Myers, FL, and Winchester, OH.During an event held on 6 May 2019 in Bulgaria, Pope Francis invoked John XXIII's encyclical Pacem in terris as a "code of conduct" for peace between Catholics and other religions.

See also
Cardinals created by John XXIII
Central Preparatory Commission
Eastern Catholic Churches
Eastern Orthodox Church
List of Catholic saints
List of encyclicals of Pope John XXIII
List of meetings between the pope and the president of the United States
List of popes
List of Righteous Among the Nations by country
Vatican City

Notes
Passage 11:
Patricia Gozzi
Patricia Gozzi (born 12 April 1950) is a French actress. She is best known for her starring roles in Sundays and Cybèle and Rapture.Hung Up was Gozzi's final film.

Filmography
Passage 12:
Perugia Altarpiece
The Perugia Altarpiece (Italian: Pala di Perugia) is a painting   by the Italian early Renaissance painter   Fra Angelico, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy.

History
The painting was executed for the St. Nicholas Chapel in the Basilica of San Domenico, Perugia. In the early 19th century, it was split and partially dispersed, and some of the predella panels were acquired by the Pinacoteca Vaticana. In Perugia were executed copies of these panels, enclosed into a neo-Gothic frame. The polyptych also included some small depictions of saints, on the side piers, and two tondoes with the Annunciation Angel and the Annunciation, in the cusps.

Description
The work includes a large central panel, depicting the Madonna Enthroned with Child and Angels, which was fully painted by Fra Angelico. The two side panels, each forming  two arched sub-panels and including a figure of saint.  On the left are St. Dominic and St. Nicholas, attributed to Angelico, while on the right are St. John the Baptist and St. Catherine of Alexandria, considered to be mostly by his workshop. 
The central Madonna is a Maestà depiction, and sits on a large throne painted using geometric perspective. In front of her is a step with vases housing three white and red roses (symbolic of the Virgin's purity and a forecast of Christ's Passion, respectively). The panel resembles that in the Cortona Triptych, especially for the Madonna, the throne's arch and the placement of the angels. The pavement is decorated with marble tarsia, already used by Fra Angelico in earlier works such as the San Pietro Martire Triptych (1428–1429).
The saint's figures are less monumental than in the later Tabernacle of the Lanaioli (1433–1435). Behind them is a table, covered by a brocade drape decorated in gold, over which is St. Nicholas' mitre.
The predella panels portray scenes of the Life of St. Nicholas.
Passage 13:
Altarpiece of the Halberd
The Altarpiece of the Halberd is an oil-on-canvas painting created ca.1539 by the Italian High Renaissance painter Lorenzo Lotto. It is housed in the Pinacoteca civica Francesco Podesti of Ancona, central Italy.

History
The work was seen by the art biographer Giorgio Vasari in the church of Sant'Agostino in Ancona, where Lotto had fled in reply to the hostility received in Venice. It was later moved to the church of Santa Maria della Piazza and, after other locations, the current one.
The painting dates to a few years after the coup by which Ancona had been restored to the Papal States. The resistance had been brutally suppressed, many of the rebels having been beheaded by order of the papal legate. The upside-down halberd has been thus interpreted as a symbol of peace.

Description
The monumental composition is taken directly from the tradition of Holy Conversations in the Venetian School, inaugurated by Antonello da Messina's San Cassiano Altarpiece. It shows the Madonna and Child on a high throne, with two angels holding the crown (a 15th-century Flemish painting element also in use in Italy). In the lower part are four saints: Stephen, John the Evangelist, Simon the Zealot and Lawrence. Simon is holding the halberd which gives its name to the altarpiece. At the sides of the throne, between columns and draperies, are two sections of sky with clouds.
As in other paintings by Lotto, the symmetry is broken by the variety of postures and gestures. The work is characterized by a certain archaic style, explainable by the relatively provincial commissioners and the late stage of his career.

Sources
Pirovano, Carlo (2002). Lotto. Milan: Electa.
Passage 14:
Tauberbischofsheim altarpiece
The Tauberischofsheim Altarpiece (earlier known as the Karlsruhe altarpiece or Karlsruhe panels; German: Tauberbischofsheimer Altar, Karlsruher Altar, and Karlsruher Tafeln, respectively) is a late work by the German Renaissance painter  Matthias Grünewald,  probably completed between 1523 and 1525. The earliest written references to the work come from the 18th century, when the altarpiece was still in the Church of St. Martin in Tauberbischofsheim. Its original location and the identity of the patron who commissioned it are not known, but it is assumed that they both were in Tauberbischofsheim.
The panels, which today are displayed separately, were originally painted on either side of a 196 cm by 152 cm wooden panel. Whether the pieces were the central part of a polyptych is uncertain, however. In order to display the work in an art museum, the panel was split in half during its first restoration in 1883. The paintings have been in the collection of the Staatliche Kunsthalle Karlsruhe since 1900.
Joris-Karl Huysmans' novel Là-bas (1891) has a famous chapter on the crucifixion.

Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Why did Roncalli leave the place of death of the maker of The Gozzi Altarpiece?



Answer: for the conclave in Rome Rome Roma