SUMMARY / RELATED TOPICS

Descent from the Cross

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, in the West from the 10th century; the Descent from the Cross is the 13th Station of the Cross. Other figures not mentioned in the Gospels who are included in depictions of this subject include John the Evangelist, sometimes depicted supporting a fainting Mary, Mary Magdalene; the Gospels mention an undefined number of women as watching the crucifixion, including The Three Marys, that the Virgin Mary and Mary Magdalene saw the burial. These and further women and unnamed male helpers are shown. In early depictions the details and posing of the composition, the position of Christ's body, are varied; the scene was included in medieval cycles of the Life or the Passion of Christ, between the Crucifixion and the Entombment of Christ.

The Lamentation of Christ, or Pietà, showing the body of Christ held by Mary, may intervene between these two, is common as an individual image in sculpture. The Bearing of the body, showing Christ's body being carried to his tomb, the Anointing of Christ's body, showing the body laid flat on the top of the tomb or a similarly-shaped "anointing-stone" are other scenes that may be shown; this last is important in Orthodox art, where it is shown on the Epitaphios. With the Renaissance the subject became popular for altarpieces because of the challenges of the composition, the suitability of its vertical shape; the Mannerist version of Rosso Fiorentino is regarded as his most important work, Pontormo's altarpiece is his most ambitious work. The subject was painted several times by both Rubens and Rembrandt, who repeated one of his paintings in a large print, his only one to be engraved, as well as making two other etchings of the subject. Deposition of Christ, by Fra Angelico, in the National Museum of San Marco, Florence.

Descent from the Cross by Rogier van der Weyden, in Museo del Prado, Madrid). Deposition from the Cross, Filippino Lippi, completed circa 1506, by Pietro Perugino, in the Galleria dell'Accademia di Firenze. Deposition from the Cross by Rosso Fiorentino in Pinacoteca of Volterra. Deposition from the Cross by Pontormo at Capponi Chapel of church of Santa Felicita, Florence. Deposition of Christ by Bronzino in the Palazzo Vecchio, Florence; the Descent from the Cross, by Rubens, at the Cathedral of Our Lady, Antwerp Descent From The Cross, by David Folley, now at the Jesus Chapel, St. Andrew's Church, Essex. Antimension Epitaphios Life of Jesus in the New Testament Seven Sorrows of Mary Pietà Media related to Descent from the Cross at Wikimedia Commons

Honda CB250N/CB400N

The Honda CB250N and CB400N Super Dream are motorcycles manufactured by the Honda Motor Company from 1978 to 1986. The successor to the short lived Dream model, it had a series of revisions including a six-speed transmission and what Honda termed as European styling which resembled the CB750F and CB900F, it was a popular model for Honda with 70,000 bikes sold in the UK alone. The Super Dream was fitted with air-cooled, twin-cylinder engine, it had three valves per cylinder, two inlet and one exhaust, operated by a chain-driven overhead camshaft. Ignition was provided by capacitor discharge ignition, it had a 360° crank layout similar to many traditional British parallel twins, but with two balance shafts to reduce unwanted vibrations. It used a six-speed chain final drive. Fuelling was provided by twin Keihin carburettors; the CB250N Super Dream was a 249 cc motorbike. It was a popular model in the United Kingdom due to the licensing laws at the time allowing learners to ride any motorbike with a capacity under 250cc.

The CB250N was the most popular selling bike in the UK with over 17000 bikes sold in 1980 alone. Its popularity in the United Kingdom waned along with many in the 250cc class when in 1983, the maximum size of learner machines was reduced to 125 cc. During its production run it had several variations from 1978 to 1986; the various designations were, CB250N, CB250NA, CB250NB/NDB Deluxe and CB250NDC and CB250NDD. The CB400N Super Dream was similar to the 250N variant. However, it differed from the 250N with its larger engine capacity, twin front brake discs and a halogen front head light; the front instrument had different markings for the rev counter and speed to reflect the lower maximum engine speed and higher top speed of the 400N. The CB400N had several revisions during its production run; the launch model CB400N, CB400NA, CB400NB, CB400NC and CB400ND

Jordan Matson

Jordan Matson is a former U. S. Army infantryman and one of the first foreign volunteers to fight within the People's Protection Units known as the YPG in Rojava, north Syria. From Sturtevant, Wisconsin, his reasons for doing so include dissatisfaction in his marriage but as a result of his frustration at the inaction by the U. S. government and the wider world. Matson told Fox6Now that he had grown up wanting to join the military, that "I was just done with it. Just done with watching these people die, and nothing being done about it". After being refused enlistment in the U. S. military, he decided. Matson fought in Shingal and Tell Tamer, in northeastern Syria. Matson lives in Sweden with his wife and son, Verdi Matson and Kosta Leonidas Matson, named after Kostandinos Erik Scurfield