1.
Sansepolcro Cathedral
–
The Cathedral of Sansepolcro is a Catholic church in Sansepolcro, Tuscany, central Italy. The church, formerly a church, occupies the site of the towns first Benedictine monastery. This, built in the 10th century, was acquired by the Camaldolese during the 12th century, the church was constructed in 1012–1049, initially dedicated to the Four Evangelists and the Holy Sepulchre. According to the legend, their relics had been here from the Holy Land by two local pilgrims, Egidio and Arcano. The abbey was rebuilt in the late 13th century, in 1520, when pope Leo X established the diocese of Sansepolcro, the church became its cathedral and was re-dedicated to the citys patron, St. John the Evangelist. Large restoration works were carried on between 1934 and 1943, destroying most of the Baroque elements added in the course of the centuries to the medieval edifice. A new choir was built in 1966–1967, the church became a co-cathedral with the merge of the dioceses of Arezzo, Sansepolcro and Cortona in 1986. With the exception of the area, the church has maintained the 14th century basilica plan with a nave. Romanesque elements include the internal round arcades, the capitals and the general proportions, more influenced by Gothic are the portal of the façade and window above. The rose window is the result of a later restoration, originally the church should receive a more elongated Gothic polygonal apse, replaced by a bell tower influenced by Umbrian similar structures. At the left aisle is the so-called Sansepolcro Altarpiece, or Ascension of Christ, annexed to the church is the Bishops Palace, one part of the original abbey. Its cloister has 16th-century frescoes depicting the Life of St. Benedict, labbazia camaldolese e la cattedrale di S. Sepolcro, Sansepolcro
Sansepolcro Cathedral
–
Cathedral of Sansepolcro.
Sansepolcro Cathedral
–
Interior view.
2.
Mary, mother of Jesus
–
Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
Mary, mother of Jesus
–
Our Lady of Vladimir, one of the medieval representations of the
Theotokos
Mary, mother of Jesus
–
Virgin and Child with angels and Sts. George and Theodore. Icon from around 600, from
Saint Catherine's Monastery.
Mary, mother of Jesus
–
The
Annunciation by
Eustache Le Sueur, an example of 17th-century
Marian art. The
Angel Gabriel announces to Mary her pregnancy with Jesus and offers her
White Lilies.
Mary, mother of Jesus
–
The Virgin's first seven steps, mosaic from
Chora Church, c. 12th century
3.
Mother of God
–
Theotokos is a title of Mary, mother of Jesus, used especially in Eastern Christianity. The usual Latin translations, Dei Genetrix or Deipara, are translated as Mother of God or God-bearer, the Council of Ephesus decreed in 431 that Mary is the Theotokos because her son Jesus is both God and man, one divine person with two natures intimately and hypostatically united. Similar to this is the title of Mother of God, Mother of God is most often used in English, largely due to the lack of a satisfactory equivalent of Greek τόκος / Latin genetrix. The title has been in use since the 3rd century, in the Syriac tradition in the Liturgy of Mari and Addai, Theotokos is an adjectival compound of two the Greek words Θεός God and τόκος childbirth, parturition, offspring. A close paraphrase would be whose offspring is God or who gave birth to one who was God, the usual English translation is simply Mother of God, Latin uses Deipara or Dei Genetrix. The Church Slavonic translation is Bogoroditsa, in an abbreviated form, ΜΡ ΘΥ, it often is found on Eastern icons, where it is used to identify Mary. The Russian term is Матерь Божия, variant forms are the compounds Θεομήτωρ and Μητρόθεος, which are found in patristic and liturgical texts. The theological dispute over the term concerned the term Θεός God vs. Χριστός Christ, and not τόκος vs. μήτηρ, to make it explicit, it is sometimes translated Mother of God Incarnate. This decree created the Nestorian Schism, Cyril of Alexandria wrote, I am amazed that there are some who are entirely in doubt as to whether the holy Virgin should be called Theotokos or not. For if our Lord Jesus Christ is God, how is the holy Virgin who gave birth, not. But the argument of Nestorius was that divine and human natures of Christ were distinct, at issue is the interpretation of the Incarnation, and the nature of the hypostatic union of Christs human and divine natures between Christs conception and birth. Within the Orthodox doctrinal teaching on the economy of salvation, Marys identity, role, for this reason, it is formally defined as official dogma. The only other Mariological teaching so defined is that of her virginity, both of these teachings have a bearing on the identity of Jesus Christ. The term was certainly in use by the 3rd century, athanasius of Alexandria in 330, Gregory the Theologian in 370, John Chrysostom in 400, and Augustine all used theotokos. Origen is often cited as the earliest author to use theotokos for Mary, although this testimony is uncertain, the term was used c.250 by Dionysius of Alexandria, in an epistle to Paul of Samosata. The Greek version of the hymn Sub tuum praesidium contains the term, in the vocative, the oldest record of this hymn is a papyrus found in Egypt, mostly dated to after 450. But according to a suggestion by de Villiers possibly older, dating to the mid-3rd century, the use of Theotokos was formally affirmed at the Third Ecumenical Council held at Ephesus in 431. Nestorius opponents, led by Cyril of Alexandria, viewed this as dividing Jesus into two persons, the human who was Son of Mary, and the divine who was not
Mother of God
–
An 18th-century Russian icon depicting various types of the Theotokos icons
Mother of God
–
Theotokos of Kazan
Mother of God
–
A series of articles on
Mother of God
–
Theotokos of Vladimir
4.
Icon
–
An icon is a religious work of art, most commonly a painting, from Eastern Christianity and certain Eastern Catholic churches. The most common subjects include Christ, Mary, saints and/or angels, icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc. Comparable images from Western Christianity are generally not described as icons, Eastern Orthodox tradition holds that the creation of Christian images dates back to the very early days of Christianity, and there is has been a continuous tradition since then. The icons of later centuries can be linked, often closely, to images from the 5th century onwards, there was enormous destruction of images during the Byzantine Iconoclasm of 726-842, although this did settle for good the question of the appropriateness of images. Since then icons have had a continuity of style and subject. At the same time there has been change and development, Christian tradition dating from the 8th century identifies Luke the Evangelist as the first icon painter. Aside from the legend that Pilate had made an image of Christ and he relates that King Abgar of Edessa sent a letter to Jesus at Jerusalem, asking Jesus to come and heal him of an illness. In this version there is no image, further legends relate that the cloth remained in Edessa until the 10th century, when it was taken to Constantinople. It went missing in 1204 when Crusaders sacked Constantinople, but by then numerous copies had firmly established its iconic type. They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honouring these images, after the manner of the Gentiles. And he called him and said, Lycomedes, what do you mean by this matter of the portrait, can it be one of thy gods that is painted here. For I see that you are living in heathen fashion. Later in the passage John says, But this that you have now done is childish and imperfect, at least some of the hierarchy of the Christian churches still strictly opposed icons in the early 4th century. At the Spanish non-ecumenical Synod of Elvira bishops concluded, Pictures are not to be placed in churches, so that they do not become objects of worship and adoration. to our religion. After the emperor Constantine I extended official toleration of Christianity within the Roman Empire in 313 and this period of Christianization probably saw the use of Christian images became very widespread among the faithful, though with great differences from pagan habits. Robin Lane Fox states By the early century, we know of the ownership of private icons of saints. 480-500, we can be sure that the inside of a saints shrine would be adorned with images and votive portraits, when Constantine himself apparently converted to Christianity, the majority of his subjects remained pagans
Icon
–
The Ladder of Divine Ascent icon showing monks ascending to
Jesus in Heaven, top right. 12th century,
Saint Catherine's Monastery
Icon
–
Russian icon of
Holy Trinity
Icon
–
The icon of
St Nicolas carved in stone. Between the 12 and 15th cc.
Radomysl Castle, Ukraine
Icon
–
Ceramic icons are rare.
Saint Arethas, Byzantine, 10th century.
5.
Madonna and Child
–
A Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches, the word is from Italian ma donna, meaning my lady. Or descriptive of the posture, as in Hodegetria, Eleusa. The term Madonna in the sense of picture or statue of the Virgin Mary enters English usage in the 17th century, in an Eastern Orthodox context, such images are typically known as Theotokos. Madonna may be used of representations of Mary, with or without the infant Jesus, is the focus and central figure of the image. Other types of Marian imagery have a context, depicting scenes from the Life of the Virgin. The earliest depictions of Mary date still to Early Christianity, found in the Catacombs of Rome and these are in a narrative context. The Theotokos iconography as it developed in the 6th to 8th century rose to importance in the high medieval period both in the Eastern Orthodox and in the Latin spheres. Liturgy depicting Mary as powerful intercessor was brought from Greek into Latin tradition in the 8th century, the Greek title of Δεσποινα was adopted as Latin Domina Lady. The medieval Italian Ma Donna pronounced reflects Mea Domina, while Nostra Domina was adopted in French and these names signal both the increased importance of the cult of the virgin and the prominence of art in service to Marian devotion during the late medieval period. Madonna was meant more to people of the theological concept which is placing such a high value on purity or virginity. This is also represented by the color of her clothing, the color blue symbolized purity, virginity, and royalty. In this sense, a Madonna, or a Madonna with Child is used of works of art. There are several types of representation of the Madonna. One type of Madonna shows Mary alone, and standing, generally glorified and with a gesture of prayer and this type of image occurs in a number of ancient apsidal mosaics. Full-length standing images of the Madonna more frequently include the infant Jesus, the most famous Byzantine image, the Hodegetria was originally of this type, though most copies are at half-length. There are a number of paintings that depict the Madonna in this manner. The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and these representations of the Madonna and Child often take the form of large altarpieces
Madonna and Child
–
The Virgin and Child or The Madonna of the Book by
Sandro Botticelli, 1480.
Madonna and Child
–
Madonna and Child by
Filippo Lippi
Madonna and Child
–
Icon of the enthroned Virgin and Child with saints and angels, and the
Hand of God above, 6th century,
Saint Catherine's Monastery, perhaps the earliest iconic image of the subject to survive.
Madonna and Child
–
13th century Madonna with Child in the Italo-Byzantine style.
6.
Merton College, Oxford
–
Merton College is one of the constituent colleges of the University of Oxford in England. The important feature of Walters foundation was that this college was to be self-governing, the hall and the chapel and the rest of the front quad were complete before the end of the 13th century. Notable alumni and academics past and present include four Nobel Laureates and writer J. R. R. Tolkien who was Merton Professor of English Language, Merton is one of the wealthiest colleges in Oxford and had a financial endowment of £212.8 million as of July 2014. Merton has a reputation for academic success, having regularly ranked first in the Norrington Table in recent years. Merton College was founded in 1264 by Walter de Merton, Lord Chancellor and it has a claim to be the oldest college in Oxford, although this claim is disputed between Merton College, Balliol College and University College. The substance of Mertons claim is that it was the first college to be provided with statutes, Mertons statutes date back to 1264, whereas neither Balliol nor University College had statutes until the 1280s. Merton was also the first college to be conceived as a community working to achieve academic ends, Merton has an unbroken line of wardens dating back to 1264. Of these, many had great influences over the development of the college, Henry Savile was one notable leader whose vision led the college to flourish in the early 17th century. St Alban Hall was an independent academic hall owned by the convent of Littlemore until it was purchased by Merton College in 1548 following the dissolution of the convent and it continued as a separate institution until it was finally annexed by the college in 1881. During the English Civil War, Merton was the only Oxford college to side with Parliament, the reason for this was Mertons annoyance with the interference of their Visitor William Laud, the Archbishop of Canterbury. This included the Kings French wife, Queen Henrietta Maria, who was housed in or near what is now the Queens Room, the room above the arch between Front and Fellows Quads. Differences were quickly settled after the war, however, and a portrait of Charles I hangs near the Queens Room as a reminder of the role it played in his court. The college was consolidated on this site by 1274, when Walter made his final revisions to the college statutes, the initial acquisition included the parish church of St John and three houses to the east of the church which now form the north range of Front Quad. Walter also obtained permission from the king to extend from these properties south to the old city wall to form a square site. The college continued to other properties as they became available on both sides of Merton Street. At one time, the college owned all the land from the site that is now Christ Church to the eastern corner of the city. The land to the east eventually became the current Fellows garden, by the late 1280s the old church of St John the Baptist had fallen into a ruinous condition, and the college accounts show that work on a new church began in about 1290. The present choir, with its enormous east window, was complete by 1294, the window is an important example of how the strict geometrical conventions of the Early English Period of architecture were beginning to be relaxed at the end of the 13th century
Merton College, Oxford
–
Colleges and
halls of the
University of Oxford Merton College
Merton College, Oxford
–
Henry Savile, Warden from 1585 to 1621, had great influence of the development of the college
Merton College, Oxford
–
St Alban Hall, pictured in 1837
Merton College, Oxford
–
Merton as seen from
Broad Walk
7.
Cross of Mathilde
–
The Cross of Mathilde is an Ottonian processional cross in the crux gemmata style which has been in Essen in Germany since it was made in the 11th century. It is named after Abbess Mathilde who is depicted as the donor on an enamel plaque on the crosss stem. It was made between about 1000, when Mathilde was abbess, and 1058, when Abbess Theophanu died and it may have been completed in stages, and the corpus, the body of the crucified Christ, may be a still later replacement. All were made for Essen Abbey, now Essen Cathedral, and are kept in Essen Cathedral Treasury, the Cross of Mathilde is 45 cm tall and 30.5 cm wide and the cross beams are 6.3 cm wide and 2.2 cm deep. It consists of an oak core covered in gold sheet, under the cross is a modern glass ball which serves as a handle. The ends of the Latin cross are flared in a way found in Mathildes First Cross, the narrow sides and reverse of the Cross of Mathilde are covered with gilt copper. On the reverse it is decorated with a punchmarked Agnus Dei which is accompanied by the four Evangelists symbols, on the obverse there is a crucifix cast in bronze and gilt, with three cavities for holding relics, two in the back and one in the occiput. To the left and right of the crucifix there are roundels with personifications of the Sun. Above the crucifix is the normal cross inscription in enamel, IHC NAZA/RENVS REX / IVDEORV, above which there is a large red stone surrounded by four pearls. The central area with the crucifix, donor portrait, cross inscription, sun, moon and lion cameo is bordered by a strip of alternating enamel plates and stones, at the end of each cross beam there are four teardrop-shaped, coloured stones around a central stone. On the right arm, the stone is a cameo with a female bust looking left. On the left arm it is a cut in a piece of striped onyx, showing a helmeted soldier in profile. The Cross of Mathilde is generally considered the weakest of the four Essen processional crosses in artistic terms, Pothmann considers the artistry, in 1904, Humann described it as a cluttered grandeur and, every respect, a cruder image. The assessment of the cross is significantly complicated by a restoration which must have occurred between 1904 and 1950. In this restoration the edging enamels were melted, allowing the colours underneath to be seen, Jesus stands on a suppedaneum, with his legs together. The loincloth is knotted in the middle and falls evenly in broad folds, the arms are slightly unequal in length. The head is bent to the side and is surrounded by a halo which is attached to the member of the cross and is not adjusted to take account of the tilt of the head. Humann calls the position of the clumsy and awkward
Cross of Mathilde
–
The Cross of Mathilde in the
Essen Cathedral Treasury
Cross of Mathilde
–
The reverse of the Cross of Mathilde
Cross of Mathilde
–
Crucifix detail
Cross of Mathilde
–
The enamel plaque with the donor portrait
8.
University of Dayton
–
The University of Dayton is an American private Roman Catholic national research university in Ohios sixth-largest city, Dayton. Founded in 1850 by the Society of Mary, it is one of three Marianist universities in the nation and the largest private university in Ohio, the universitys campus is located in the citys southern portion and spans 388 acres on both sides of the Great Miami River. The campus is noted for the Immaculate Conception Chapel and the University of Dayton Arena, the University also operates, in Chinas Suzhou Industrial Park, the University of Dayton China Institute. Leo Meyer, S. M. journeyed from Alsace in France to Cincinnati, but with a cholera epidemic raging to the north, Bishop John Baptist Purcell of the Cincinnati diocese, sent Father Meyer to Emmanuel parish in Dayton to tend to the sick. In Dayton, Father Meyer met local farmer John Stuart, who had lost his infant daughter Mary Louisa to cholera the year before, heartbroken, Stuart and his wife wanted to sell their Dewberry Farm property and return to Europe. Stuart accepted a St. Joseph medal and a promise of $12,000 at 6 percent interest, the property included vineyards, an orchard, a mansion, various farm buildings, and the grave of Stuarts daughter, which Meyer promised to maintain. Just a few later, the University of Dayton had its beginnings on 1 July 1850. In September, the first boarding students arrived and classes moved to the mansion, five years later, the school burned to the ground, but classes resumed within months. By 1860, when Brother Zehler became president, the enrollment was nearly 100 students, the Civil War had little direct effect on the school because most of the students were too young to serve. College preparatory classes started in 1861 along with a novitiate and school for Marianist candidates, in 1882 the university was incorporated and empowered to confer collegiate degrees by the State of Ohio. When floodwaters struck the community during the Great Dayton Flood of 1913, St. Marys College was uniquely situated and equipped to provide relief to flood victims. Because students had not returned to campus from Easter break, the college was amply stocked with food, the colleges kitchen provided meals to Miami Valley Hospital and provided 12,000 pounds of provisions to St. Elizabeth Hospital. The first night,400 refugees took shelter at St. Marys College, in all, the college assisted 800 refugees. Known at various times as St. Marys School, St. Marys Institute, in 1923, the University adopted the Dayton Flyers nickname for its athletic teams and adopted a university seal with the motto, Pro Deo et Patria, Latin for For God and Country. In the 1930s, women were admitted on a basis with men,40 years before most Catholic universities allowed women. The school expanded its programs in science, engineering, and the professions and continued to attract the children and grandchildren of Catholic immigrants. The growing Catholic presence in Dayton during the 1920s drew the hostility of the Ku Klux Klan, on 19 December 1923,12 bombs exploded throughout the campus and an 8-foot cross was set on fire. Several hundred Klansmen were routed by hundreds of residents who joined students in chasing them off
University of Dayton
–
Immaculate Conception Chapel
University of Dayton
–
University of Dayton
University of Dayton
–
St. Mary's Hall and the Immaculate Conception Chapel at the University of Dayton
University of Dayton
–
University of Dayton south student neighborhood
9.
Madonna (art)
–
A Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches, the word is from Italian ma donna, meaning my lady. Or descriptive of the posture, as in Hodegetria, Eleusa. The term Madonna in the sense of picture or statue of the Virgin Mary enters English usage in the 17th century, in an Eastern Orthodox context, such images are typically known as Theotokos. Madonna may be used of representations of Mary, with or without the infant Jesus, is the focus and central figure of the image. Other types of Marian imagery have a context, depicting scenes from the Life of the Virgin. The earliest depictions of Mary date still to Early Christianity, found in the Catacombs of Rome and these are in a narrative context. The Theotokos iconography as it developed in the 6th to 8th century rose to importance in the high medieval period both in the Eastern Orthodox and in the Latin spheres. Liturgy depicting Mary as powerful intercessor was brought from Greek into Latin tradition in the 8th century, the Greek title of Δεσποινα was adopted as Latin Domina Lady. The medieval Italian Ma Donna pronounced reflects Mea Domina, while Nostra Domina was adopted in French and these names signal both the increased importance of the cult of the virgin and the prominence of art in service to Marian devotion during the late medieval period. Madonna was meant more to people of the theological concept which is placing such a high value on purity or virginity. This is also represented by the color of her clothing, the color blue symbolized purity, virginity, and royalty. In this sense, a Madonna, or a Madonna with Child is used of works of art. There are several types of representation of the Madonna. One type of Madonna shows Mary alone, and standing, generally glorified and with a gesture of prayer and this type of image occurs in a number of ancient apsidal mosaics. Full-length standing images of the Madonna more frequently include the infant Jesus, the most famous Byzantine image, the Hodegetria was originally of this type, though most copies are at half-length. There are a number of paintings that depict the Madonna in this manner. The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and these representations of the Madonna and Child often take the form of large altarpieces
Madonna (art)
–
The Virgin and Child or The Madonna of the Book by
Sandro Botticelli, 1480.
Madonna (art)
–
Madonna and Child by
Filippo Lippi
Madonna (art)
–
Icon of the enthroned Virgin and Child with saints and angels, and the
Hand of God above, 6th century,
Saint Catherine's Monastery, perhaps the earliest iconic image of the subject to survive.
Madonna (art)
–
13th century Madonna with Child in the Italo-Byzantine style.
10.
Acathist
–
Only during readings of the Gospel and the singing of Akathists is standing considered mandatory for all. The akathist par excellence is that written in the century to the Theotokos. Reader Isaac E. Lambertsen has done a large amount of translation work, most of the newer akathists are pastiche, that is, a generic form imitating the original 6th-century akathist to the Theotokos into which a particular saints name is inserted. In the Greek, Arabic, and Russian Old Rite traditions, franciscus Junius wrongly interpreted Acathistus as one who neither sits nor rests, but journeys with child, as for instance when the Blessed Virgin was brought by Joseph to Bethlehem. Gretser easily refutes the interpretation by citing from the Synaxarion in the Triodion, a sudden hurricane dispersed the fleet of the enemy, casting the vessels on the shore near the Great church of the Theotokos at Blachernae, a quarter of Constantinople inside the Golden Horn. The people spent the night, says the account, thanking her for the unexpected deliverance. From that time, therefore, the Church, in memory of so great and so divine a miracle, perhaps the kontakion, which might seem to be allusive, was originally composed for the celebration on the night of the victory. However the feast may have originated, the Synaxarion commemorates two other victories, under Leo III the Isaurian, and Constantine Pogonatus, similarly ascribed to the intervention of the Theotokos, no certain ascription of its authorship can be made. It has been attributed to Patriarch Sergius I of Constantinople, whose pious activities the Synaxarion commemorates in great detail, quercius also argues that words, phrases, and sentences of the hymn are to be found in the poetry of Pisida. Leclercq finds nothing absolutely demonstrative in such a comparison and offers a suggestion which may help to a solution of the problem. When an akathist is chanted by itself, the Usual beginning, the akathist may also be included as a part of another service, such as Matins or a Molieben. The hymn itself is divided into thirteen parts, each of which is composed of a kontakion, the kontakion usually ends with the exclamation, Alleluia, which is repeated by a choir in full settings or chanted by the reader in simple settings. Within the latter part of the oikos comes an anaphoric entreaty, but as thou has invincible power, free us from conflicts of all kinds that we may cry to thee, Rejoice, unwedded Bride. Oikos One An Archangel was sent from Heaven to say to the Mother of God, Rejoice. And seeing Thee, O Lord, taking form, he was amazed and with his bodiless voice he stood crying to her such things as these, Rejoice. Rejoice, thou through whom the curse will cease, Rejoice, redemption of the tears of Eve. Rejoice, height hard to climb for human thoughts, Rejoice, depth hard to contemplate even for the eyes of Angels. Rejoice, thou who art the Kings throne, Rejoice, thou who bearest Him Who bears all
Acathist
–
Icon of the
Theotokos Orans from Spasky Cathedral in
Yaroslavl (13th-century).
Acathist
–
Icon of the Akathist of the
Theotokos.
Fresco detail, 1644.
Church of the Deposition of the Robe of the Mother of God,
Moscow Kremlin.
Acathist
–
Detail of the
icon of the Praises of the Theotokos, before which the Akathist may be chanted. The
Theotokos is shown enthroned in the center, with
Christ Emmanuel above her. To either side are shown the
prophets who foretold the
Incarnation. In the full icon, scenes from the life of the Virgin Mary surround this vignette.
11.
Hermeneutics
–
Hermeneutics is the theory and methodology of interpretation, especially the interpretation of biblical texts, wisdom literature, and philosophical texts. Modern hermeneutics includes both verbal and non-verbal communication as well as semiotics, presuppositions, and pre-understandings, Hermeneutics has been broadly applied in the humanities, especially in law, history and theology. Hermeneutics was initially applied to the interpretation, or exegesis, of scripture, the terms hermeneutics and exegesis are sometimes used interchangeably. Hermeneutics is a discipline which includes written, verbal. Hermeneutic, as a noun, refers to some particular method of interpretation. Hermeneutics is derived from the Greek word ἑρμηνεύω, from ἑρμηνεύς and it is one of the earliest extant philosophical works in the Western tradition to deal with the relationship between language and logic in a comprehensive, explicit and formal way. The early usage of hermeneutics places it within the boundaries of the sacred, a divine message must be received with implicit uncertainty regarding its truth. This ambiguity is an irrationality, it is a sort of madness that is inflicted upon the receiver of the message, only one who possesses a rational method of interpretation could determine the truth or falsity of the message. Folk etymology places its origin with Hermes, the mythological Greek deity who was the messenger of the gods, besides being a mediator between the gods and between the gods and men, he led souls to the underworld upon death. Hermes was also considered to be the inventor of language and speech, an interpreter, a liar, a thief and these multiple roles made Hermes an ideal representative figure for hermeneutics. As Socrates noted, words have the power to reveal or conceal and these principles ranged from standard rules of logic to more expansive ones, such as the rule that a passage could be interpreted by reference to another passage in which the same word appears. The rabbis did not ascribe equal persuasive power to the various principles, traditional Jewish hermeneutics differed from the Greek method in that the rabbis considered the Tanakh to be without error. Any apparent inconsistencies had to be understood by means of examination of a given text within the context of other texts. Vedic hermeneutics involves the exegesis of the Vedas, the earliest holy texts of Hinduism, the Mimamsa was the leading hermeneutic school and their primary purpose was understanding what Dharma involved by a detailed hermeneutic study of the Vedas. They also derived the rules for the rituals that had to be performed precisely. The foundational text is the Mimamsa Sutra of Jaimini with a commentary by Śabara. The Mimamsa sutra summed up the rules for Vedic interpretation. Buddhist hermeneutics deals with the interpretation of the vast Buddhist literature, particularly those texts which are said to be spoken by the Buddha, Buddhist hermeneutics is deeply tied to Buddhist spiritual practice and its ultimate aim is to extract skillful means of reaching spiritual enlightenment or nirvana
Hermeneutics
–
Hermes, messenger of the gods.
12.
Books of Kings
–
In the Hebrew Bible, Kings is a single book called the Book of Kings. The fourth book of Neviim, the division of the Tanakh. In the Septuagint, Samuel and Kings was divided into four books and Kings became III, the two Books of Kings presents a history of ancient Israel and Judah from the death of David to the release of Jehoiachin from imprisonment in Babylon, a period of some 400 years. Solomon comes to the throne after Davids death, at the beginning of his reign he assumes Gods promises to David and brings splendour to Israel and peace and prosperity to his people. The centrepiece of Solomons reign is the building of the First Temple, at the end, however, he follows other gods and oppresses Israel. The kings who follow Rehoboam in Jerusalem continue the line of David, in the north, however, dynasties follow each other in rapid succession. At length God brings the Assyrians to destroy the northern kingdom, Yahweh saves Jerusalem and the kingdom from an invasion by Assyria. But Manasseh, the king, reverses the reforms. Manassehs righteous grandson Josiah reinstitutes the reforms of Hezekiah, but it is too late, God, speaking through the prophetess Huldah, affirms that Jerusalem is to be destroyed. God brings the Babylonians against Jerusalem, Yahweh deserts his people, Jerusalem is razed and the Temple destroyed, in the original Hebrew Bible First and Second Kings are a single book, as are First and Second Samuel. When this was translated into Greek in the last few centuries BCE, then, what it is now commonly known as 1 Samuel and 2 Samuel are called by the Vulgate, in imitation of the Septuagint,1 Kings and 2 Kings respectively. What it is now known as 1 Kings and 2 Kings would be 3 Kings and 4 Kings in old Bibles before the year 1516 such as the Vulgate. The division we know today, used by Protestant Bibles and adopted by Catholics, some Bibles still preserve the old denomination, for example, Douay Rheims bible. According to Jewish tradition the author of Kings was Jeremiah, who would have been alive during the fall of Jerusalem in 586 BCE. The Deuteronomic perspective is particularly evident in prayers and speeches spoken by key figures at major transition points, a third source, or set of sources, were cycles of stories about various prophets, plus a few smaller miscellaneous traditions. The conclusion of the book was based on personal knowledge. A few sections were editorial additions not based on sources, judgement is not punishment, but simply the natural consequence of Israels failure to worship Yahweh alone. Another and related theme is that of prophecy, the main point of the prophetic stories is that Gods prophecies are always fulfilled, so that any not yet fulfilled will be so in the future
Books of Kings
–
Tanakh (Judaism)
Books of Kings
–
Solomon greeting the Queen of Sheba – gate of
Florence Baptistry
Books of Kings
–
Rembrandt, "Jeremiah Lamenting the Destruction of Jerusalem", c. 1630
Books of Kings
–
James Tissot, The Flight of the Prisoners – the fall of Jerusalem, 586 BCE.
13.
Early Netherlandish painting
–
Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, the major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century, the painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is noted for its sculpture, tapestries, illuminated manuscripts, stained glass. Assisted by the system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority were destroyed during waves of iconoclasm in the 16th and 17th centuries, Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, attribution of some of the most significant works is still debated. These artists became a driving force behind the Northern Renaissance. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Germany, Belgium, the Netherlandish artists have been known by a variety of terms. Late Gothic is a designation which emphasises continuity with the art of the Middle Ages. In the early 20th century, the artists were variously referred to in English as the Ghent-Bruges school or the Old Netherlandish school. In this context, primitive does not refer to a lack of sophistication. When the Burgundian dukes established centres of power in the Netherlands, in the 19th century the Early Netherlandish artists were classified by nationality, with Jan van Eyck identified as German and van der Weyden as French. Scholars were at times preoccupied as to whether the schools genesis was in France or Germany, in the 14th century, as Gothic art gave way to the International Gothic era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is tied to the tradition. Modern art historians see the era as beginning with 14th-century manuscript illuminators and this patronage continued in the low countries with the Burgundian dukes, Philip the Good and his son Charles the Bold. The demand for illuminated manuscripts declined towards the end of the century, following van Eycks innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts
Early Netherlandish painting
–
Jan van Eyck, The
Arnolfini Portrait, 1434,
National Gallery, London. This work is considered one of the more original and complex paintings in Western art because of its iconography and geometric
orthogonal perspective.
Early Netherlandish painting
–
Rogier van der Weyden,
The Descent from the Cross, c. 1435,
Museo del Prado, Madrid
Early Netherlandish painting
–
The
Ghent Altarpiece, completed in 1432 by Jan van Eyck. This polyptych and the
Turin-Milan Hours are generally seen as the first major works of the Early Netherlandish period.
Early Netherlandish painting
–
Hieronymus Bosch,
The Garden of Earthly Delights, c. 1490–1510.
Museo del Prado, Madrid. Art historians are divided as to whether the central panel was intended as a moral warning or as a panorama of paradise lost
14.
Lucca Madonna (van Eyck)
–
The Lucca Madonna is a 1436 oil painting of the Madonna and Child by the Early Netherlandish master Jan van Eyck. It shows Mary seated on a throne and crowned by a canopy. Its carpentry suggests it was once the inner panel of a triptych, the painting is in the collection of the Städel Museum, Frankfurt. It is known as Lucca Madonna as it belonged to the collection of Charles II, Duke of Parma and it is one of the latest works by Jan van Eyck. The Virgin has been identified as a portrait of the wife, Margaretha. The Virgin sits on a throne with four lion statues. The iconography mixes the earlier style of the Nursing Madonna with the Throne of Wisdom, as the Speculum Humanae Salvationis put it, the throne of the true Solomon is the most Blessed Virgin Mary, In which sat Jesus Christ, the true wisdom. The unusual shape of the room, very narrow for such a large chair, the two fruits on the windowsill have not been positively identified, but they are either apples or oranges, both of which would be allusions to paradise. The right side wall is an image to the window, while a shelf contains empty candlestick. There is a bowl or sink on the lower ledge. The floor tiles are formed from blue and white, geometrical patterns, the Lucca Madonna is one of six extant Madonna paintings by van Eyck that are dated to the period between his completion of the Ghent Altarpiece and his death in June 1441. Besuch im Städel – Betrachtungen zu Bildern, insel Taschenbuchverlag, Frankfurt 1986, ISBN 3-458-32639-1 Harbison, Craig. Jan van Eyck, The Play of Realism, ISBN 0-948462-79-5 Lane, Barbara G, The Altar and the Altarpiece, Sacramental Themes in Early Netherlandish Painting. Harper & Row,1984, ISBN 0-06-430133-8 Pächt, Otto, van Eyck – die Begründer der altniederländischen Malerei. Prestel Verlag, München 1989, ISBN 3-7913-1033-X Purtle, Carol J, the Marian Paintings of Jan van Eyck. Princeton University Press, Princeton, New Jersey 1982 Sander, Jochen, fokus auf Jan van Eyck, Lukas Madonna, um 1437/1438. Publication of the Städel Museum,2006 Végh, János, henschelverlag Kunst und Gesellschaft, Berlin 1984
Lucca Madonna (van Eyck)
–
Lucca Madonna
Lucca Madonna (van Eyck)
–
Portraits
15.
Jan van Eyck
–
Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
Jan van Eyck
–
Portrait of a Man in a Turban, possible self-portrait, 1433
Jan van Eyck
–
The Three Marys at the Tomb, painted or begun by Jan's brother
Hubert van Eyck, perhaps between 1410 and 1420, completed by members of Jan's workshop c 1440.
Jan van Eyck
–
Ghent Altarpiece, c. 1432, Saint Bavo Cathedral, Ghent
Jan van Eyck
–
The Arnolfini Portrait, 1434;
National Gallery, London
16.
Pope John Paul II
–
Pope Saint John Paul II, born Karol Józef Wojtyła, was Pope from 1978 to 2005. He is called by some Catholics Saint John Paul the Great and he was elected by the second Papal conclave of 1978, which was called after Pope John Paul I, who had been elected in August after the death of Pope Paul VI, died after thirty-three days. Cardinal Wojtyła was elected on the day of the conclave. John Paul II is recognised as helping to end Communist rule in his native Poland, John Paul II significantly improved the Catholic Churchs relations with Judaism, Islam, the Eastern Orthodox Church, and the Anglican Communion. He upheld the Churchs teachings on such matters as artificial contraception and the ordination of women and he was one of the most travelled world leaders in history, visiting 129 countries during his pontificate. By the time of his death, he had named most of the College of Cardinals, consecrated or co-consecrated a large number of the worlds bishops, a key goal of his papacy was to transform and reposition the Catholic Church. His wish was to place his Church at the heart of a new alliance that would bring together Jews, Muslims. He was the second longest-serving pope in history after Pope Pius IX. Born in Poland, John Paul II was the first non-Italian pope since the Dutch Pope Adrian VI, John Paul IIs cause for canonisation commenced in 2005 one month after his death with the traditional five-year waiting period waived. A second miracle attributed to John Paul IIs intercession was approved on 2 July 2013, John Paul II was canonised on 27 April 2014, together with Pope John XXIII. On 11 September 2014, Pope Francis added John Paul IIs optional memorial feast day to the worldwide General Roman Calendar of saints, in response to worldwide requests. It is traditional to celebrate saints feast days on the anniversary of their deaths, Karol Józef Wojtyła was born in the Polish town of Wadowice. He was the youngest of three born to Karol Wojtyła, an ethnic Pole, and Emilia Kaczorowska, whose mothers maiden surname was Scholz. Emilia, who was a schoolteacher, died in childbirth in 1929 when Wojtyła was eight years old and his elder sister Olga had died before his birth, but he was close to his brother Edmund, nicknamed Mundek, who was 13 years his senior. Edmunds work as a physician led to his death from scarlet fever. As a boy, Wojtyła was athletic, often playing football as goalkeeper, during his childhood, Wojtyła had contact with Wadowices large Jewish community. School football games were organised between teams of Jews and Catholics, and Wojtyła often played on the Jewish side. I remember that at least a third of my classmates at school in Wadowice were Jews
Pope John Paul II
–
John Paul II in 1993
Pope John Paul II
–
The wedding portrait of John Paul II's parents, Emilia and Karol Wojtyła Snr
Pope John Paul II
–
The courtyard within the
family home of the Wojtyłas in
Wadowice,
Poland
Pope John Paul II
–
The tomb of the parents of John Paul II at
Rakowicki Cemetery in
Kraków,
Poland
17.
Madonna of humility
–
Madonna of humility refers to artistic portrayals of the Virgin Mary which depict her as a Madonna sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap, the term Virgin of humility is also used to refer to this style of depiction. The earliest known painting of this dates to 1346 and is at the Museo Nazionale in Palermo. It represents a Madonna seated on a small cushion just above the ground, the Child Jesus that she holds partially looks at the viewer. The painting bears the inscription Nostra Domina de Humiltate, with the low cushion intended to express her humility and this painting in Palermo is, however, of a somewhat mediocre quality and was perhaps based on a work of Simone Martini. A similar painting in the Gemäldegalerie, Berlin, and both paintings were based on a Madonna of humility by Martini. A Virgin of humility fresco by Simone Martini survives in the Palais des Papes in Avignon, an altar was dedicated to the Madonna of humility in the church of Santa Maria Novella in Florence in 1361. This style of painting spread quickly through Italy and by 1375 examples began to appear in Spain, France and it was the most popular among the styles of the early Trecento artistic period. Domenico di Bartolos Madonna of humility, painted in 1433, was described by art historian Andrew Ladis as one of the most innovative devotional images from the early Renaissance. The formal symmetry of the strips below her feet and those hovering above her express the duality of her nature. Despite the low seating position, the star and the gems as well as the halo signify her regal status, in this painting, which is at the Pinoteca Nazionale in Siena, Domenico does not use cast shadows as he does in other works such as the Madonna Enthroned. Filippo Lippis Madonna of humility, painted between 1431 and 1437, is also an important work and illustrates Lippis early style, when he was attentive to Masaccios use of large and round figures. It was painted during a period when Lippi had dropped out of sight, a miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the Basilica of Our Lady of Humility in Pistoia, in Tuscany, Italy. The fresco is attributed to Giovanni di Bartolomeo Cristiani, but was perhaps done by a local painter from Pistoia. The basilica, built by architect Ventura Vitoni, is an important example of high Renaissance architecture, giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica, other key examples include Bernardo Daddis central panel in the De Carlo Triptych in which the Madonna is shown sitting in a very low chair, rather than on a cushion. Fra Angelicos representation of about 1430 is notable in that Jesus is approached from above, Giovanni di Paolos depiction of about 1456 represents a transition in the perception of nature, with the visual landscape forming itself around the seated Madonna. Marian art in the Catholic Church Williamson, Beth, Madonna of Humility, Development, Dissemination and Reception, for a larger gallery, please see, Madonna of humility gallery
Madonna of humility
–
Madonna of humility by
Domenico di Bartolo, 1433.
Madonna of humility
–
Fra Angelico, c. 1430.
Madonna of humility
Madonna of humility
–
Lorenzo Monaco, c. 1410
18.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
19.
Titles of Mary
–
Mary is known by many different titles, epithets, invocations and other names. All of these refer to the same individual named Mary, the mother of Jesus Christ and are used variably by Roman Catholics, Eastern Orthodox, Oriental Orthodox. Many of the given to Mary are dogmatic in nature. Other titles are poetic or allegorical and have lesser or no canonical status, yet more titles refer to depictions of Mary in the history of art. There are several stories on the significance of the large number of titles given to Mary. Some titles grew due to geographic and cultural reasons, e. g. through the veneration of specific icons, others were related to Marian apparitions. Marys help is sought for a spectrum of human needs in varied situations. This led to the formulation of many of her titles, moreover, meditations and devotions on the different aspects of the Virgin Marys role within the life of Jesus led to additional titles such as Our Lady of Sorrows. Still further titles have been derived from dogmas and doctrines, such as the Immaculate Conception, Marys cultus or devotional cult consolidated in the year 431 when, at the Council of Ephesus, the Theotokos, or Mary as bearer of God, was declared dogma. Henceforth Marian devotion—which centered on the subtle and complex relationship between Mary, Jesus, and the Church—would flourish, first in the East and later in the West, the Reformation diminished Marys role in many parts of Northern Europe in the 16th and 17th centuries. The Council of Trent and Counter Reformation would intensify Marian devotion in the West, following the Reformation, as of the 17th century, the baroque literature on Mary experienced unforeseen growth with over 500 pages of Mariological writings during the 17th century alone. Mother of God, The Council of Ephesus decreed in 431 that Mary is Theotokos because her son Jesus is both God and man, one Divine Person with two natures and this name was translated in the West as Mater Dei or Mother of God. From this derives the title Blessed Mother, Virgin Mary, The doctrine of the perpetual virginity of Mary developed early in Christianity and was taught by the early Fathers, such as Irenaeus, Clement of Alexandria, and others. In the fourth century became a popular title for Mary. Variations on this include the Virgin Mary, the Blessed Virgin, the Blessed Virgin Mary, the perpetual virginity of Mary was declared a dogma by the Lateran Council of 649. Immaculate Conception, The dogma that Mary was conceived without original sin was defined in 1854 and this gave rise to the titles of Our Lady of the Immaculate Conception and Queen Conceived Without Original Sin. The Immaculate Conception is also honored under the titles of Our Lady of Caysasay, Our Lady of the Gate of Dawn in Vilnius, Our Lady of Guidance, the titles Our Lady of Assumption and Queen Assumed Into Heaven derive from this. This dogma is also reflected in devotion to Our Lady of Ta Pinu on Malta, “Our Lady” is a common title to give to Mary as a sign of respect and honor
Titles of Mary
–
Our Lady of Good Counsel by
Pasquale Sarullo, 19th century.
Titles of Mary
–
Hodegetria "She Who Shows the Way"
Titles of Mary
–
Sedes Sapientiae "Throne of Wisdom"
Titles of Mary
–
" Gothic Madonna "
20.
Black Madonna
–
The Black Madonnas are generally found in Catholic and Orthodox countries. The term refers to a type of Marian statue or painting of mainly medieval origin, the statues are mostly wooden but occasionally stone, often painted and up to 75 cm tall. They fall into two groups, free-standing upright figures or seated figures on a throne. The pictures are usually icons which are Byzantine in style, often made in 13th- or 14th-century Italy, there are about 450–500 Black Madonnas in Europe, depending on how they are classified. There are at least 180 Vierges Noires in France, and there are hundreds of copies as well. Some are in museums, but most are in churches or shrines and are venerated by devotees, a few are associated with miracles and attract substantial numbers of pilgrims. Important early studies of dark images in France were done by Marie Durand-Lefebvre, Emile Saillens and it was destroyed during the Revolution, but replaced at the Restoration with a copy that continues to be venerated. The original icon was stolen in the century, and its first replacement was burned by Revolutionaries in 1799 on the Place du Capitole. The icon presented today is an 1807 copy of the fifteenth century Madonna, blackened by the hosts of candles, the second Madonna was known from the sixteenth century as Our Lady La Noire. In the hillside Sanctuary at Crea, a figure, said to be one of three Black Virgins brought to Italy from the Holy Land c.345 by St. Eusebius. San Severo, La Madonna del Soccorso, St. Severinus Abbot, statue in gold garments, object of a major three-day festival that attracts over 350,000 people to this small town. Częstochowa, Our Lady of Czestochowa In the United States, the National Shrine of Our Lady of Czestochowa, in Doylestown, a second shrine to Our Lady of Częstochowa is located near Eureka, Missouri. Theodore also known as Our Lady of St. Theodore, in Theophany Monastery Our Lady of Wladimir XII century, tsarytsya Karpat, The Queen of the Carpathian Land St Mary Willesden, The original Shrine of Our Lady of Willesden. Black Virgin Sites in France Rozett, Ella, index of Black Madonnas Worldwide, InterfaithMary. The Black Madonna of Thirteenth Street, Voices, The Journal of New York Folklore, Vol.30, Spring-Summer 2004
Black Madonna
–
The
Black Madonna of Częstochowa, Poland
Black Madonna
–
La Vierge Noire d'Outremeuse Procession
Black Madonna
–
La Vierge noire de
Guingamp
Black Madonna
–
Madonna at House of the Black Madonna, Prague
21.
Eleusa
–
The Eleusa is a type of depiction of the Virgin Mary in icons in which the infant Jesus Christ is nestled against her cheek. In the Western church the type is known as the Virgin of Tenderness. Such icons have been venerated in the Eastern Church for centuries, similar types of depictions are also found in Madonna paintings in the Western Church where they are called the Madonna Eleusa, or Virgin of Tenderness. By the 19th century examples such as Lady of refuge were widespread, in Eastern Orthodoxy the term Panagia Eleousa is often used. The Theotokos of Vladimir and Theotokos of Pochayiv are well-known examples of type of icon. Eleusa is also used as epithet for describing and praising the Theotokos in the Eastern Orthodox tradition, while the Eastern Church does not venerate three-dimensional objects, Eleusa-style reliefs and sculptures, as well as icons, have also been used in the Western Church. The Pelagonitissa is a variant in which the infant Jesus makes an abrupt movement, list of Theotokos of St. Theodore icons Marian devotions Marian art Byzantium, faith and power, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Eleusa icons
Eleusa
–
13th century
Byzantine Eleusa
mosaic, Athens
Eleusa
–
Vladimirskaya
Eleusa
–
Fyodorovskaya
Eleusa
–
Tolgskaya
22.
Hodegetria
–
A Hodegetria, or Virgin Hodegetria, is an iconographic depiction of the Theotokos holding the Child Jesus at her side while pointing to Him as the source of salvation for humankind. In the Western Church this type of icon is sometimes called Our Lady of the Way, the most venerated icon of the Hodegetria type, regarded as the original, was displayed in the Monastery of the Panaghia Hodegetria in Constantinople, which was built specially to contain it. Unlike most later copies it showed the Theotokos standing full-length and it was said to have been brought back from the Holy Land by Eudocia, the Empress of Theodosius II, and to have been painted by Saint Luke. The icon was double-sided, with a crucifixion on the other side, the original icon has probably now been lost, although various traditions claim that it was carried to Russia or Italy. There are a number of copies of the image, including many of the most venerated of Russian icons. There is a procession and the men clad in red go one by one up to the icon. He places it on his shoulder and they go chanting out of the church to a great square, when he sets it down then others take it up in turn. Another account says the bearers staggered around the crowd, the icon seeming to lurch towards onlookers, clergy touched pieces of cotton-wool to the icon and handed them out to the crowd. A wall-painting in a church near Arta in Greece, shows a crowd watching such a display. The heads of the attendants are level with the bottom frame of the icon. The icon disappeared during the Fall of Constantinople in 1453 when it was deposited at the Saint Saviour in Chora and it may have been cut into four pieces. In the 10th century, after the period of iconoclasm in Byzantine art, an example of this earlier type is the Salus Populi Romani icon in Rome. Full-length versions, both made by Greek artists, appear in mosaic in Torcello Cathedral and the Cappella Palatina, Palermo. Usually Christ is on the left in these images, some Russians, however, believe that after the fall of Constantinople, St. Lukes icon surfaced in Russia, where it was placed in the Assumption Cathedral in Smolensk. On several occasions, it was brought with great ceremony to Moscow and her feast day is August 10. This icon, dated by art historians to the 11th century, is believed to have destroyed by fire during the German occupation of Smolensk in 1941. A number of all over Russia are dedicated to the Smolensk Hodegetria, e. g. the Smolensky Cemetery Church in St. Petersburg. They may refer to the Theotokos as Our Lady of Smolensk, an Italian tradition relates that the original icon of Mary attributed to Luke, sent by Eudocia to Pulcheria from Palestine, was a large circular icon only of her head
Hodegetria
–
A
Dionisius version of the Theotokos of Smolensk (ca. 1500)
Hodegetria
–
12th-century plaque found in
Torcello Cathedral; a full-length figure like the original in Constantinople
Hodegetria
–
Hodegetria by
Berlinghiero of Lucca, (ca 1230) shows the Byzantine influence on Italian 13th-century art (
Metropolitan Museum)
Hodegetria
–
The shrine of the Hodegetria in Smolensk, as photographed by
Prokudin-Gorsky in 1912.
23.
Our Lady of Good Counsel
–
Our Lady of Good Counsel is a title given to the Blessed Virgin Mary, after a painting said to be miraculous, now found in the thirteenth century Augustinian church at Genazzano, near Rome, Italy. Measuring 40 by 45 centimeters the image is a fresco executed on a layer of plaster no thicker than an egg shell. Her feast day is April 26, in appreciation, a church, called Santa Maria, was built in Genazzano and was later entrusted to the Augustinian Order in 1356. The Genazzano church became a place of pilgrimage. The Augustinian friars were invited to minister to the needs of the pilgrims. They continue to serve there to this day, according to tradition, in the year 1467, in the midst of the festivities for the Feast of Saint Mark, the townfolk suddenly heard exquisite music. A mysterious cloud was then said to have descended and obliterated an unfinished wall of the parish church. In front of the populace, the dissipated and a beautiful fresco, no thicker than a carte-de-visite and no more than eighteen inches square, of the Virgin Mary. It was widely believed that it had been transported from a church in Scutari. The picture of Our Lady was at first called La Madonna del Paradiso, such was the holy images reputation that Pope Urban VIII made a glittering pilgrimage there in 1630, invoking the protection of the Queen of Heaven, as did Pope Pius IX in 1864. On November 17,1682, Pope Innocent XI had the picture solemnly crowned, among her noted clients have been St Aloysius Gonzaga, St Alphonsus Liguori, St John Bosco, and Blessed Stephen Bellesini. They believe the fresco is likely the work of the fifteenth century artist Gentile da Fabriano. There is also a statue in the town of Essen wich depicts this Mary. In 1753, Pope Benedict XIV established the Pious Union of Our Lady of Good Counsel, more than any other pope, Leo XIII, who was himself a member of the pious union, was deeply attached to this devotion. The small Scapular of Our Lady of Good Counsel was presented by the Hermits of St. Augustine to Pope Leo XIII, on April 22,1903, that same Pope included the invocation Mater boni consilii in the Litany of Loreto. In 1939, Venerable Pope Pius XII placed his pontificate under the care of Our Lady of Good Counsel. The Augustinian Order contributed to the spread of this devotion internationally, through the years, various institutions have been named in honor of Mary under the title of Our Lady of Good Counsel. These institutions include a college, high schools, and churches and her Feast is celebrated on April 26
Our Lady of Good Counsel
–
Our Lady of Good Counsel
Our Lady of Good Counsel
–
Our Lady of Good Counsel by
Pasquale Sarullo, 19th century.
24.
Our Lady of Peace
–
Our Lady of Peace, Mother of Peace, Queen of Peace or Our Lady Queen of Peace is a title of the Blessed Virgin Mary in the Roman Catholic Church. She is represented in art holding a dove and an olive branch and her official memorial feast is celebrated on January 24 each year in Hawaii and some churches in the United States. Elsewhere, the memorial feast is celebrated on July 9, the traditional story holds that in the early 1500s in France, a certain Jean de Joyeuse presented the statue as a wedding gift to his young bride, Françoise e Voisins. The statue was known as the Virgin of Joyeuse, and became a family heirloom. Around the year 1588, Jeans grandson, Henri Joyeuse, joined the Capuchin Franciscans in Paris and brought the statue with him, with the olive branch in her hand and the Prince of Peace on her arm, the statue was called Notre Dame de Paix. In 1657 the Capuchin community erected a chapel to accommodate the growing number of faithful who sought her intercession. On July 9 that year, before a crowd which included King Louis XIV. Pope Alexander VII would later designate this date for the Capuchin community to celebrate the feast of Our Lady of Peace, during the French Revolution, which erupted in 1789, the Capuchins were driven from their monastery. They took the image with them to prevent its destruction by the ransacking rebels, when peace was restored in the land, the statue was brought out of hiding and entrusted to Peter Coudrin, a priest in Paris. Coudrin gave the statue to Mother Aymer, who enshrined it in a convent chapel in the Picpus district of Paris on May 6,1806, the members were also known more simply as the Picpus Fathers or Sacred Hearts religious. Excluding its pedestal, the figure of dark hardwood is 11 inches tall, Mary is depicted as a dignified matron, with the Christ Child on her left arm and an olive branch in her right hand. Tradition holds that in 1682 some merchants found a box on the shore of Salvadors Mar del Sur. Unable to open it, they tied the box on a donkeys back, when they were passing the parish church, now a cathedral, the donkey lay down on the ground. They were then able to open the box and were surprised to find that it contained an image of Our Lady holding the Child. This is why the image was given the title of Our Lady of Peace, the statute is a dressed wood carving, with the national shield of El Salvador embroidered on the front of the images white robe. The image holds a palm leaf in memory of the eruption of the Chaparrastique volcano. Pope Benedict XV authorized the Canonical coronation of the image took place on November 21,1921. Our Lady of Peace is the patroness of the Congregation of the Sacred Hearts of Jesus and Mary religious order, founded by Peter Coudrin in Paris during the French Revolution
Our Lady of Peace
–
A statue of Our Lady of Peace stands in the courtyard of the Cathedral of Our Lady of Peace in Honolulu, Hawaii.
Our Lady of Peace
–
Statue of Our Lady of Peace in front of
Saigon Notre-Dame Basilica
25.
Our Lady of the Sign
–
The icon depicts the Theotokos during the Annunciation at the moment of saying, May it be done to me according to your word. The image of the Christ child represents him at the moment of his conception in the womb of the Virgin and he is depicted not as a fetus, but rather vested in divine robes, and often holding a scroll, symbolic of his role as teacher. Sometimes his robes are gold or white, symbolizing divine glory, sometimes they are blue and red, symbolizing the two natures of Christ. His face is depicted as that of an old man, indicating the Christian teaching that he was at one and his right hand is raised in blessing. Such an image is placed in the apse of the sanctuary of an Orthodox church above the Holy Table. As with most Orthodox icons of Mary, the letters ΜΡ ΘΥ are usually placed on the upper left and right of the head of the Virgin Mary. This type of icon is sometimes called the Platytéra, poetically, by containing the Creator of the Universe in her womb, Mary has become Platytera ton ouranon. The Platytéra is traditionally depicted on the half-dome that stands above the altar and it is visible high above the iconostasis, and facing down the length of the nave of the church. This particular depiction is usually on a blue background, often adorned by golden stars. The depiction of the Virgin Mary with her hands upraised in prayer is of ancient origin in Christian art. In the mausoleum of St Agnes in Rome is a dating to the 4th century which depicts the Theotokos with hands raised in prayer. Icons of the Virgin, known as The Sign, appeared in Russia during the 11th to 12th centuries, the Novgorod Znamenie icon became highly venerated in the Novgorod Republic because of what Orthodox Christians believe to be the miraculous deliverance of Novgorod from invasion in the year 1170. There are a number of different feast days during the year which commemorate Our Lady of the Sign. The main feast is on November 27, other feast days normally commemorate specific copies of the icon to which wonderworking power has been ascribed by the Orthodox Church. Many of these have special titles which help to distinguish them, some of the icons have more than one feast day. The accounts of a number of these may be found in the External links, below
Our Lady of the Sign
–
13th century
Icon of Our Lady of the Sign from
Yaroslavl (Kiev School, ca. 1114.
Tretiakov Gallery,
Moscow).
Our Lady of the Sign
–
Our Lady of the Sign (18th century,
iconostasis of the Transfiguration church,
Kizhi monastery, Karelia, Russia).
Our Lady of the Sign
–
18th century
Byzantine -style bronze of Our Lady of the Sign from
Jerusalem, showing the
Mary, the mother of Jesus in the "
Orans " position.
26.
Our Lady of the Rosary
–
Our Lady of the Rosary, also known as Our Lady of the Most Holy Rosary, is a title of the Blessed Virgin Mary in relation to the Rosary. On October 7,1571, the Holy League, a coalition of southern European Catholic maritime states, sailed from Messina, Sicily, combined with the unfolding events in Morocco where the Sa’adids successfully spurned the Ottoman advances, it confined Turkish naval power to the eastern Mediterranean. Pius V instituted Our Lady of Victory as an annual feast to commemorate the victory at Lepanto, dedications to Our Lady of Victory preceded this papal declaration. In 1573, Pope Gregory XIII changed the title of the Feast of Our Lady of Victory to Feast of the Holy Rosary, a set of proper lessons in the second nocturn were conceded by Benedict XIII. Leo XIII raised the feast to the rank of a double of the second class and this has been called the Portiuncula of the Rosary. Pius X in 1913 changed the date to 7 October, as part of his effort to restore celebration of the liturgy of the Sundays, in 1960 Pope John XXIII changed the title to Feast of Our Lady of the Rosary. Our Lady of the Rosary is the saint of several places around the world. The diocese of Malaga, Spain, and the Spanish cities of Melilla, furthermore, María del Rosario is a common female Spanish name. Rosario can also be used as a male first name, particularly in Italian, the cathedral of Our Lady of the Rosary is located in Duluth, Minnesota. The cathedral church of the Diocese of San Bernardino, California, is named in honor of Our Lady of the Rosary. Our Lady of the Rosary church is in Jashpur, Chattisgarh and it is the second largest church in Asia, by seating capacity which can accommodate 10,000 worshippers. Although the title Our Lady of Victory has been superseded to some extent by that of Our Lady of the Rosary, notre-Dame-des-Victoires, Paris is an historic Marian shrine and place of pilgrimage. The Church of Our Lady of Victory in Prague, housing the 16th-century Infant Jesus of Prague, notre-Dame-des-Victoires, San Francisco was founded in 1856 to serve French Catholic immigrants to California. In 1887, Pope Leo signed the decree putting lEglise Notre Dame des Victoires in charge of the Marists, the church was rebuilt in 1915 after the earthquake and fire of 1906, and was declared an historical landmark in 1984. Our Lady of Victory National Shrine and Basilica is located in Lackawanna and our Lady of Victory is the cathedral church for the Diocese of Victoria, Texas. S. Armed Forces on June 23,1947. in Thanksgiving for Victory won by our valiant dead, our soldiers blood, our country’s tears, shed to defend men’s rights and win back men’s hearts to God. The chapel at St. Catherine University, St. Paul, Minnesota, is named for Our Lady of Victory, St. Mary of Victories Hungarian Catholic Church is located in St. Louis, Missouri. St. Marys was built in 1843, and is the second oldest Catholic Church within the city limits, originally home to German immigrants, the parish became home to the Hungarian Community in 1957 and is the official Hungarian Church for the Archdiocese of St. Louis
Our Lady of the Rosary
–
La Visione di San Domenico, Bernardo Cavallino, 1640
Our Lady of the Rosary
–
Nuestra Señora del Santisimo Rosario by
Damián Domingo
Our Lady of the Rosary
–
Our Lady of Victory
Our Lady of the Rosary
–
Our Lady of Victory, NYC.Downtown, William St. & Chase Plaza
27.
Our Lady of Sorrows
–
As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church. The Seven Sorrows of Mary are a popular Roman Catholic devotion, in common religious Catholic imagery, the Blessed Virgin Mary is portrayed in a sorrowful and lacrimating affect, with seven daggers piercing her heart, often bleeding. Devotional prayers that consist of meditation began to elaborate on her Seven Sorrows based on the prophecy of Simeon. Common examples of piety under this title are Servite rosary, or the Chaplet of the Seven Sorrows of Our Lady, the feast of Our Lady of Sorrows is liturgically celebrated every 15 of September, while a feast of Friday of Sorrows is observed in some Catholic countries. The Seven Sorrows are events in the life of the Blessed Virgin Mary that are a popular devotion and are depicted in art. These Seven Sorrows should not be confused with the five Sorrowful Mysteries of the Rosary, the escape and Flight into Egypt. The Loss of the Child Jesus in the Temple of Jerusalem, the Meeting of Mary and Jesus on the Via Dolorosa. The Crucifixion of Jesus on Mount Calvary, the Piercing of the Side of Jesus, and His Descent from the Cross. The Burial of Jesus by Joseph of Arimathea and it is a common practice for Catholics to say daily one Our Father and seven Hail Marys for each. Earlier, in 1233, seven youths in Tuscany founded the Servite Order, five years later, they took up the sorrows of Mary, standing under the Cross, as the principal devotion of their order. Over the centuries several devotions, and even orders, arose around meditation on Marys Sorrows in particular, the Servites developed the two most common devotions to Our Ladys Sorrows, namely the Rosary of the Seven Sorrows and the Black Scapular of the Seven Dolours of Mary. The Black Scapular is a symbol of the Confraternity of Our Lady of Sorrows, most devotional scapulars have requirements regarding ornamentation or design. The devotion of the Black Scapular requires only that it be made of woollen cloth. It depicts the Virgin Mary at the moment that Simeon the Righteous says, Yea and she stands with her hands upraised in prayer, and seven swords pierce her heart, indicative of the seven sorrows. This is one of the few Orthodox icons of the Theotokos which do not depict the infant Jesus, the refrain Rejoice, much-sorrowing Mother of God, turn our sorrows into joy and soften the hearts of evil men. The Feast of Our Lady of Sorrows grew in popularity in the 12th century, some writings would place its roots in the eleventh century, especially among the Benedictine monks. The first altar to the Mater Dolorosa was set up in 1221 at the Cistercian monastery of Schönau, the formal feast of the Our Lady of Sorrows was originated by a provincial synod of Cologne in 1423. It was designated for the Friday after the third Sunday after Easter and had the title and its object was the sorrow of Mary during the Crucifixion and Death of Christ
Our Lady of Sorrows
–
A statue of the Blessed Virgin Mary being pierced by seven daggers representing her sorrows, as once prophesied by Simeon.
Our Lady of Sorrows
–
Mary, surrounded by the Seven Sorrows
Our Lady of Sorrows
–
Archetypal
Gothic Lady of Sorrows from a
triptych by the
Master of the Stauffenberg Altarpiece,
Alsace c. 1455
Our Lady of Sorrows
–
Our Lady who softens evil hearts, Russian icon, 19th century
28.
Madonna of Humility
–
Madonna of humility refers to artistic portrayals of the Virgin Mary which depict her as a Madonna sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap, the term Virgin of humility is also used to refer to this style of depiction. The earliest known painting of this dates to 1346 and is at the Museo Nazionale in Palermo. It represents a Madonna seated on a small cushion just above the ground, the Child Jesus that she holds partially looks at the viewer. The painting bears the inscription Nostra Domina de Humiltate, with the low cushion intended to express her humility and this painting in Palermo is, however, of a somewhat mediocre quality and was perhaps based on a work of Simone Martini. A similar painting in the Gemäldegalerie, Berlin, and both paintings were based on a Madonna of humility by Martini. A Virgin of humility fresco by Simone Martini survives in the Palais des Papes in Avignon, an altar was dedicated to the Madonna of humility in the church of Santa Maria Novella in Florence in 1361. This style of painting spread quickly through Italy and by 1375 examples began to appear in Spain, France and it was the most popular among the styles of the early Trecento artistic period. Domenico di Bartolos Madonna of humility, painted in 1433, was described by art historian Andrew Ladis as one of the most innovative devotional images from the early Renaissance. The formal symmetry of the strips below her feet and those hovering above her express the duality of her nature. Despite the low seating position, the star and the gems as well as the halo signify her regal status, in this painting, which is at the Pinoteca Nazionale in Siena, Domenico does not use cast shadows as he does in other works such as the Madonna Enthroned. Filippo Lippis Madonna of humility, painted between 1431 and 1437, is also an important work and illustrates Lippis early style, when he was attentive to Masaccios use of large and round figures. It was painted during a period when Lippi had dropped out of sight, a miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the Basilica of Our Lady of Humility in Pistoia, in Tuscany, Italy. The fresco is attributed to Giovanni di Bartolomeo Cristiani, but was perhaps done by a local painter from Pistoia. The basilica, built by architect Ventura Vitoni, is an important example of high Renaissance architecture, giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica, other key examples include Bernardo Daddis central panel in the De Carlo Triptych in which the Madonna is shown sitting in a very low chair, rather than on a cushion. Fra Angelicos representation of about 1430 is notable in that Jesus is approached from above, Giovanni di Paolos depiction of about 1456 represents a transition in the perception of nature, with the visual landscape forming itself around the seated Madonna. Marian art in the Catholic Church Williamson, Beth, Madonna of Humility, Development, Dissemination and Reception, for a larger gallery, please see, Madonna of humility gallery
Madonna of Humility
–
Madonna of humility by
Domenico di Bartolo, 1433.
Madonna of Humility
–
Fra Angelico, c. 1430.
Madonna of Humility
Madonna of Humility
–
Lorenzo Monaco, c. 1410
29.
Nursing Madonna
–
The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. It continued to be found in Orthodox icons, especially in Russia, usage of the depiction seems to have revived with the Cistercian Order in the 12th century, as part of the general upsurge in Marian theology and devotion. Milk was seen as processed blood, and the milk of the Virgin to some extent paralleled the role of the Blood of Christ. After the Council of Trent in the century, clerical writers discouraged nudity in religious subjects. A good example is the fresco at S. Agostino in San Gimignano, gozzoli, painted to celebrate the end of the plague. A variant, known as the Lactation of St Bernard is based on a miracle or vision concerning St Bernard of Clairvaux where the Virgin sprinkled milk on his lips. The milk was variously said to have given him wisdom, shown that the Virgin was his mother, in this form the Nursing Madonna survived into Baroque art
Nursing Madonna
–
The Nursing Madonna by unknown master from Bruges, 16th century. Museu de Aveiro, Portugal.
Nursing Madonna
–
Bernard receiving milk from the breast of the Virgin Mary. The scene is a legend which allegedly took place at
Speyer Cathedral in 1146.
30.
Pelagonitissa
–
The Pelagonitissa is a type of depiction of the Virgin Mary in which the Virgin holds an infant Jesus in an abrupt movement, his head back and grabbing onto her. Pelagonitissa was developed in the twelfth and thirteenth centuries in the Byzantine Empire, the name Pelagonitissa refers to the city of Bitola, previously known as Pelagonia. Pelagonitissa is often seen as a variant of the Eleusa icon in which the infant Jesus rests, one of the best-known examples is in the Church of St. George, Staro Nagoričane, restored by the Serbian king Milutin in the 13th century. List of Theotokos of St. Theodore icons Marian devotions Marian art Media related to Pelagonitissa at Wikimedia Commons
Pelagonitissa
–
Pelagonitissa painting formerly in
Zrze Monastery
Pelagonitissa
–
Pelagonitissa painting in the
Church of St. George, Staro Nagoričane
31.
Virgin of Mercy
–
The Virgin of Mercy is a subject in Christian Art, showing a group of people sheltering for protection under the outspread cloak, or pallium of the Virgin Mary. Usually the Virgin is standing alone, though if angels hold up the cloak, the people sheltered normally kneel, and are of necessity shown usually at a much smaller scale. These may represent all members of Christian society, with crowns, mitres. Sometimes arrows rain down from above, which the cloak prevents from reaching the people, probably the oldest version known is a small panel by Duccio of c. 1280, with three Franciscan friars under the cloak, in the Pinacoteca in Siena, here the Virgin sits, only one side of the cloak is extended, and the Virgin holds her child on her knee with her other hand. The common factor between all these is the influence and presence of Western mendicant orders, especially the Franciscans, the immediate inspiration of the iconography comes from a vision reported in the Dialogus Miraculorum of the Cistercian Caesarius of Heisterbach which circulated widely from about 1230. Beyond that, the origins of the image may relate to rituals and this gave rise in the Byzantine Rite to the Pokrov icons, although the image is not found in Byzantine art. In Germany an almost identical image was used featuring Saint Ursula, the image came in for special derision from Martin Luther, who compared it to a hen with her chicks. The liturgical feast day of Our Lady of Mercy is celebrated annually in the Latin Catholic calendar on September 24, churches dedicated to her include the cathedral of Guasdualito in Venezuela. The term Virgin of Mercy is found in a number of other contexts not directly related to the image and it is a common translation of the Eleusa type of icon of the Virgin and Child. The Virgin of Mercy is patron saint of Barcelona, celebrated in the week-long La Mercè festival each year, but in this role is not especially associated with this type of image. The Order of the Blessed Virgin Mary of Mercy, founded, also in Barcelona, in Santería, the Virgin of Mercy is syncretized with Obatala
Virgin of Mercy
–
Sano di Pietro, 15th century; the Virgin shelters a group of nuns, including two novices with uncovered heads
Virgin of Mercy
–
The "Ravensburger Schutzmantelmadonna", painted limewood of ca 1480,
Bode Museum, Berlin. Attributed to
Michel Erhart.
Virgin of Mercy
–
Duccio, Madonna of the Franciscans, ca 1280, the earliest known painting of the subject.
Virgin of Mercy
–
Lippo Memmi, 1350s. The couple at the front were probably the
donors.
32.
The Virgin of the Navigators
–
It is the earliest known painting whose subject is the discovery of the Americas. In this the Virgin Mary is always the largest figure in the picture, scholars date the painting to 1531–36. By the Age of Exploration, with the growth of Mariology, Catholics throughout Europe had started to see the Virgin Mary as the symbol of motherhood and of all that was good, gentle and these sentiments were reflected in Marian art from that period. European navigators, especially the Portuguese, praying for a return to their homes, carried this sentiment to South America. In The Virgin of the Navigators Mary is depicted spreading her mantle over the Spanish and she straddles the seas, uniting the continents, or hovers over the harbor to protect ships, cargo and crew as they embark on the perilous Atlantic crossing. Ferdinand II of Aragon and the emperor Charles V, are portrayed together with Christopher Columbus, Amerigo Vespucci and one of the Pinzón Brothers, all soar on clouds above the water beneath the Virgins feet. By coincidence another reputed portrait of Vespucci, as a child, is in another Virgin of Mercy which his family commissioned from Domenico Ghirlandaio as a fresco in a church in Florence. Flanking the Virgin are panels depicting St. Sebastian, St. James the Great, St. Elmo and these panels are thought to be the work of someone other than Alejo, perhaps a member of his workshop or another known artist
The Virgin of the Navigators
–
The Virgin of the Navigators, by
Alejo Fernández, 1531–36,
oil on panel.
The Virgin of the Navigators
–
The entire altarpiece
Media related to Sedes sapientiae at Wikimedia Commons
