1.
Michelangelo
–
Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
Michelangelo
–
Portrait of Michelangelo by
Daniele da Volterra
Michelangelo
–
The
Madonna of the Stairs (1490–92), Michelangelo's earliest known work
Michelangelo
–
Michelangelo's
Pietà, St Peter's Basilica (1498–99)
Michelangelo
–
The
Statue of David, completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance.
2.
Fresco
–
Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
Fresco
–
Fresco in the church Mariä Verkündigung in Fuchstal,
Bavaria, Germany from Thomas Springer
Fresco
–
Fresco
Sistine Chapel in the
Vatican, Rome, Italy.
Fresco
–
Etruscan fresco of Velia Velcha from the
Tomb of Orcus,
Tarquinia.
Fresco
–
Fresco of "
Sappho " from
Pompeii, c. 50 CE.
3.
Sistine Chapel
–
The Sistine Chapel is a chapel in the Apostolic Palace, the official residence of the Pope, in Vatican City. Originally known as the Cappella Magna, the chapel takes its name from Pope Sixtus IV, since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new pope is selected, the fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel ceiling and The Last Judgment by Michelangelo. In a different climate after the Sack of Rome, he returned, the fame of Michelangelos paintings has drawn multitudes of visitors to the chapel ever since they were revealed five hundred years ago. At the time of Pope Sixtus IV in the late 15th century, there were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet. Of these 50 occasions,35 were masses, of which 8 were held in Basilicas, in general St. Peters and these included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, the Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV, this was the Chapel of Pope Nicholas V, the Cappella Maggiore is recorded as existing in 1368. The proportions of the present chapel appear to follow those of the original. The first mass in the Sistine Chapel was celebrated on 15 August 1483, the Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir, the Sistine Chapel Choir, for whom much original music has been written, one of the functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, if white smoke appears, created by burning the ballots of the election, a new Pope has been elected. The conclave also provided for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time attended by servants. From 1455, conclaves have been held in the Vatican, until the Great Schism, canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name, at this time, until reforms instituted by Saint Pius X, the canopies were of different colours to designate which Cardinals had been appointed by which Pope. Its exterior is unadorned by architectural or decorative details, as is common in many Italian churches of the Medieval, subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the appearance of the Chapel. The building is divided into three stories of which the lowest is a tall basement level with several utilitarian windows
Sistine Chapel
–
View of the interior of the Sistine Chapel.
Sistine Chapel
–
The Sistine Chapel as it may have appeared in the 15th century (19th-century drawing)
Sistine Chapel
–
Exterior of the Sistine Chapel
Sistine Chapel
–
A reconstruction of the appearance of the chapel in the 1480s, prior to the painting of the ceiling.
4.
Vatican City
–
Vatican City, officially Vatican City State or the State of Vatican City, is a walled enclave within the city of Rome. With an area of approximately 44 hectares, and a population of 842, however, formally it is not sovereign, with sovereignty being held by the Holy See, the only entity of public international law that has diplomatic relations with almost every country in the world. It is an ecclesiastical or sacerdotal-monarchical state ruled by the Bishop of Rome – the Pope, the highest state functionaries are all Catholic clergy of various national origins. Vatican City is distinct from the Holy See, which dates back to early Christianity and is the episcopal see of 1.2 billion Latin. According to the terms of the treaty, the Holy See has full ownership, exclusive dominion, within Vatican City are religious and cultural sites such as St. Peters Basilica, the Sistine Chapel and the Vatican Museums. They feature some of the worlds most famous paintings and sculptures, the unique economy of Vatican City is supported financially by the sale of postage stamps and tourist mementos, fees for admission to museums, and the sale of publications. The name Vatican City was first used in the Lateran Treaty, signed on 11 February 1929, the name is taken from Vatican Hill, the geographic location of the state. Vatican is derived from the name of an Etruscan settlement, Vatica or Vaticum meaning garden, located in the area the Romans called vaticanus ager. The official Italian name of the city is Città del Vaticano or, more formally, Stato della Città del Vaticano, although the Holy See and the Catholic Church use Ecclesiastical Latin in official documents, the Vatican City officially uses Italian. The Latin name is Status Civitatis Vaticanæ, this is used in documents by not just the Holy See. The name Vatican was already in use in the time of the Roman Republic for an area on the west bank of the Tiber across from the city of Rome. Under the Roman Empire, many villas were constructed there, after Agrippina the Elder drained the area and laid out her gardens in the early 1st century AD. In AD40, her son, Emperor Caligula built in her gardens a circus for charioteers that was completed by Nero, the Circus Gaii et Neronis, usually called, simply. Even before the arrival of Christianity, it is supposed that this originally uninhabited part of Rome had long considered sacred. A shrine dedicated to the Phrygian goddess Cybele and her consort Attis remained active long after the Constantinian Basilica of St. Peter was built nearby, the particularly low quality of Vatican water, even after the reclamation of the area, was commented on by the poet Martial. The Vatican Obelisk was originally taken by Caligula from Heliopolis in Egypt to decorate the spina of his circus and is thus its last visible remnant and this area became the site of martyrdom of many Christians after the Great Fire of Rome in AD64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside-down, opposite the circus was a cemetery separated by the Via Cornelia. Peters in the first half of the 4th century, the Constantinian basilica was built in 326 over what was believed to be the tomb of Saint Peter, buried in that cemetery
Vatican City
–
View of St. Peter's Square from the top of Michelangelo's dome
Vatican City
–
Flag
Vatican City
–
The Vatican
obelisk was originally taken from Egypt by
Caligula.
Vatican City
–
Bands of the British army's 38th Brigade playing in front of St Peter's Basilica, June 1944
5.
Geographic coordinate system
–
A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
–
Longitude lines are perpendicular and latitude lines are parallel to the equator.
6.
Italian language
–
By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
Italian language
–
Dante Alighieri (above) and
Petrarch (below) were influential in establishing their
Tuscan dialect as the most prominent literary language in all of
Italy in the
Late Middle Ages
Italian language
–
The geographic distribution of the Italian language in the world: large Italian-speaking communities are shown in green; light blue indicates areas where the Italian language was used officially during the Italian colonial period.
Italian language
Italian language
–
Pietro Bembo was an influential figure in the development of the Italian language from the Tuscan dialect, as a literary medium, codifying the language for standard modern usage
7.
Altar
–
An altar is any structure upon which offerings such as sacrifices are made for religious purposes, and by extension the Holy table of post-reformation Anglican churches. Altars are usually found at shrines, and they can be located in temples, churches, today they are used particularly in Christianity, Buddhism, Hinduism, Shinto, Taoism, as well as in Neopaganism and Ceremonial Magic. Judaism used such a structure until the destruction of the Second Temple, many historical faiths also made use of them, including Greek and Norse religion. Altars in the Hebrew Bible were typically made of earth or unwrought stone, altars were generally erected in conspicuous places. The first altar recorded in the Hebrew Bible is that erected by Noah, altars were erected by Abraham, by Isaac, by Jacob, and by Moses. In Catholic and Orthodox Christian theology, the Eucharist is a re-presentation, hence, the table upon which the Eucharist is consecrated is called an altar. The altar plays a role in the celebration of the Eucharist, which takes place at the altar on which the bread. The altar is often on a higher elevation than the rest of the church, in Reformed and Anabaptist churches, a table, often called a Communion table, serves an analogous function. In some colloquial usage, the altar is used to denote the altar rail also. The main altar was also referred to as the high altar, in the earliest days of the Church, the Eucharist appears to have been celebrated on portable altars set up for the purpose. Some historians hold that, during the persecutions, the Eucharist was celebrated among the tombs in the Catacombs of Rome, other historians dispute this, but it is thought to be the origin of the tradition of placing relics beneath the altar. Although in the days of the Jerusalem Temple the High Priest indeed faced east when sacrificing on Yom Kippur, the ministers, celebrated the Eucharist facing east, towards the entrance. Some hold that for the part of the celebration the congregation faced the same way. After the sixth century the contrary orientation prevailed, with the entrance to the west and the altar at the east end. Then the ministers and congregation all faced east during the whole celebration, most rubrics, even in books of the seventeenth century and later, such as the Pontificale Romanum, continued to envisage the altar as free-standing. The rite of the Dedication of the Church continued to presume that the officiating Bishop could circle the altar during the consecration of the church and its altar. Despite this, with the increase in the size and importance of the reredos, most altars were built against the wall or barely separated from it. This diversity was recognized in the rubrics of the Roman Missal from the 1604 typical edition of Pope Clement VIII to the 1962 edition of Pope John XXIII, Si altare sit ad orientem, versus populum
Altar
–
Altar in
Roskilde Cathedral dwarfed by a huge carved
triptych
Altar
–
Horned altar at
Tel Be'er Sheva,
Israel.
Altar
–
Ancient Greek kylix showing a
hoplite offering a sacrifice before an altar, around 480 BC. Ancient Agora Museum of Athens in the
Stoa of Attalus
Altar
–
The ancient
Altar of Pergamon, reconstructed at the Pergamon museum, Berlin.
8.
Second Coming of Christ
–
The Second Coming is a Christian concept regarding the future return of Jesus to Earth after his first coming and ascension to heaven about two thousand years ago. The belief is based on messianic prophecies found in the gospels and is part of most Christian eschatologies. Views about the nature of Jesus Second Coming vary among Christian denominations, most English versions of the Nicene Creed include the following statements. he ascended into heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead and we look for the resurrection of the dead, and the life of the world to come. Several different terms are used to refer to the Second Coming of Christ, In the New Testament, the Greek New Testament uses the Greek term parousia twenty-four times, seventeen of them concerning Christ. The word is used six times referring to individuals and one time referring to the coming of the lawless one. The etymology of the Greek word parousia is related to para beside ousia presence, in English parousia always has a special, Christian meaning. The Bauer-Danker Lexicon provides the definition. of Christ, and nearly always of his Messianic Advent in glory to judge the world at the end of this age. The Catholic Encyclopedia article on the General judgment states, In the New Testament the second Parousia, the Saviour Himself not only foretells the event but graphically portrays its circumstances. The Apostles give a most prominent place to this doctrine in their preaching, besides the name Parusia, or Advent, the second coming is also called Epiphany, epiphaneia, or Appearance and Apocalypse, or Revelation. The time of the second coming is spoken of as that Day the day of the Lord, the day of Christ, the day of the Son of Man, and the last day. Children, it is the last hour, and just as you heard that Antichrist is coming, even now many antichrists have appeared, from this we know that it is the last hour. The position associating the Second Coming with 1st century events such as the destruction of Jerusalem, some Preterists see this coming of the Son of Man in glory primarily fulfilled in Jesus death on the cross. They believe the signs are already fulfilled including the sun will be dark. Will be shaken, and then they will see, moreover, Jesus was reported to have told his disciples, Truly I tell you, this generation will certainly not pass away until all these things have happened. Some, such as Jerome, interpret the phrase this generation to mean in the lifetime of the Jewish race, however, other scholars believe that if Jesus meant race he would have used genos not genea. Most English versions of the Nicene Creed in current use include the statements about Jesus. he ascended into heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead and we look for the resurrection of the dead, and the life of the world to come
Second Coming of Christ
–
Greek
icon of Second Coming, c.1700
Second Coming of Christ
Second Coming of Christ
–
The Last Judgment, by
Michelangelo (1541)
Second Coming of Christ
–
The Second Coming of Christ
stained glass window at
St. Matthew's German Evangelical Lutheran Church in
Charleston, South Carolina,
United States.
9.
Last Judgment
–
In Christian belief, it is the final and eternal judgment by God of the people in every nation resulting in the glorification of some and the punishment of others. The concept is found in all the Canonical gospels, particularly the Gospel of Matthew, Christian Futurists believe it will take place after the Resurrection of the Dead and the Second Coming of Christ while Full Preterists believe it has already occurred. The Last Judgment has inspired numerous artistic depictions, beware of false prophets, which come to you in sheeps clothing, but inwardly they are ravening wolves. Ye shall know them by their fruits, do men gather grapes of thorns, or figs of thistles. Even so, every good tree bringeth forth good fruit, but a corrupt tree bringeth forth evil fruit, a good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. Every tree that bringeth not forth good fruit is hewn down, therefore, by their fruits ye shall know them. Not every one that saith unto me, Lord, Lord, shall enter into the Kingdom of Heaven, many will say to me in that day, Lord, Lord, have we not prophesied in thy name. And in thy name have cast out devils. and in thy name done many wonderful works, and then will I profess unto them, I never knew you, depart from me, ye that work iniquity. Then said one unto him, Lord, are few that be saved. And he said them, Strive to enter in at the strait gate, for many, I say unto you, will seek to enter in. But he shall say, I tell you, I know you not whence ye are, depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets, in the kingdom of God, and you yourselves thrust out. The doctrine is supported by passages in the Books of Daniel, Isaiah. From his presence earth and sky fled away, and no place was found for them, and I saw the dead, great and small, standing before the throne, and books were opened. Then another book was opened, which is the book of life, and the dead were judged by what was written in the books, according to what they had done. Even now the axe is lying at the root of the trees, I baptize you with water for repentance, but one who is more powerful than I is coming after me, I am not worthy to carry his sandals. He will baptize you with the Holy Spirit and fire and his winnowing fork is in his hand, and he will clear his threshing-floor and will gather his wheat into the granary, but the chaff he will burn with unquenchable fire. Just as the weeds are collected and burned up with fire, Then the righteous will shine like the sun in the kingdom of their Father
Last Judgment
–
Stefan Lochner, Last Judgement, c. 1435.
Wallraf-Richartz Museum, Cologne
Last Judgment
–
Memling's Day of Judgement, 1467–1471.
Last Judgment
–
The Last Judgment by
John Martin (1854)
Last Judgment
–
The last Judgment 17th-century
icon from Lipie (Historic Museum in
Sanok,
Poland)
10.
Saints
–
A saint, also historically known as a hallow, is a term used for a person who is recognized as having an exceptional degree of holiness or likeness to God. Depending on the context and denomination, the term also retains its original Christian meaning, as any believer who is in Christ and in whom Christ dwells, whether in Heaven or on Earth. Depending on the religion, saints are recognized either by official ecclesiastical declaration, the English word saint comes from the Latin sanctus. The word translated the Greek ἅγιος, which derives from the verb ἁγιάζω, the word ἅγιος appears 229 times in the Greek New Testament, and its English translation 60 times in the corresponding text of the King James Version of the Bible. In the New Testament, saint did not denote the deceased who had recognized as especially holy or emulable. Many religions also use similar concepts to venerate persons worthy of some honor, the anthropologist Lawrence Babb in an article about Sathya Sai Baba asks the question Who is a saint. These saintly figures, he asserts, are the points of spiritual force-fields. They exert powerful attractive influence on followers but touch the lives of others in transforming ways as well. In the Bible, only one person is called a saint, They envied Moses also in the camp. The apostle Paul declared himself to be less than the least of all saints in Ephesians 3,8, in the Catholic Church, a saint is anyone in Heaven, whether recognized on Earth or not. There are many persons that the Church believes to be in Heaven who have not been formally canonized, sometimes the word saint also denotes living Christians. They remind us that the Church is holy, can never stop being holy and is called to show the holiness of God by living the life of Christ, the Catholic Church teaches that it does not make or create saints, but rather recognizes them. Proofs of heroicity required in the process of beatification will serve to illustrate in detail the general principles exposed above upon proof of their holiness or likeness to God. On 3 January 993, Pope John XV became the first pope to proclaim a person a saint, on the petition of the German ruler, before that time, the popular cults, or venerations, of saints had been local and spontaneous. Pope John XVIII subsequently permitted a cult of five Polish martyrs, walter of Pontoise was the last person in Western Europe to be canonized by an authority other than the Pope, Hugh de Boves, the Archbishop of Rouen, canonized him in 1153. Thenceforth a decree of Pope Alexander III in 1170 reserved the prerogative of canonization to the Pope, one source claims that there are over 10,000 named saints and beatified people from history, the Roman Martyrology and Orthodox sources, but no definitive head count. Alban Butler published Lives of the Saints in 1756, including a total of 1,486 saints, the latest revision of this book, edited by Rev. Herbert Thurston, SJ and British author Donald Attwater, contains the lives of 2,565 saints. Monsignor Robert Sarno, an official of the Congregation for the Causes of Saints of the Holy See, expressed that it is impossible to give an exact number of saints
Saints
–
In traditional
Christian iconography, saints are often depicted with
halos, a symbol of holiness; note how
Judas Iscariot at the forefront is the only apostle without a halo.
Saints
–
A portrait depicting
Saint Francis of Assisi by the Italian artist
Cimabue (1240-1302)
Saints
–
(
The Ninety-Five Theses)
11.
Sistine Chapel ceiling
–
The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art. The ceiling is that of the Sistine Chapel, the papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. It was painted at the commission of Pope Julius II, the chapel is the location for papal conclaves and many important services. Pope Julius II was a pope who in his papacy undertook an aggressive campaign for political control, to unite. He invested in symbolism to display his power, such as his procession, in the Classical manner. It was Julius who began the rebuilding of St. Peters Basilica in 1506, in the same year 1506, Pope Julius conceived a program to paint the ceiling of the Sistine Chapel. The walls of the chapel had been decorated twenty years earlier, the lowest of three levels is painted to resemble draped hangings and was hung on special occasions with the set of tapestries designed by Raphael. The middle level contains a scheme of frescoes illustrating the Life of Christ on the right side. It was carried out by some of the most renowned Renaissance painters, Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli, the upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first thirty-two popes. A draft by Matteo dAmelia indicates that the ceiling was painted blue like that of the Arena Chapel and decorated with gold stars, Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work. Also, he was occupied with a large sculptural commission for the popes own tomb. The pope was adamant, leaving Michelangelo no choice but to accept, but a war with the French broke out, diverting the attention of the pope, and Michelangelo fled from Rome to continue sculpting. The tomb sculptures, however, were never to be finished because in 1508 the pope returned to Rome victorious, the contract was signed on 10 May 1508. The scheme proposed by the pope was for large figures of the Apostles to occupy the pendentives. However, Michelangelo negotiated for a grander, much more complex scheme and was permitted, in his own words. It is unknown and is the subject of speculation among art historians whether Michelangelo was really able to do as he liked. It has been suggested that the Augustinian friar and cardinal, Giles of Viterbo, was a consultant for the aspect of the work. Many writers consider that Michelangelo had the intellect, the Biblical knowledge, a total of 343 figures were painted on the ceiling
Sistine Chapel ceiling
–
Detail from
The Creation of Adam
Sistine Chapel ceiling
–
The interior of the Sistine Chapel showing the ceiling in relation to the other frescoes.
Sistine Chapel ceiling
–
Pope Julius II by
Raphael
Sistine Chapel ceiling
–
The location of the scaffolding is evident on this
lunette
12.
Pope Clement VII
–
Pope Clement VII, born Giulio di Giuliano de Medici, was Pope from 19 November 1523 to his death in 1534. The Sack of Rome and English Reformation occurred during his papacy, Giulio de Medici was born in Florence one month after the assassination of his father, Giuliano de Medici, following the Pazzi Conspiracy. Although his parents had not had a marriage, they had been formally betrothed per sponsalia de presenti. Despite this accommodation for an important and powerful family, Giulio was considered illegitimate by his contemporaries and he was the nephew of Lorenzo the Magnificent, who educated him in his youth. Giulios mother, Fioretta Gorini, also died leaving him an orphan, Giulio was enrolled in the Knights Hospitaller and made Grand Prior of Capua. On the death of Archbishop Cosimo de Pazzi, Giulio was named Archbishop of Florence on 9 May 1513, a post he held until his own election as pope on 19 November 1523. On 23 September 1513, he was created a cardinal by Leo X, and on 29 September was appointed Cardinal Deacon of Santa Maria in Domnica, which had been vacated by the election of his cousin the Pope. On 26 June 1517 he was created Cardinal Priest of S. Clemente and he was ordained a priest on 19 December 1517, and consecrated bishop two days later. Cardinal de Medici soon became a figure in Rome. Upon his cousins accession to the papacy, Giulio became his principal minister and confidant, in 1517 he conducted his first diocesan Synod in Florence. On 14 February 1515, Cardinal de Medici was named Archbishop of Narbonne and he ruled the diocese through a Vicar General. He bestowed upon the Cathedral of Saint Just a picture of Saint Lazare and he decided to keep the original, however, and an alternative version was made for Narbonne by Sebastiano del Piombo. At the same time as he was named Archbishop, Cardinal Giulio was granted the Abbey of Cîteaux and he held these offices until he was elected pope. But he is returning to Florence to govern the city and he had the credit of being the main director of papal policy during the whole of Leo Xs pontificate, especially as cardinal protector of England. Between 7 June 1521 and 26 September 1522 he was Apostolic Administrator of the Diocese of Worcester, on that date the Pope appointed Hieronymus Ghinucci, who was expelled from the See in 1535 as a foreigner by the legislation of Henry VIII. At Leo Xs death in 1521, Cardinal Medici was considered papabile in the protracted conclave. Following Adrian VIs death on 14 September 1523, Medici overcame the opposition of the French king, Pope Leo brought to the papal throne a high reputation for political ability and possessed in fact all the accomplishments of a wily diplomat. However, he was considered by his contemporaries as worldly and indifferent to the dangers of the Protestant Reformation by the people of the papacy
Pope Clement VII
–
Portrait by
Sebastiano del Piombo, c. 1531
Pope Clement VII
–
Pope Leo X with his
cardinal-cousin Giulio de' Medici (left, future Pope Clement VII) – painted by
Raphael, 1519
Pope Clement VII
–
Castel Sant'Angelo.
Pope Clement VII
–
Charles V, enthroned over his defeated enemies (from left):
Suleiman the Magnificent, Pope Clement VII,
Francis I, the
Duke of Cleves, the
Duke of Saxony, and the
Landgrave of Hesse.
Giulio Clovio, mid-16th century
13.
Pope Paul III
–
Pope Paul III, born Alessandro Farnese, was Pope from 13 October 1534 to his death in 1549. He came to the throne in an era following the sack of Rome in 1527. He convened the Council of Trent in 1545 and he was a significant patron of the arts and employed nepotism to advance the power and fortunes of his family. It is to Pope Paul III that Nicolaus Copernicus dedicated De revolutionibus orbium coelestium, alessandro’s humanist education was at the University of Pisa and the court of Lorenzo de Medici. Initially trained as a notary, he joined the Roman Curia in 1491. Farnese’s sister, Giulia was reputedly a mistress of Alexander VI, for this reason, he was sometimes mockingly referred to as the Borgia brother-in-law, just as Giulia was mocked as the Bride of Christ. More disparagingly he was referred to as Cardinal Fregnese, as Bishop of Parma, he came under the influence of his vicar general, Bartolomeo Guidiccioni. This led to the future pope breaking off the relationship with his mistress, under Pope Clement VII he became Cardinal Bishop of Ostia and dean of the College of Cardinals, and on the death of Clement VII in 1534, was elected as Pope Paul III. As a young cleric, Alessandro lived a dissolute life, taking for himself a mistress. By Silvia Ruffini, he fathered Pier Luigi Farnese, whom he created Duke of Parma, others included Ranuccio Farnese, the fourth pope during the period of the Protestant Reformation, Paul III became the first to take active reform measures in response to Protestantism. Paul III first deferred for a year and then discarded the whole project, in 1536, Paul III invited nine eminent prelates, distinguished by learning and piety alike, to act in committee and to report on the reformation and rebuilding of the Church. This report was printed not only at Rome, but at Strasburg, yet the Pope was in earnest when he took up the problem of reform. Yet it is clear that the Concilium bore no fruit in the situation. On the other hand, serious political complications resulted, in order to vest his grandson Ottavio Farnese with the dukedom of Camerino, Paul forcibly wrested the same from the duke of Urbino. He also incurred virtual war with his own subjects and vassals by the imposition of burdensome taxes, perugia, renouncing its obedience, was besieged by Pauls son, Pier Luigi, and forfeited its freedom entirely on its surrender. The burghers of Colonna were duly vanquished, and Ascanio was banished, after this the time seemed ripe for annihilating heresy. In 1540, the Church officially recognized the young society forming about Ignatius of Loyola, the second visible stage in the process becomes marked by the institution, or reorganization, in 1542, of the Congregation of the Holy Office of the Inquisition. On another side, the Emperor was insisting that Rome should forward his designs toward a recovery of the German Protestants
Pope Paul III
–
Pope Paul III
Pope Paul III
–
Portrait of Cardinal Alessandro Farnese, later Pope Paul III, by
Raphael, 1509–1511 (
Museo di Capodimonte,
Naples).
Pope Paul III
–
Cardinal Ascanio Sforza
Pope Paul III
–
Pope Paul III and his Grandsons Cardinal
Alessandro Farnese (left), and
Ottavio Farnese, Duke of Parma (right), II Duke of Parma since 1547. A triple portrait by
Titian, 1546
14.
Resurrection of the Dead
–
Predominantly in Christian eschatology, the term is used to support the belief that the dead will be brought back to life in connection with end times. Various other forms of this concept can also be found in other eschatologies, namely, Islamic, Jewish, early Christian church fathers defended the resurrection of the dead against the pagan belief that the immortal soul went to the underworld immediately after death. Currently, however, it is a popular Christian belief that the souls of the go to Heaven. At the close of the period, the modern era brought a shift in Christian thinking from an emphasis on the resurrection of the body back to the immortality of the soul. This shift was a result of a change in the zeitgeist, as a reaction to the Renaissance, andré Dartigues has observed that especially “from the 17th to the 19th century, the language of popular piety no longer evoked the resurrection of the soul but everlasting life. Although theological textbooks still mentioned resurrection, they dealt with it as a question more than as an existential problem. ”This shift was supported not by any scripture. Deism allowed for a supreme being, such as the philosophical first cause, Deism, which was largely led by rationality and reason, could allow a belief in the immortality of the soul, but not necessarily in the resurrection of the dead. In Christian theology, it was widely believed that to rise on Judgment Day the body had to be whole. An Act of Parliament from the reign of King Henry VIII stipulated that only the corpses of executed murderers could be used for dissection, restricting the supply to the cadavers of murderers was seen as an extra punishment for the crime. If one believes dismemberment stopped the possibility of resurrection of a body on judgment day. Attitudes towards this issue changed very slowly in the United Kingdom and were not manifested in law until the passing of the Anatomy Act in 1832. For much of the British population it was not until the 20th century that the link between the body and resurrection was finally broken as cremation was only legal in 1902. The Gospel of Matthew introduces the expression ἀναστάσεως τῶν νεκρῶν, which is used in a monologue by Jesus who speaks to the crowds about the resurrection called simply, ῇ ἀναστάσει. This type of resurrection refers to the raising up the dead, all men, at the end of this present age, in Acts of the Apostles the expression ἀναστάσεως νεκρῶν was used by the Apostles and Paul the Apostle to defend the doctrine of the resurrection. Paul brought up the resurrection in his trial before Ananias ben Nedebaios, the expression was variously used in reference to a general resurrection at the end of this present age. In the First Epistle to the Corinthians chapter 15, ἀνάστασις νεκρῶν is used for the resurrection of the dead. In vv.54,55, Paul the Apostle is conveyed as quoting from the book of Hosea 13,14 where he speaks of the abolition of death, by rendering Sheol powerless would mean to loosen its hold on those in it, implying the emptying of gravedom. Using the Sign of Jonah in Mathew 16 and Luke 11, in Acts of the Apostles chapters 4,17,23 and 24, the Apostles and Paul of Tarsus argued in support of the doctrine
Resurrection of the Dead
–
The Last Trumpet sounded, detail of the
Holy Thorn Reliquary, 1390s
Resurrection of the Dead
–
Detail from a North Mississippi Christian cemetery headstone with the inscription:"May the resurrection find thee On the bosom of thy God"
Resurrection of the Dead
–
Resurrection of the Flesh (c. 1500) by
Luca Signorelli – based on 1 Corinthians 15: 52: "the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed." Chapel of San Brizio, Duomo, Orvieto.
Resurrection of the Dead
–
Resurrection of the Dead – fresco from
Dura Europos synagogue
15.
Christian eschatology
–
Christian eschatology is a major branch of study within Christian theology dealing with the last things. Broadly speaking, Christian eschatology is the study of the destiny of humankind as it is described in the Bible, eschatological passages are found in many places in the Bible, both in the Old and the New Testaments. There are also many examples of eschatological prophecy, as well as church traditions. Treatment of eschatology continued in the West in the teachings of Tertullian, the word was used first by the Lutheran theologian Abraham Calovius but only came into general usage in the 19th century. They are by no means exclusive and are often combined to form a more complete. Most interpretations fit into one, or a combination, of these approaches, Preterism is an approach which sees prophecy as chiefly being fulfilled in the past, especially during the first century. Prophecies in general, therefore, have already been fulfilled, other Preterists consider the Book of Revelation to be a symbolic prophetic presentation of the struggle of Christianity to survive the persecutions of the Roman Empire. There are two views within Preterism, that of Partial preterism and Full preterism. Preterist beliefs usually have an association with Amillennialism, the belief that the Millennial reign of Christ began during the establishment of the Early Church. Preterists usually consider events such as the Great Tribulation as having occurred during the siege, Early Preterist theologians included Eusebius and John Chrysostom. Historicism is an approach which sees prophecy as being fulfilled in the past, present and future, specifically, Historists consider the Book of Revelation to be a symbolic prophetic presentation of the struggle of Protestantism to survive the continuing persecutions of the Papacy. Historists usually consider events such as the Great Tribulation as having occurred during the period of papal supremacy from 538-1798. The subject of the Revelation to John the apostle was large, Elliott, the first six seals of the book of Revelation outline the temporary prosperity of the Empire of heathen Rome followed by its decline and fall which covers the time period A. D.96 –396. Most prophecies will be fulfilled during a time of chaos known as the Great Tribulation. Futurist beliefs usually have an association with Premillennialism and Dispensationalism. Futurist beliefs were presented in the Left Behind series, in Idealism, also known as spiritual or nonliteral approach, the Book of Revelation and other eschatological materials are interpreted symbolically. There were different schools of thought on the afterlife in Israel during the first century, the Sadducees, who recognized only the Torah as authoritative, did not believe in an afterlife or any resurrection of the dead. By soul, Seventh-day Adventists theologians mean the person
Christian eschatology
–
Icon of the Second Coming. Greek, ca. 1700 A.D.
16.
Resurrection of Jesus
–
The resurrection of Jesus is the Christian religious belief that, after being put to death, Jesus rose again from the dead. It is the central tenet of Christian theology and part of the Nicene Creed, Paul the Apostle declared that Christ died for our sins according to the scriptures, And that he was buried, and that he rose again the third day according to the scriptures. Paul further asserted And if Christ has not been raised, your faith is futile, then those also who have fallen asleep in Christ have perished. If in Christ we have hope in life only, we are of all people most to be pitied. Christians celebrate the resurrection of Jesus on Easter Sunday, two days after Good Friday, the day of his crucifixion. Easters date corresponds roughly with Passover, the Jewish observance associated with the Exodus, in the New Testament all four gospels conclude with an extended narrative of Jesuss arrest, trial, crucifixion, burial, and his resurrection. In each gospel these five events in the life of Jesus are treated with more detail than any other portion of that gospels narrative. Scholars note that the reader receives an almost hour-by-hour account of what is happening, the death and resurrection of Jesus are treated as the climax of the story, the point to which everything else has been moving all the while. After his death by crucifixion, Jesus was placed in a new tomb which was discovered early Sunday morning to be empty, the New Testament does not include an account of the moment of resurrection. In the Eastern Church icons do not depict that moment, but show the myrrhbearers, the major resurrection appearances of Jesus in the canonical gospels are reported to have occurred after his death, burial and resurrection, but prior to his ascension. This was in accordance with Mosaic Law, which stated that a person hanged on a tree must not be allowed to remain there at night, but should be buried before sundown. All four gospels report that women were the ones to find the tomb of Jesus empty, according to Mark and Luke, the announcement of Jesus resurrection was first made to women. According to Mark and John, Jesus actually appeared first to Mary Magdalene alone, in the gospels, especially the synoptics, women play a central role as eyewitnesses at Jesus death, entombment, and in the discovery of the empty tomb. All three synoptics repeatedly make women the subject of verbs of seeing, clearly presenting them as eyewitnesses, after they found the empty tomb, the gospels indicate that Jesus made a series of appearances to the disciples. He was not immediately recognizable, according to Luke, E. P. Sanders concluded that although he could appear and disappear, he was not a ghost. Writing that Luke was very insistent about that, Sanders pointed out that the risen Lord could be touched and he first appeared to Mary Magdalene, but she did not recognize him at first. The first two disciples to whom he appeared, walked and talked with him for quite a while without knowing who he was and he was made known in the breaking of the bread. Beside the Sea of Galilee he encouraged Peter to serve his followers and his final appearance is reported as being forty days after the resurrection when he was carried up into heaven where he sits on the right hand of God
Resurrection of Jesus
–
Resurrection of Christ by
Noel Coypel, 1700, using a
hovering depiction of Jesus
Resurrection of Jesus
–
Resurrection of Jesus, Jesus Christ, part of the Resurrection group. Marble, before 1572.
Resurrection of Jesus
–
Lamentation at the Tomb, 15th century.
17.
Counter-Reformation
–
It also involved political activities that included the Roman Inquisition. The 14th, 15th and 16th centuries saw a revival in Europe. This became known as the Catholic Reformation, several theologians harked back to the early days of Christianity and questioned their spirituality. Their debates expanded across the whole of Europe in the 15th and 16th centuries, whilst secular critics also examined religious practice, clerical behavior, several varied currents of thought were active, but the ideas of reform and renewal were led by the clergy. The reforms decreed at Lateran V had only a small effect, some positions got further and further from the churchs official positions, leading to the break with Rome and the formation of Protestant churches. Even so, conservative and reforming parties still survived within the Catholic Church even as the Protestant Reformation spread, the Protestant Church decisively broke from the Catholic Church in the 1520s. The two distinct positions within the Catholic Church solidified in the 1560s. The Catholic Reformation became known as the Counter-Reformation, defined as a reaction to Protestantism rather than as a reform movement, the regular orders made their first attempts at reform in the 14th century. The Benedictine Bull of 1336 reformed the Benedictines and Cistercians, in 1523, the Camaldolese Hermits of Monte Corona were recognized as a separate congregation of monks. In 1435, Saint Francis of Paola founded the Poor Hermits of Saint Francis of Assisi, in 1526, Matteo de Bascio suggested reforming the Franciscan rule of life to its original purity, giving birth to the Capuchins, recognized by the pope in 1619. This order was well-known to the laity and play an important role in public preaching, to respond to the new needs of evangelism, clergy formed into religious congregations, taking special vows but with no obligation to assist in a monasterys religious offices. These regular clergy taught, preached and took confession but were under a bishops direct authority, in Italy, the first congregation of regular clergy was the Theatines founded in 1524 by Gaetano and Cardinal Caraffa. In 1524, a number of priests in Rome began to live in a community centred on Philip Neri, the Oratorians were given their institutions in 1564 and recognized as an order by the pope in 1575. They used music and singing to attract the faithful, the Council upheld the basic structure of the Medieval Church, its sacramental system, religious orders, and doctrine. It rejected all compromise with the Protestants, restating basic tenets of the Roman Catholic faith, the Council upheld salvation appropriated by grace through faith and works of that faith because faith without works is dead, as the Epistle of St. James states. This reaffirmed the previous Council of Rome and Synods of Carthage, the Council also commissioned the Roman Catechism, which still serves as authoritative Church teaching. While the traditional fundamentals of the Church were reaffirmed, there were changes to answer complaints that the Counter-Reformers were, tacitly. Often, these rural priests did not know Latin and lacked opportunities for theological training
Counter-Reformation
–
A copy of the
Vulgate (the Latin edition of the Catholic Bible) printed in 1590, after many of the Council's reforms had begun to take place in Catholic worship.
Counter-Reformation
–
A session of the Council of Trent, from an engraving.
Counter-Reformation
–
Peter Paul Rubens was the great Flemish artist of the Counter-Reformation; he painted Adoration of the Magii in 1624
Counter-Reformation
–
The Battle of Lepanto
18.
Vasari
–
Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
Vasari
–
Vasari's self-portrait
Vasari
–
Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Vasari
–
Giorgio Vasari, The Garden of Gethsemane
Vasari
–
The Uffizi Loggia.
19.
War in Heaven
–
Revelations war in heaven is related to the idea of fallen angels, and possible parallels have been proposed in the Hebrew Bible and the Dead Sea Scrolls. Some commentators have seen the war in heaven as not literal, in Miltons Paradise Lost, the angel Lucifer leads a rebellion against God before the Fall of Man. A third of the angels, including pagan gods such as Moloch, jonathan Edwards said in his sermon Wisdom Displayed in Salvation, Satan and his angels rebelled against God in heaven, and proudly presumed to try their strength with his. And when God, by his almighty power, overcame the strength of Satan and he added that Michaels name was the war-cry of the good angels in the battle fought in heaven against the enemy and his followers. The Church of Jesus Christ of Latter-day Saints teaches that Revelation 12 concerns an event in the pre-mortal existence of man. The Book of Moses, included in the LDS standard works canon, references the War in Heaven, anatole France in the 1914 novel La Révolte des Anges adapted the Christian myth to make a parable about revolts and revolutionary movements. The motif of the fall of Satan and his angels can be found in Christian angelology and Christian art, the Christian tradition has stories about angelic beings cast down from heaven by God, often presenting the punishment as inflicted in particular on Satan. Lucifers rebellion has been attributed to a number of motives, all of which stem from his great pride. These motives include, A refusal to bow down to mankind on the occasion of the creation of man as in the Armenian, Georgian, a similar view is held in Islamic tradition, in which Iblis refuses to bow down to Adam. The culmination of a distancing from God through use of free will. A declaration by God that all were to be subject to his Son, parallels are drawn to the passage in Isaiah 14, 4-17 that mentions the son of the morning that had fallen from heaven and was cast down to the earth. In verse 12 of this passage, the Hebrew word that referred to the star was translated into Latin as Lucifer. With the application to the Devil of the morning star story, the name Lucifer, the Latin name for the morning star, is often given to the Devil in these stories. Stars were then regarded as living celestial beings, according to Jewish thought, the passage in Isaiah was used to prophesy the fate of the King of Babylon, who is described as aiming to rival God. That the Melchizedek document concerns a war in heaven is denied by Fred L, War in Heaven Christoph Auffarth, Loren T. Stuckenbruck, The Fall of the Angels. Eine Analyse des Höllenverständnisses verschiedener Epochen anhand von Höllendarstellungen, neil Forsyth, The Old Enemy, Satan & the Combat Myth 1987
War in Heaven
–
The Fall of the Rebel Angels; right hand panel of
Hieronymus Bosch 's
The Haywain Triptych, c. 1500
War in Heaven
–
Michael casts out rebel angels. Illustration by
Gustave Doré for
John Milton 's
Paradise Lost.
War in Heaven
–
The Fall of the Rebel Angels, by
Pieter Bruegel the Elder
War in Heaven
–
War in Heaven by
Pieter Paul Rubens, 1619
20.
Cornice
–
A simple cornice may be formed just with a crown molding. The function of the cornice of a building is to throw rainwater free of the building’s walls. In residential building practice, this function is handled by projecting gable ends, roof eaves, however, house eaves may also be called cornices if they are finished with decorative molding. The projecting cornice of a building may appear to be heavy and hence in danger of falling, particularly on commercial buildings, a rake is an architectural term for an eave or cornice which runs along the gable end of the roof of a modern residential structure. It may also be called a sloping cornice, a raking cornice, the trim and rafters at this edge are called rake-, verge-, or barge-board or verge- or barge-rafter. It is a sloped timber on the facing edge of a roof running between the ridge and the eave. On a typical house, any gable will have two rakes, one on each sloped side, the rakes are supported by a series of lookouts and may be enclosed with a rake fascia board on the outside facing edge and a rake soffit along the bottom. The cornices of a residential building will usually be one of three types, a box cornice, a close or closed cornice, or an open cornice. Box cornices enclose the cornice of the building with what is essentially a narrow box. A box cornice may further be divided into either the box cornice or the wide box cornice type. A narrow box cornice is one in which the projection of the rafter serves as a surface for the soffit board as well as the fascia trim. This is possible if the slope of the roof is fairly steep, box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice. A close, closed, or snub cornice is one in there is no projection of the rafters beyond the walls of the building. This type of cornice is easy to construct, but provides little aid in dispersing water away from the building, in an open cornice, the shape of the cornice is similar to that of a wide box cornice except that both the lookouts and the soffit are absent. It is a lower-cost treatment that requires fewer materials, and may not have a fascia board. Ancient Egyptian architectural tradition made special use of large cavetto mouldings as a cornice, with only a short fillet above, inspired by this precedent, it was then revived by Ardashir I, the founder of the Sasanian dynasty. The cavetto took the place of the cymatium in many Etruscan temples, often painted with vertical tongue patterns, additional more-obscure varieties of cornice include the architrave cornice, bracketed cornice, and modillion cornice. A cornice return is a detail that occurs where the horizontal cornice of a roof connects to the rake of a gable
Cornice
–
An example of a cornice, above large
corbels, along the top of the Wheeling-Pittsburgh Steel Building in downtown
Wheeling, West Virginia,
United States.
Cornice
–
A wide box cornice with lookouts
Cornice
–
A close cornice
Cornice
–
An open cornice
21.
Sebastiano del Piombo
–
Never a very disciplined or productive painter, his artistic productivity fell still further after this, which committed him to attend on the pope most days, and travel with him. He also had to take orders as a friar, despite having a wife. He now painted mostly portraits, and relatively few works of his survive compared to his contemporaries in Rome. This limited his involvement with the Mannerist style of his later years, having achieved success as a lutanist in Venice when young, he turned to painting and trained with Giovanni Bellini and Giorgione. He painted portraits and religious subjects in oils, and once he was established avoided the large fresco schemes that took up so much of the time of Raphael and Michelangelo. His subsequent influence was limited by his lack of prominent pupils, compared to Raphael at least, Sebastiano del Piombo was probably born in Venice, though there is no certainty as to his background. His birthdate is extrapolated from Vasaris statement that he was 62 at his death in 1547 and that he was first known as a lutanist may suggest an upper-middle class background, the extent to which his lute-playing was professional is unclear. Like his contemporary Raphael, his career was marked by his ability to get on well with other artists and patrons. No signed or firmly documented works survive from his painting in Venice. As with other artists, some of Sebastianos works have long confused with Giorgiones. Like Titian, he may have completed some works left unfinished at Giorgiones death in 1510, the earliest significant work attributed to him is a portrait of a girl in Budapest, of about 1505. He is now assigned the unfinished and reworked Judgement of Solomon now at Kingston Lacy. Still over 2 x 3 metres, it originally to have been even larger. There are two versions of the elaborate architectural background, which was a recurrent interest of Sebastianos Venetian period, the last setting is in a basilica, which may reflect a more learned picture intended for a building holding courts of justice. Four standing figures of saints in niches on the organ-shutters of San Bartolomeo, Venice, now in the Gallerie dellAccademia in Venice, 1508-09, and are very Giorgionesque, especially the pair on the insides. The outside pair of shutters also show what Sebastiano had learnt from Bellini and their technique has developed from the earlier smooth surface to the application of paint in heavy brushstrokes, and the figure of Saint Sebastian shows awareness of classical sculpture. The organ-shutters for the church were also painted, the style shows developments towards a new fullness of form and breadth of movement that may have been influenced by the Florentine painter Fra Bartolommeo, who was in Venice in 1508. Aspects of the composition were also innovative, and later copied by Venetian painters, in 1511 Agostino Chigi was the richest man in Rome as Papal banker, and a generous patron of the arts
Sebastiano del Piombo
–
Copy of a self portrait
Sebastiano del Piombo
–
Detail of
fresco in San Pietro in Montorio.
Sebastiano del Piombo
–
The Raising of Lazarus (1517-1519)
Sebastiano del Piombo
–
Portrait of a Ladya by Sebastiano del Piombo displayed in the
National Gallery, London
22.
Oil painting
–
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
Oil painting
–
Mona Lisa,
Leonardo da Vinci, c. 1503–06
Oil painting
–
Self-portrait, at work,
Anders Zorn, 1897
Oil painting
–
Self-portrait of
Rembrandt, 1630. An example of oil painting on copper.
Oil painting
–
Flax seed is the source of linseed oil.
23.
Altarpiece
–
An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation. Large number of altarpieces are now removed from their settings, and often their elaborate sculpted frameworks. Altarpieces seem to have begun to be used during the 11th century, the reasons and forces that led to the development of altarpieces are not generally agreed upon. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, an elaborate example of such an early altarpiece is the Pala dOro in Venice. The appearance and development of these first altarpieces marked an important turning point both in the history of Christian art and Christian religious practice, the autonomous image now assumed a legitimate position at the centre of Christian worship. Painted panel altars emerged in Italy during the 13th century, in the 13th century, it is not uncommon to find frescoed or mural altarpieces in Italy, mural paintings behind the altar function as visual complements for the liturgy. These altarpieces were influenced by Byzantine art, notably icons, which reached Western Europe in greater numbers following the conquest of Constantinople in 1204. During this time, altarpieces began to be decorated with an outer. Vigoroso da Sienas altarpiece from 1291 display such an altarpiece and this treatment of the altarpiece would eventually pave the way for the emergence, in the 14th century, of the polyptych. The sculpted elements in the emerging polyptychs often took inspiration from contemporary Gothic architecture, in Italy, they were still typically executed in wood and painted, while in northern Europe altarpieces were often made of stone. The early 14th century saw the emergence, in Germany, the Netherlands, Scandinavia, the Baltic region, by hinging the outer panels to the central panel and painting them on both sides, the motif could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands, the earliest often displayed sculptures on the inner panels, i. e. displayed when open, and paintings on the back of the wings, displayed when closed. With the advent of winged altarpieces, a shift in imagery also occurred, instead of being centred on a single holy figure, altarpieces began to portray more complex narratives linked to the Christian concept of salvation. As the Middle Ages progressed, altarpieces began to be commissioned more frequently, in Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds, the 15th century saw the birth of Early Netherlandish painting in the Low Countries, henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead generally preferred, while in England alabaster was used to a large extent, in England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with painted panels and often with complex framing in the form of architectural compositions
Altarpiece
–
The
Ghent Altarpiece (1432) by
Hubert and
Jan van Eyck. Considered one of the masterpieces of
Northern Renaissance art, it is an example of a complex polyptych panel painting
Altarpiece
–
Vigoroso da Siena 's altarpiece from 1291, an example of an early painted panel altarpiece, with the individual parts framed by gables and sculptured elements
Altarpiece
–
The Altarpiece of the Holy Blood, by
Tilman Riemenschneider (1501–1505). An example of an altarpiece with a central, sculpted section and relief wings.
24.
Assumption of Mary
–
The Catholic Church teaches as dogma that the Virgin Mary having completed the course of her earthly life, was assumed body and soul into heavenly glory. This doctrine was defined by Pope Pius XII on 1 November 1950. In the churches that observe it, the Assumption is a major feast day, in many countries, the feast is also marked as a Holy Day of Obligation in the Roman Catholic Church and as a festival in the Anglican Communion. The Catholic Church itself interprets chapter 12 of the Book of Revelation as referring to it, the earliest known narrative is the so-called Liber Requiei Mariae, which survives intact only in an Ethiopic translation. Probably composed by the 4th century, this Christian apocryphal narrative may be as early as the 3rd century, also quite early are the very different traditions of the Six Books Dormition narratives. The earliest versions of this apocryphon are preserved by several Syriac manuscripts of the 5th and 6th centuries, although the text itself probably belongs to the 4th century. The story also appears in De Transitu Virginis, a late 5th century work ascribed to St. Melito of Sardis that presents a theologically redacted summary of the traditions in the Liber Requiei Mariae. The Transitus Mariae tells the story of the apostles being transported by white clouds to the deathbed of Mary, the Decretum Gelasianum in the 490s declared some transitus Mariae literature apocryphal. An Armenian letter attributed to Dionysus the Areopagite also mentioned the supposed event, john of Damascus, from this period, is the first church authority to advocate the doctrine under his own name. His contemporaries, Gregory of Tours and Modestus of Jerusalem, helped promote the concept to the wider church. In some versions of the story, the event is said to have taken place in Ephesus, in the House of the Virgin Mary, although this is a more recent. The earliest traditions locate the end of Marys life in Jerusalem, in a later tradition, Mary drops her girdle down to the apostle from heaven as testament to the event. This incident is depicted in later paintings of the Assumption. It was celebrated in the West under Pope Sergius I in the 8th century, theological debate about the Assumption continued, following the Reformation, climaxing in 1950 when Pope Pius XII defined it as dogma for the Catholic Church. Catholic theologian Ludwig Ott stated, The idea of the assumption of Mary is first expressed in certain transitus-narratives of the fifth and sixth centuries. The first Church author to speak of the assumption of Mary. The Catholic writer Eamon Duffy states that there is, clearly, however, the Catholic Church has never asserted nor denied that its teaching is based on the apocryphal accounts. The Church documents are silent on this matter and instead rely upon other sources, Pope Pius XII deliberately left open the question of whether Mary died before her Assumption
Assumption of Mary
–
" De hemelvaart van Maria ",
Rubens, circa A.D. 1626
Assumption of Mary
–
Assumption statue, 1808 by
Mariano Gerada,
Ghaxaq,
Malta
Assumption of Mary
–
A series of articles on
Assumption of Mary
–
Our Lady of Assumption,
San Luis Potosi, Mexico.
25.
Pietro Perugino
–
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil, Pietro Perugino was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Marie Vannucci. Pietros nickname characterizes him as from Perugia, the city of Umbria. Scholars continue to dispute the status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty and his exact date of birth is not known, although, based on his age at the death mentioned by Vasari and Giovanni Santi, he is suspected to be born between 1446 and 1452. Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo, the date of this first Florentine sojourn is unknown, some make it as early as 1466/1470, others push the date to 1479. According to Vasari, he apprenticed in the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, piero della Francesca is thought to have taught him perspective form. In 1472 he must have completed his apprenticeship, for he was enrolled as a master in the Confraternity of St Luke, Pietro, although very talented was not extremely enthusiastic about his work. Perugino was one of the earliest Italian practitioners of oil painting, a good specimen of his early style in tempera is the tondo in the Musée du Louvre of the Virgin and Child Enthroned between Saints. Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia, in about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah, the Baptism of Christ, pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome, the altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. He had a studio in Florence, and received a great number of commissions. His Pietà in the Uffizi is an uncharacteristically stark work that avoids Peruginos sometimes too easy sentimental piety, in 1499 the guild of the cambio of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio. The humanist Francesco Maturanzio acted as his consultant, on the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, towards 1496, had been placed by his uncles under the tuition of Perugino, Perugino was made one of the priors of Perugia in 1501. On one occasion Michelangelo told Perugino to his face that he was a bungler in art, Vannucci brought an action for defamation of character, unsuccessfully
Pietro Perugino
–
Self-portrait, 1497–1500
Pietro Perugino
–
The Delivery of the Keys fresco, 1481–1482,
Sistine Chapel, Rome.
Pietro Perugino
–
God the Father and angels by Pietro Perugino on the ceiling of
Stanza dell'Incendio del Borgo
Pietro Perugino
–
Pietà, c. 1490.
26.
Albertina
–
The Albertina is a museum in the Innere Stadt of Vienna, Austria. The museum also houses temporary exhibitions, the Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustinian Bastion. Originally, the Hofbauamt, which had built in the second half of the 17th century. In 1744 it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace, the building was later taken over by Duke Albert of Saxen-Teschen who used it as his residence. He later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands and he had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg, the collection was expanded by Alberts successors. The collection was created by Duke Albert with the Genoese count Giacomo Durazzo, in 1776 the count presented nearly 1,000 pieces of art to the duke and his wife Maria Christina. In the 1820s Archduke Charles, Duke Albert and Maria Christinas foster son, initiated further modifications to the building by Joseph Kornhäusel, after Archduke Charles, his son Archduke Albrecht then Albrechts nephew Archduke Friedrich, Duke of Teschen lived in the building. In early 1919, ownership of both the building and the collection passed from the Habsburgs to the newly founded Republic of Austria, in 1920 the collection of prints and drawings was united with the collection of the former imperial court library. The name Albertina was established in 1921, in March 1945, the Albertina was heavily damaged by Allied bomb attacks. The building was rebuilt in the years after the war and was refurbished and modernized from 1998 to 2003. Modifications of the exterior entrance sequence, including a roof by Hans Hollein were completed 2008. Media related to Albertina, Vienna at Wikimedia Commons Official website Some pictures of the repository Audioguide of the introduction
Albertina
–
Albertina
Albertina
–
Study for the Last Supper by
Leonardo da Vinci, c. 1495
Albertina
–
Young Hare by
Albrecht Dürer (1502)
Albertina
–
The Painter and The Buyer by
Pieter Bruegel the Elder, 1565
27.
Raphael Cartoons
–
Reproduced in the form of prints, they rivalled Michelangelos ceiling as the most famous and influential designs of the Renaissance, and were well known to all artists of the Renaissance and Baroque. Admiration of them reached its highest pitch in the 18th and 19th centuries, originally the set was intended to include 16 tapestries. Raphael was paid twice by Leo, in June 1515 and December 1516, tapestries retained their Late Gothic prestige during the Renaissance. Most of the expense was in the manufacture, although the creation of the tapestries in Brussels cost 15,000 ducats, the cartoons are painted in a glue distemper medium on many sheets of paper glued together, they are now mounted on a canvas backing. They are all slightly over 3 m tall, and from 3 to 5 m wide, although some colours have faded, they are in general in very good condition. The tapestries are mirror-images of the cartoons, as they were worked from behind, there would have been other drawings for all the subjects, which have been lost, it was from these that the first prints were made. The seven cartoons were probably completed in 1516 and were sent to Brussels. Various other sets were later, including one acquired by Henry VIII of England in 1542. Cartoons were sometimes returned with tapestries to the commissioner, but this clearly did not happen here, the tapestries had very wide and elaborate borders, also designed by Raphael, which these cartoons omit, presumably they had their own cartoons. The borders included ornamentation in an imitation of Ancient Roman relief sculpture, the tapestries were made with both gold and silver thread, some were later burnt by soldiers in the Sack of Rome in 1527 to extract the precious metals. The first delivery was in 1517, and seven were displayed in the Chapel for Christmas Day in 1519 and it was partly this that made the designs so effective in reduced print versions. The Raphael Cartoons represent scenes from the lives of Saints Peter, there were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict, an intervening small frieze showed subjects from the life of Leo, also designed to complement the other series. Each sequence begins at the wall, with the Life of Peter on the right side of the Chapel. The Healing of the Lame Man The Death of Ananias, Life of Paul The Stoning of St Stephen at which Paul was present before his conversion. The Conversion of Saint Paul The Conversion of the Proconsul or The Blinding of Elymas, after Paul miraculously cures a cripple, the people of Lystra see him and his companion Barnabas as gods, and want to make a sacrifice to them. Paul tears his garments in disgust, whilst Barnabas speaks to the crowd, St Paul in prison, smaller than the others. St Paul Preaching in Athens, the standing at the left in a red cap is a portrait of Leo, next to him is Janus Lascaris
Raphael Cartoons
–
The Miraculous Draught of Fishes
Raphael Cartoons
–
St Paul Preaching in Athens
Raphael Cartoons
–
Christ's Charge to Peter
Raphael Cartoons
–
The Death of
Ananias
28.
Saint Peter
–
Saint Peter, also known as Simon Peter, Simeon, or Simōn pronunciation, according to the New Testament, was one of the Twelve Apostles of Jesus Christ, leaders of the early Christian Great Church. Hippolytus of Rome, a 3rd-century theologian, gave him the title of Apostle of the Apostles, according to Catholic teaching, Peter was ordained by Jesus in the Rock of My Church dialogue in Matthew 16,18. He is traditionally counted as the first Bishop of Rome and by Eastern Christian tradition also as the first Patriarch of Antioch. The ancient Christian churches all venerate Peter as a saint and as founder of the Church of Antioch. The New Testament indicates that Peter was the son of John and was from the village of Bethsaida in the province of Galilee or Gaulanitis and his brother Andrew was also an apostle. According to New Testament accounts, Peter was one of twelve apostles chosen by Jesus from his first disciples, originally a fisherman, he played a leadership role and was with Jesus during events witnessed by only a few apostles, such as the Transfiguration. According to the gospels, Peter confessed Jesus as the Messiah, was part of Jesuss inner circle, thrice denied Jesus and wept bitterly once he realised his deed, according to Christian tradition, Peter was crucified in Rome under Emperor Nero Augustus Caesar. It is traditionally held that he was crucified upside down at his own request, Tradition holds that he was crucified at the site of the Clementine Chapel. His remains are said to be contained in the underground Confessio of St. Peters Basilica. According to Catholic doctrine, the direct successor to Saint Peter is the incumbent pope. Two general epistles in the New Testament are ascribed to Peter, the Gospel of Mark was traditionally thought to show the influence of Peters preaching and eyewitness memories. Peters original name was Shimon or Simeon and he was later given the name Peter, New Testament Greek Πέτρος derived from πέτρα, which means rock. In the Latin translation of the Bible this became Petrus, a form of the feminine petra. Another version of this name is Aramaic, , after his name in Hellenised Aramaic. The English, Dutch and German Peter, French Pierre, the Italian Pietro, the Spanish and Portuguese Pedro, the Syriac or Aramaic word for rock is kepa, which in Greek became Πέτρος, also meaning rock. He is also known as Simon Peter, Cephas and Kepha, both Cephas and Kepha also mean rock. In the New Testament, he is among the first of the disciples called during Jesus ministry, Peter became the first listed apostle ordained by Jesus in the early church. Peter was a fisherman in Bethsaida and he was named Simon, son of Jonah or John
Saint Peter
–
Saint Peter by
Peter Paul Rubens shows the saint holding the
Keys of Heaven and wearing the
pallium
Saint Peter
–
Calling of Peter and Andrew,
Caravaggio
Saint Peter
–
Ruins of ancient
Capernaum on north side of the
Sea of Galilee.
Saint Peter
–
Apostle Peter striking the
High Priests ' servant
Malchus with a sword in the
Garden of Gethsemane.
29.
Saint Paul
–
Paul the Apostle, commonly known as Saint Paul, and also known by his native name Saul of Tarsus was an apostle who taught the gospel of the Christ to the first century world. He is generally considered one of the most important figures of the Apostolic Age, in the mid-30s to the mid-50s AD, he founded several churches in Asia Minor and Europe. Paul took advantage of his status as both a Jew and a Roman citizen to minister to both Jewish and Roman audiences, according to writings in the New Testament, Paul was dedicated to the persecution of the early disciples of Jesus in the area of Jerusalem. He was struck blind but, after three days, his sight was restored by Ananias of Damascus, and Paul began to preach that Jesus of Nazareth is the Jewish Messiah, approximately half of the book of Acts deals with Pauls life and works. Fourteen of the books in the New Testament have traditionally been attributed to Paul. Seven of the epistles are undisputed by scholars as being authentic, Pauline authorship of the Epistle to the Hebrews is not asserted in the Epistle itself and was already doubted in the 2nd and 3rd centuries. It was almost unquestioningly accepted from the 5th to the 16th centuries that Paul was the author of Hebrews, but that view is now almost universally rejected by scholars. The other six are believed by scholars to have come from followers writing in his name. Other scholars argue that the idea of an author for the disputed epistles raises many problems. Today, Pauls epistles continue to be roots of the theology, worship, and pastoral life in the Catholic and Protestant traditions of the West. Augustine of Hippo developed Pauls idea that salvation is based on faith, martin Luthers interpretation of Pauls writings influenced Luthers doctrine of sola fide. The main source for information about Pauls life is the material found in his epistles, however, the epistles contain little information about Pauls past. The book of Acts recounts more information but leaves several parts of Pauls life out of its narrative, such as his probable, some scholars believe Acts also contradicts Pauls epistles on multiple accounts, in particular concerning the frequency of Pauls visits to the church in Jerusalem. It has been assumed that Sauls name was changed when he converted from Judaism to Christianity. His Jewish name was Saul, perhaps after the biblical King Saul, a fellow Benjamite, according to the Book of Acts, he inherited Roman citizenship from his father. As a Roman citizen, he bore the Latin name of Paul—in biblical Greek, Παῦλος. It was quite usual for the Jews of that time to have two names, one Hebrew, the other Latin or Greek. Jesus called him Saul, Saul in the Hebrew tongue in the book of Acts, later, in a vision to Ananias of Damascus, the Lord referred to him as Saul, of Tarsus
Saint Paul
–
Saint Paul by
Bartolomeo Montagna
Saint Paul
–
The Conversion of Saul,
fresco by
Michelangelo, 1542–45
Saint Paul
–
Conversion on the Way to Damascus (1601), by
Caravaggio
Saint Paul
–
Caravaggio (1571–1610), The Conversion of Saint Paul, 1600
30.
Lunette
–
In architecture, a lunette is a half-moon shaped space, either filled with recessed masonry or void. A lunette is formed when a horizontal cornice transects a round-headed arch at the level of the imposts, if a door is set within a round-headed arch, the space within the arch above the door, masonry or glass, is a lunette. If the door is an access, and the lunette above is massive and deeply set. The term is employed to describe the section of interior wall between the curves of a vault and its springing line. A system of intersecting vaults produces lunettes on the surfaces above a cornice. The lunettes in the structure of the Sistine Chapel inspired Michelangelo to come up with compositions for the spaces. In neoclassical architecture of Robert Adam and his French contemporaries, like Ange-Jacques Gabriel, the lunettes above lent themselves to radiating motifs, a sunburst of bellflower husks, radiating fluting, a low vase of flowers, etc. A lunette may also be segmental, and the arch may be an arc taken from an oval, a lunette is commonly called a half-moon window, when the space is used as a window. Fanlight Media related to Lunettes at Wikimedia Commons
Lunette
–
Charles Sprague Pearce, Rest (1896). Mural in a lunette in the Library of Congress
Thomas Jefferson Building, Washington, D.C.
Lunette
–
Segmental-arched flattened lunette over door
.jpg)
