Cauxa Cloister Research Paper

An inextricable quality of ceiling frescoes is their consumption di sotto in sù (translated from Italian to “from below, upward”). That is to say, the viewer must direct their gaze skyward in order to view such frescoes. In the case of Gaulli’s Triumph of the Name of Jesus, the viewer’s gaze is drawn first to this aureate burst—a rapturous burst of light around which floats a ring of what appear to be cherubs. The burst of light casts a spire that points toward the upper bound of the fresco’s ornate cornice upon which lies a cascading banner flanked by sculpted angels and shells. Once pointed by the spire to this upper bound, the viewer may then notice the intricate floral patterns that adorn the cornice, patterns which are not repeated elsewhere in the text. Following the outline of the cornice due counterclockwise, the viewer is led to a disruption of the cornice’s outline by a set of figures on a swirling cloud whose trajectory extends beyond the elliptical

These structures are meant to summon spirits, serve as a place to pray, sing, dance, and much more. Another reason cultures build religious structures, is so

The last sentence of the poem, ““There is still murder in your heart” (14), is a powerful claim that suggests that a routine consisting of prayer, communion, or hymn singing will not dissolve the sin of the heart. However, seeing this claim from a different standpoint, this can also suggest that this dull routine is convenient when it comes to preserving an appearance of purity and grace. There is an image in the middle of the poem, “light swords” (7), that possibly represents sharp members of the congregation trying to deceive the church authorities and God. Their comfort to the routine is remarkable because it does not really make a difference at the end; the only thing that truly matters is the masked life they are trying to keep hidden. Readers may consider the arguments presented in this poem as the truth reaching out to the contemporary church and its followers to improve their relationship with

Critics argue that such funds, which are often used for the purpose of constructing or decorating extravagant cathedrals, ought to be used solely for the benefit of the poor and needy. In contrast, Fr. Havens expressed that all things which are good and beautiful glorify God and He has given us talents of creativity and craftsmanship that we may glorify Him. In other words, places of worship are constructed and beautified so ornately, not necessarily to be lavish or to abuse donations, but because giving and doing one’s best represents strong devotion to God and willingness to remember Him always. Our best and most beautiful creations can emphasize God’s eternal capacity to create, to organize and create life and meaning where there was only unorganized matter

As I first examined this work, I could not focus on just one portion of it. Although each part tells its story, there it one overall explanation. As usual, I am drawn to the center of this piece which would be a man sitting in an oval like throne. With a closer look, I look at this man and see a cross behind him, with angelic figures in the background. I conclude this important

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

The edifice in itself was rather imposing. It was a large construction similar to European cathedrals. From the point of view of the religious feeling, I considered it to be more appropriate than catholic churches that resemble more to museums and are extraordinary in their art. Usually in catholic churches the edifice is impressive in its shape and construction and the first thought is to associate it to a pierce of art rather than a place of prayer. By comparison, this Orthodox Church was not that lavishing in details or artistic nature and the outside paintings set a religious feeling as I entered. A cemetery or a place for holy burials such as the former priests that served at the Church surrounded this church. This is not mandatory to happen but most of the times, Orthodox churches have in the vicinity the cemetery.

Moutiers-Saint-Jean was founded by a hermit called John of Réôme in the fifth century in dedication to the Virgin Mary. “His sanctity drew others to him and enabled him to found a religious community dedicated to the Virgin. Such monasteries grew up in Burgundy and elsewhere from the cells of disciples clustered around the hermitage of a holy person.”1 It was the monasteries dedication to the Virgin that inspired the biblical scene on the arch of the doorway to be the Coronation of the Virgin. In the scene, Christ and Mary are enthroned in the Kingdom of Heaven. This scene was popular because rich imagery of the story was used “…in order to glorify the

The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo was completed in 1528 and originally resided in the Florence Charterhouse as the main altarpiece. With it’s distinct iconography, the work was intended to show the public the raw suffering of Christ after his sacrifice and how those around him felt at the time of his death. It holds an uplifting and even hopeful tone with it’s “sour” color palette, a stable for the Mannerist movement.

The Gothic ivory statuette is of the Virgin Mary standing in a vertical composition. Mary’s body pushes against the force of gravity; she seems tall and strong. The nature of the vertical composition forces the viewer to look at the image from top to bottom. As we examine Mary, she feels natural and relaxed because she stands with most of her weight shifted to one side, creating a contrapposto. This pose, though asymmetrical, provides balance when we consider the figure cradled on her hip. The Christ child sits, pressed into Mary’s side and supported by her left arm. Christ grasps the flowing folds of his mother’s veil in one hand, and in the other, he holds a fruit. Together, these figures create a triangle. Mary’s head forms the apex of the triangle where her right arm and Christ form the base corners. Mary dominates the tip of the composition, and she serves as the vertical component. The vertical nature of the piece impacts how the viewer interacts with the piece. The statuette seems to ascend, or refer to the heavens. The composition acts as a reminder that this piece holds a holy or spiritual

While constructing both of these cathedrals there were sculptures created that represented narratives of theology and mysticism. Both were created for a place of worship that’s why sculptures and paintings of religious images were added. This showed a great respect for the belief in Christ and the surrounding believers.

continuity of some of the personnel, this period must have been very traumatic in the life

A final way that the theme of conformity is clearly shown in Lives of the Saints is through the traditions or roles of the citizens of Valle de Sole. The residents of Valle de Sole are portrayed not only strict in their adherence to superstition and religion, but also in their

St. Peter Claver was a humble looking church, without the towering spires or detailed architecture that some churches possess in order to fill you with worshipful awe. In fact, it would have been almost unrecognizable as a church if it were not for the relatively small silver cross that hung above the door, not even raised above the line of the roof. Walking into the church did not change the sense of humility that the outside professed. Dark wood lined the walls and floor, and made up the pews. It felt almost like stepping into a cabin that had been built in the 1970’s. Along the walls there were small portrait sized depictions of the fourteen stations of the cross. Unlike St. Agnes’s eye catching and baroque decorations, St. Peter Claver’s artwork almost blended into the background, and was not immediately visible. It appeared that the artwork mirrored the nature of the building itself, almost as if the church wanted to dispense with frivolity and maintain its focus on the practice of its faith.

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.