Comparing The Virgin And Child From A Book Of Hours

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

The early renaissance era, or the 16th century was a time when there was no literature for child entertainment. Literature only existed for educational purposes. Picture bibles were the closest to anything that resembles a children’s book in modern days. A picture bible was not as you might imagine it.

The crucifixion of Christ is treated differently within the bodies of Old English and Middle English literature. The values of each era's society are superimposed on the descriptions of the sacrifice of Christ on the cross. Christ is depicted either as the model of the hero, prevalent in Old English literature, or as the embodiment of love and passion, as found in Showings by Julian of Norwich.

I selected Jean Pucelle, a miniaturist living in Paris, who created one of the most visually striking illuminated manuscripts of the 14th century, the Belleville Breviary. Originally created for Jeanne de Belleville, wife of Olivier de Clisson, the breviary (a religious book) consists of two volumes of 430 and 446 folios, respectively. David Before Saul (folio 24), as well as other illuminations in the breviary, featured fully modelled,

Religio-historical objects are things of crafted pieces of writing that reveal the realities of religious subjects through the perspective visions of their author (C.J Bleeker). Compared to an artist who has a muse, writers also have a “muse” something that influences their writing. Whether it is a personal experience, religious belief, or common morals writers derive the context within their writing from many different aspects of life. One thing most authors derive their ideas from is their religion or just any religion that interest them. Authors like Nathaniel Hawthorne and Flannery O’Connor, writings often include many allegories and symbols to religious faiths.

from the true story and emphasized the faith they have for God. “Protestant art focused on humble depictions of biblical scenes and moralistic depictions of contemporary everyday

In “Patron or Matron? A Capetian Bride and a Vade Mecum For Her Marriage Bed” Madeline Caviness argues that the purpose of imagery in the Book of Hours is to instruct Jeanne d’Evreux. There are four levels of imagery features in the illuminated manuscript; the first depicts scenes from scared history (hagiographic events or Gospel), the second shows the queen twice represented as supliant, the third is uncolored and unframed figures involved in secular activities, and finally images that are “uncolored and unframed "decoration," using human figures, chimeras, and beasts, forms line endings or fillers in the margins and around the initials. On colored grounds, these motifs invade the initials themselves.”(334) Together this representations guide

The truest of man’s goals is to create art. Art is a by-product of the gift of man over the animals, creativity. Truly, creativity is a replication of God in man and a very possible interpretation of the Genesis 1:27 phrase “in his own image,” along with others—the possession of an immortal soul or the ability to speak. And creativity’s ultimate end product is art. And art more often than not in the history of man has led man to pay homage to his creator. Three of the classic literary artistic works of mankind, Homer’s Iliad, Virgil’s Aeneid, and Dante’s Inferno, feature—if not focus—on the deity or deities of the respective authors and their relation to the characters

Macdonald, (2010) suggested that the bible is a cultural work of art because it is used in storytelling, preaching, drama and visual posters. The bible tells God’s story in how he created the world, the fall, redemption and the new creation. The bible has a sequence of events, songs, proverbs, prophetic books, writing of wisdom and letters. In the bible there is a comparison between connecting scripture and constructing culture. It is able to change one’s life and one’s culture because

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

The title of this artwork is Virgin and Child with the Young Saint John the Baptist and Angels. It was created by François Boucher in Paris. It was painted in the year 1765. It was painted with oil on a canvas. This painting is housed in the Metropolitan Museum in New York City, New York. In this painting, Boucher wonderfully depicts the Virgin Mary and the baby Jesus, along with a toddler Saint John the Baptist and a lamb, having a picnic together. They are being watched over by five small cherub angels up in the heavens.

It’s 1.00p.m. and you’re listening to Literature Made Easy. With me is Felicia Kueh, an expert in English literature who had graduated with PhD in English Literature from The University of Edinburgh. Today, she is going to answer us several questions on ‘The story of an hour’ and ‘Desiree’s baby’ written by Kate Chopin. Welcome, Felicia.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

Fig. 1 captures the very moment that the archangel Gabriel comes down from the heavenly realm to earth to announce to Mary that she will conceive the Christ-child and he shall be called Jesus. The gold of his crown is representative of the “celestial realm that he has left to deliver this message” (Kleiner, 2010:387). The announcement is depicted very much in the moment as the words are quite literally illustrated with the text "Ava gratia plena Dominus tecum" (Van Dijk, 1999:420), which leave his mouth from left to right as if they were encapsulated in a speech bubble. The phrase is in fact inscribed in Latin and reads as "Hail, Mary, full of grace, blessed art thou among women” (Van Dijk, 1999:420). The draping cloth around Gabriel’s gold-infused light blue robe whips around the angel as if he had just land and his wings, which are still erect, depict an effortless grace of divine delicacy in the way that Martini executed them. Making use of undulating, long curved linear lines, they are almost liquid-like in their fluidity. The angel is painted holding a branch of olive leaves in his left hand. This is a symbol of the Christ-head and his coming to earth as the “Prince of Peace” (Emmerson, 2006:456), and also makes a reference to the traditional biblical story of Noah, the ark and the dove returning with an olive branch as a promise of the covenant of peace made by God with man (Genesis 8:11, English Standard Version)

Religion in the Middle Ages takes on a character all of its own as it is lived out differently in the lives of medieval men and women spanning from ordinary laity to vehement devotees. Though it is difficult to identify what the average faith consists of in the Middle Ages, the life told of a radical devotee in The Book of Margery Kempe provides insight to the highly intense version of medieval paths of approaching Christ. Another medieval religious text, The Cloud of Unknowing, provides a record of approaching the same Christ. I will explore the consistencies and inconsistencies of both ways to approach Christ and religious fulfillment during the Middle Ages combined with the motivations to do so on the basis of both texts.