Saint Appolinare Analysis

The first view that he talked about was the Christ or church against culture. In this view, Christ is perfect and sinless, while culture is manmade and imperfect. The church should not mingle with an imperfect society. Those who follow this view have a rejection of culture. This mindset typically creates a “Holy Group.” Which is one challenge with this view is that a “Holy Group” has never been achieved, but

Another interesting motif is the international influence in the paintings. Even though the paintings have extremely Catholic origins they have some elements of other cultures. One of the biggest ways this is shown is in the sibyls that are between some of the scenes. These sibyls have origins from Africa, Asia, Greece, and Ionia. These paintings also show departure from traditional Catholic values in some of the symbolism the paintings show. In the center of the ceiling there is a painting of man and God, yet God is painted inside the shape of the human brain. In

The overall medium of this ceiling decoration is paint. The Good Shepherd, Ornants, and the Story of Jonah share many similarities with the sculpture The Good Shepherd. The biggest similarity is that the same exact figure and space are depicted by the artist. The good shepherd is in the center and is the main focus on the ceiling painting. The good shepherd is also the main and only focus in the freestanding sculpture.

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

This idea, became a way for the church to intrigue young people and to attract new members. It made the idea of Christianity seem more relaxed and welcoming. The growth that came from implementing

Secondly, McKnight determines that the story of Jesus is the resolution of problems emanating from Israel’s story, which is also applicable in our day to day preaching. Thirdly, the author further discusses the plan of salvation. The church leaders create a clear explanation of the themes of atoning

The artpiece for me, interprets a depressed girl who has nothing to do with her life. She suffering from anxiety and thinks that no one understands her until the angel came and made her

Christ with Symbols of the Passion by Lavinia Fontana is a small but interesting piece. It depicts Christ being supported by two wingless angels between two wingless angels carrying the cross and two wingless angels holding the column that Christ had been tied to after his arrest. At Christs feet are the other symbols of the passion: The crown of thorns, the whip, and the stones that were cast upon him. In the hand of one of the angels carrying the column are the nails that were used to pin Christ to the cross. At the bottom left corner is a what looks like a gravestone or a carved tablet signed and dated by the artist. They appear to be on a path entering a wooded area and a mountain can be seen in the far background. The subject of the piece is “a scene that does not occur in the Christian Scriptures” (The plaque accompanying the piece) but what makes this piece so interesting is the style of which it was painted. It can’t be stated as a full manneristic piece, but it can be said to have mannerisms main features of unnatural proportions, affected poses, spatial ambiguity, contextual ambiguity, compositional complexity, unnatural palette, and high anxiety varying degrees.

This painting depicts a crucifixion outside the city of Jerusalem, discernible by the centrally planned church and rounded red rotunda in the background of the city. Rounded structures that resemble towers align the walls of the city, another definitive element of the biblical city. Although the painting clearly represents an idealized Jerusalem, it emulates a contemporary European town of the Northern Renaissance age, with Gothic architecture and what resembles shops at the front of the city. The painter also depicts the mountainous terrain of Jerusalem, but portrays greenery that the actual desert city would not have. The contemporary background makes the painting less abstract and more relatable to the viewer.

Countless people regard Jesus as one of the greatest leaders in history, as evidenced by the fact that Christianity continues to be one of the largest religions practiced worldwide. Christians see Jesus as a role model because of the parables he teaches about being loving, faithful, and merciful. Followers of Christ, both the contemporary disciples and modern Christians, create a focus around these parables, use these parables as a model by which to live. What people fail to recognize by focusing on only the parables, however, is the fact that Jesus was really a fear-based leader, especially in guiding the disciples. While the stories Jesus tells preach love and mercy, the stories the Mark tells about Jesus show a Jesus that instills terror.

There are twelve figures in this painting. The figure are arranged in a triangle shape with Mary, the Blessed Mother, and the child Jesus at the top as the focal point. The viewer’s eyes are drawn towards the Madonna and the child Jesus for yet another reason due to the deep red curtain that drapes behind them. The Madonna is seated on a throne with the infant Jesus in her lap, and seems to give authority to Saint Dominic with mere gesture of her hand. Saint Dominic is dressed in the usual habit of his order, holding a rosary. Saint Dominic, Saint Peter Martyr of Verona, who appears to be bleeding from his head, and two other friars are the next level of figures in this pyramidal structure. The faithful poor with their dirty feet and the

In Saint Catherine’s apse mosaic, the six essential characters in the scene, Christ, Elijah, Moses, Peter, John and James, are enveloped by a gold background which is bordered by circular portraits of men and women centering around a cross on the top of the apse. In the center of the entire mosaic, Christ is standing in gold and white garbs enthroned in a dark blue oval and a golden halo behind his head as smooth, faint white strokes, meant to represent the clouds in the scene, move towards the rest of the characters who are wearing darker, beige clothing. Since most of the mosaic is covered in gold, it shines brightly, causing the background and the figures in the foreground to combine in the eyes of the audience, making a stronger impression on their memory. This is the exact opposite of Raphael’s rendition where Christ is the brightest figure as he brings light to the dark world around him. Although the other characters wear colorful attire with different tones of red, green, blue and yellow, they are shrouded in shadow, with Christ being the only light in the scene, leading both their attention and the audience’s towards him as the contrast between him and the rest of the scene makes it easier to completely comprehend what is

At the top of the work, the angels are holding a crown, which is typically perceived as a symbol of royalty, honor and/or glory. Hence, this symbol represents the glory of Mary as Queen of Heaven and as the virgin Mother of God, which can be seen as worthy of both honor and praise. Another symbol is in the middle ground of the piece, where a monk is praying in the field by the stone wall. In Christianity, monks live solemn lives of prayer and service, completely devoted to spreading the Word of God in the Christian Gospel. Therefore, the monk’s presence creates a sense piety and holiness in the scene, which lends well to the religious

The scene itself is predominately black, and Bosch has made effective use of chiaroscuro to intensify the scene’s dramatic effect. Although the scene is incredibly dark and somber, Bosch includes glowing reds and blues which emerge out from the dark shadows – intensifying the drama and tension within the scene and adding an emotional quality. In particular, the bold reds are used throughout the painting to emphasize the sinister nature of the evil, grotesque figures. Moreover, the use of red adds depth to the dark atmosphere of Christ Carrying the Cross. Upon first glance, the viewer’s eye is immediately drawn to the diagonal arm of the cross behind Christ’s head, as the light brown shade of the wood juxtaposes with the darkness behind it [Fig. 1.3].

All three figures are connected by the acknowledgment of this sacrifice. Even greater than this understanding however, is the acceptance the infant Christ has as he reaches out for the cross. Their faces subtly convey sorrowful looks and many of the plants symbolize this too. The anemone and dandelions represent the sorrow and bitterness of the Passion. I appreciate the detail for meaning in this painting.