St. Charles Church

In Russellville there is a chapel called Edwards Chapel Christian Church. But the original founding site for the church is between London and Russellville, Arkansas, near the Illinois Bayou. In the 1930s the church split up when that happened the greater part of the church fellowship when to the Church of Christ. This church was converted in 1939 it was converted into a church.The church was originally organized by the white minister Pope Kelley in 1867 near Coal Springs near Dwight Mission. The original founding site of Dwight Mission Indian was overlooked by the Edwards Chapel Christian Church. The church was for the local white citizens, freeman, and former slaves. The church was moved to Outia at the foothills of Norristown Mountain on

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

As legend has it, the builders of St. Basil’s Cathedral were blinded by the command of Ivan the Terrible, so they could never create a building greater. There is still the question if St. Basil’s is actually the most beautiful cathedral made in its time. Comparing it to the beautiful Pisa Cathedral and Assumption Cathedral, which were made around the same time, one could find it hard to decide which is the most artistic. Looking at the materials, art, and icons of cathedrals are ways to gauge how beautiful the building is. St. Basil’s Cathedral was the most beautiful cathedral made in its time.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

St Patricks Cathedral is the mother church of the Catholic Archdiocese of Melbourne. It was named after St Patrick, the patron saint of Ireland. The church was officially opened in 1997, however the first mass took place in February 1858.

This bronze statuette, which has been said to be of Charlemagne, was found by Alexandre Lenoir in the treasury at Metz Cathedral in 1807 and is enlivened by equestrian statues from times long past, for example, that of Marcus Aurelius in Rome. The representation of Charlemagne or Charles the Bald as a stallion riding figure highlights the Carolingian sovereigns' enthusiasm for the topical collection of obsolescent craftsmanship. The ruler, holding a globe and a sword (now missing), affirms his power as a vanquisher.

Southern Louisiana had its distinctiveness; complete with the French and Spanish legacy, an Anglo-American territory, its Roman Catholic bastion; present was evangelical Protestantism, the slave society, its sugar society and historic plantations. But more important it had Centerville, Louisiana, the hometown of William J. Seymour, the son of former slaves.

In contrast to the tall spires one might expect when encountering a Roman Catholic Church, the Saint Mary Orthodox Church in East Brunswick, NJ is a relatively small, unprepossessing structure. It does not resemble a conventional Roman church or steeple; nor does it resemble the elaborate domed Orthodox Churches of kind I have seen in photographs of Russia. It is a square brick building with two relatively nondescript pillars flanking the front. What is noteworthy is the elaborate mosaic of Mary that adorns the front of the building. I have long heard that icons and images are a very important part of the aesthetics of Orthodox worship and this was confirmed by the sight of the building.

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.

For being over eight hundred years, the Christ in Majesty with Symbols of the Four Evangelists remained in remarkable condition. However, pieces of the original piece, which originated in the Catalan chapel in Spain, have faded. Portions, especially along the bottom, have disappeared over time. Even though historians moved it to the Boston Museum of Fine Arts, it has not been fully restored. The artist identified each of the apostles in the Christ in Majesty with Symbols of the Four Evangelists, but the writing has grown fainter and this creates a difficulty for art historians. Another key factor in the overall story represented has faded--one of the lamps or incense holders beneath Christ.

The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the “Emperor Mystique,” an inclination to link images of Christ in this period to imperial iconography. In the first chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to oversimplify Jesus’ iconographic identity. The author structures his chapter one argument into three points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition point. Then, he considers the Emperor Mystique’s prevalence in Late Antiquity. Finally, he moves on to the art historians chiefly responsible for the theory—Ernst Kantorowicz, Andreas

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.

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.

To understand the characteristics of Baroque style is to truly understand artistic measures of the sixteenth to eighteenth centuries. Baroque, a single word describing an entire period of art, can be broken down into more than one actual form of art. The new European age birthed this developing style of architecture, coming from ideas on religion and politics. Set apart in three different countries, visitors of St. Peter’s Basilica, Versailles, and Hampton Court Palace, engulf themselves in historic Baroque styles and beauty. The international style “was reinterpreted in different regions so that three distinct manifestations of the style emerged” (Matthews 392). The florid, classical, and restrained baroque design of the three different buildings gives us a historic lesson on the reasoning behind its purpose.

Christ in Majesty is a work of art made to emphasize religion and to teach illiterate people the principles of Christianity. On the upper register one sees figures from the New Testament such as Christ surrounded by the four symbols of the