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Paternoster (FCR 243), also known as Shepherd and Sheep or Shepherd with his Flock, [1] is an outdoor bronze sculpture of 1975 by Elisabeth Frink, installed in Paternoster Square near St Paul's Cathedral in London, United Kingdom. [2] The sculptural group measures 84 by 129 by 32 inches (213 cm × 328 cm × 81 cm).
The Good Shepherd, c. 300–350, at the Catacombs of Domitilla, Rome. The Good Shepherd (Greek: ποιμὴν ὁ καλός, poimḗn ho kalós) is an image used in the pericope of John 10:1–21, in which Jesus Christ is depicted as the Good Shepherd who lays down his life for his sheep. Similar imagery is used in Psalm 23 and Ezekiel 34:11–16.
The image of "The Good Shepherd", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the historical Jesus. [7] These images bear some resemblance to depictions of kouros figures in Greco-Roman art.
The good shepherd is seen with one sheep on each of his sides. There has been speculation on the religious origins of the Sarcophagus of Livia Primitiva. It was thought to be Christian because the artwork was tied to Christianity , but later evidence strongly suggests that this artifact was built for a Pagan entombment.
The Good Shepherd (c. 1660) by Bartolomé Esteban Murillo. The Good Shepherd is an oil on canvas painting by Bartolomé Esteban Murillo, from c. 1660. It is held in the Prado Museum, in Madrid. It has the Inventory number P00962 [1] It and other works were bought in 1744 from the heirs of cardinal Gaspar de Molina y Oviedo by Elisabeth Farnese. [2]
The Good Shepherd, now clearly identified as Christ, with halo and often rich robes, is still depicted, as on the apse mosaic in the church of Santi Cosma e Damiano in Rome, where the twelve apostles are depicted as twelve sheep below the imperial Jesus, or in the Mausoleum of Galla Placidia at Ravenna.
The Good Shepherd The Guardian Angel. Plockhorst was born in Braunschweig, Germany, where he had a 5-year education in lithography at the Collegium Carolinum, after which he trained to be a painter with Julius Schnorr von Carolsfeld in Dresden in 1848, with Carl von Piloty in Leipzig and Munich, and finally with Thomas Couture in Paris in 1853.
On the left a winding road passes a cornfield with sheaves and a group of trees and is lost in the distance. A shepherd sits on the old castle-wall, conversing with a youth seated on the ground, near a dog and three sheep. On a bastion, on the other side, are three sheep; in a breach of the bastion stands a man. On a pool are three swans.