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The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene. The Feast of the Transfiguration has been celebrated in the Eastern church since at least the 6th century and it is one of the Twelve Great Feasts of Eastern Orthodoxy , and so is widely ...
The knight is seen kneeling in a prayer in front a tomb, beneath a window. The interior of the chapel is very dark and devoided of any significant decoration. Amother knight is seen, at the right, by the door, possibly his squire. He holds the knight's helmet at his hands, while his shield can be seen at his left, leaning at the wall.
Meister Francke: Man of sorrows, with angels, c. 1430 German woodcut with hand-colouring, 1465–70. Man of Sorrows, a biblical term, is paramount among the prefigurations of the Messiah identified by the Bible in the passages of Isaiah 53 (Servant songs) in the Hebrew Bible.
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, [1] it had been reproduced over half a billion times worldwide by the end of the 20th century. [2]
Flos, pl flores is Latin for flower. Virga is a "green twig", "rod" or "broom", as well as a convenient near-pun with Virgo or Virgin, which undoubtedly influenced the development of the image. Thus Jesus is the Virga Jesse or "stem of Jesse". Tree of Jesse by Victor, 1674, it features David, Solomon and the Davidic Line with Abraham as its root
The Missal, by John William Waterhouse (1902), depicts a woman kneeling on a prie-dieu, a piece of furniture with a built-in kneeler. A kneeler is a cushion (also called a tuffet, hassock, genuflexorium, or genuflectorium) or a piece of furniture used for resting in a kneeling position during Christian prayer.
The picture depicts the Baptism of Jesus by John the Baptist as recorded in the Biblical Gospels of Matthew, Mark and Luke. The angel to the left is recorded as having been painted by the youthful Leonardo, a fact which has excited so much special comment and mythology, that the importance and value of the picture as a whole and within the ...
The donor and his wife are shown kneeling in prayer are in the left panel, looking through a half-open door into the Virgin's Hortus conclusus. [2] The door presents a continuity oddity; although it can be seen opening into the Virgins room from the left panel, no such door entrance is visible in the center panel.