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Salvator Mundi (Latin for 'Savior of the World') is a painting attributed in whole or part to the Italian High Renaissance artist Leonardo da Vinci, dated c. 1499–1510. Long thought to be a copy of a lost original veiled with overpainting , it was rediscovered, restored, and included in an exhibition of Leonardo's work at the National Gallery ...
Christ as Salvator Mundi by Andrea Previtali Danish globus cruciger, part of the Danish Crown Regalia. With the growth of Christianity in the 5th century, the orb (in Latin works orbis terrarum, the 'world of the lands', whence "orb" derives) was surmounted with a cross, hence globus cruciger, symbolizing the Christian God's dominion of the ...
Salvator Mundi, Latin for Saviour of the World, is a subject in iconography depicting Christ with his right hand raised in blessing and his left hand holding an orb (frequently surmounted by a cross), known as a globus cruciger.
The film lifts the veil on the painting titled “Salvator Mundi” (The Savior of the World), which mysteriously resurfaced several years ago and was sold at Christie’s for a record $450 ...
The Good Friday antiphon is Salvator mundi, salva nos, qui per crucem et [sanguinem redemisti] nos [auxiliare nobis te deprecamur Deus noster]. (Save us, Saviour of the world, for by your Cross and [Blood you have redeemed] us; come to our aid, we beseech you, our God.)
The legacy from the prestigious Toledo School of Translators, established during the 12th and 13th centuries, had diminished considerably after the expulsion of the Moors and Jews from Spain in 1492, but in many of the old Arab quarters of Spanish cities the tradition of translation from Arabic to Latin or Spanish continued, although frequently ...
Simon co-authored Leonardo’s Salvator Mundi and the Collecting of Leonardo in the Stuart Courts with art historians Martin Kemp and Margaret Dalivalle. [10] The book was by Oxford University Press in 2019. [11] He was also featured in the 2021 documentary, The Lost Leonardo. [12] [13]
With critical notes and a Review of "Salvator Mundi" (London, 1881), by Thomas Wood was a retort. Its postscript of challenges Cox's impartiality as editor of the Expositor, an instance of the sort of complaint that brought about his resignation. A Commentary on the Book of Job, with a Translation, London, 1880.