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The dimensions of the painting are in the golden ratio, [3] as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical". [4] There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". [5]
Iconoclasm was a result of the fear of worship of the image, rather than the apostles or holy figure. Instead, the cross only was promoted as a form of decoration in churches. [30] The prohibition against icons was due to verses in Exodus 20:4 which critiqued the worship of graven images.
In the case of an image of a saint, the worship would not be latria but rather dulia, while the Blessed Virgin Mary receives hyperdulia. The worship of whatever type, latria, hyperdulia, or dulia, can be considered to go through the icon, image, or statue: "The honor given to an image reaches to the prototype" (St. John Damascene in Summa ³).
A religious image is a work of visual art that is representational and has a religious purpose, subject or connection. All major historical religions have made some use of religious images, although their use is strictly controlled and often controversial in many religions, especially Abrahamic ones.
The Communion Service, Lectionary, and collects in the liturgy were translations based on the Sarum Rite [11] as practised in Salisbury Cathedral. The revised edition in 1552 sought to assert a more clearly Protestant liturgy after problems arose from conservative interpretation of the mass on the one hand, and a critique by Martin Bucer ...
The pope sought the removal of Satan from the original design, [1] and thereafter asked that it depict a night scene. [5] Barocci quotes from Raphael's School of Athens by inserting the portrait of Heraclitus, which many believe is a portrait of Michelangelo. Significantly, he depicts Judas Iscariot using Michelangelo's portrait. [1]