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According to the artist's description, the painting depicts a knight praying in the chapel of the Église Saint-Irénée de Lyon, which had been ruined by the Baron des Adrets in 1562. 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.
Done in oil paint on canvas, the work depicts a brigand and his wife in prayer before a cross in the mountains of central Italy. The painting is currently on display at the Metropolitan Museum of Art and is part of the museum's Whitney Collection, mostly French works from the 18th and 19th centuries collected and given by Wheelock Whitney III.
Non-recumbent types of effigy became popular during the Renaissance. By the early Modern period, European effigies were often shown as alive, either kneeling or in a more active pose, especially for military figures. Variations show the deceased lying on their side as if reading, kneeling in prayer, or even standing.
Genuflection, typically on one knee, still plays a part in the Anglican, Lutheran, Roman Catholic and Western Rite Orthodox traditions, among other churches; it is different from kneeling in prayer, which is more widespread. Those for whom the gesture is difficult, such as the aged or those in poor physical condition, are not expected to ...
Kneeling is the position often associated with traditional, Western marriage proposals. This position typically involves the person proposing kneeling with one knee on the ground, a position sometimes referred to as genuflecting, holding an engagement ring up to the person being proposed to. Kneeling in a public space in front of an apparent ...
There were major innovations in effigial posture, the deceased often being shown reclining or kneeling in prayer and surrounded by the whole family, as in life. Cadavers were replaced by skeletons. The 'hanging' mural or wall monument also became popular, sometimes with half-length 'demi-figures'; and also the floor-bound heraldic ledger stone.
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.
Several other women are sitting or kneeling in prayer, and one has prostrated herself. They are all waiting in expectation for the Emancipation Proclamation to be issued by the U.S. President Abraham Lincoln the following day, concerned to make sure that the President carries through with the preliminary proclamation that he published on ...